Sampling virtually all of the old-time styles within the musical traditions still extant in north Georgia, Folk Visions and Voices is a collection of eighty-two songs and instrumentals, enhanced by photographs, illustrations, biographical sketches of performers, and examples of their narratives, sermons, tales, and reminiscences.

Voices and Visions introduces students to the development of Canada through the varied and rich perspectives of the Aboriginal, British, Francophone, and other groups. It also introduces students, in language they can understand, to active and responsible citizenship at the local, provincial, national, and global levels. Components include Teacher's Resource and Website. French version Voix et Visions available. For details, teachers in Alberta should contact the Learning Resources Centre (www.lrc.education.gov.ab.ca). Teachers in all other provinces, please contact Cheneliere Education (www.cheneliere.ca).

A rich selection of writings by notable preachers, politicians, poets, novelists, essayists, and diarists.

Representing some of our finest established and emerging scholars on the subject of ethnographic research, this collection tackles the different issues and questions today's ethnographers face.

Photographed and edited by Barney Nelson. Introduction by Elmer Kelton. Memorial to Shawn Burchett by Helen & Peter Sarfatis.

Gary Truce's poems cover a variety of subjects such as nature, personal relationships, and the cosmos. As a long-time professor of health and wellness, one might expect to see poems promoting wholesome relationships and healthy lifestyles. However, the poems' speakers are often not Truce and we read of troubled lives. Hence, the title, Voices on Visions, with Truce as poet persona playing many roles. The speakers are usually compassionate and sensitive indulging in the beauty and wonder of nature. Other speakers are lost, searching, depressed, romantic, or comic. Truce seems happiest when he communes with nature describing wildlife, landscapes, bodies of water, and an ever-changing sky. Sometimes the reader is taken beyond Earth to an exploration of the cosmic-at times with a Godly perspective with reassuring orderliness, and at other times with a human perspective filled with uncertainty, despair, folly, confusion, or amazement. Ultimately, Truce's high degree of optimism tips the balance in Visions. So, feel the crisp coolness of spring air, pour the maple syrup and melt the butter on blueberry pancakes while viewing the maple grove through the open kitchen window. As Truce writes, "And when the steam appears from the sugar shack-you know at last it's spring!"

Some experiences go beyond ordinary reason. What does it mean when mystics see visions? And what does the Church teach about supernatural events like these? This is a book that takes these questions seriously.

As a leading introductory women’s studies reader, Shaw and Lee’s Women’s Voices, Feminist Visions offers an excellent balance of classic, conceptual, and experiential selections including new contemporary readings. This student-friendly text provides short and accessible readings reflecting the diversity of women’s experiences. With each new edition, the authors keep the framework essays and selections of readings fresh and interesting for students.

The story of Montana's one-room schoolhouses, as recollected and recounted by those most intimately connected to those places, is the story of the American frontier and the high value placed on education by those who came to homestead, mine, or work the railroads. It is a story of the Western spirit and of a culture marked by tenacity and endurance. These stories told by students and teachers, many of whom are now in their eighties or nineties tell of adventures traveling to and from school, the school day, recess games, family life, daily chores, and above all, the sense of community, as defined by these iconic humble schoolhouses. Their voices share memories and perspectives about a way of life, gone for the most part, and breathe life into these visions of rural heritage. The preservation of one-room schoolhouses is important, as they are among Montana's first frontier structures. These treasures inform us about ourselves our history and our culture through the people who learned and taught in them. One hundred percent of the net proceeds of this book will be donated to the Preserve Montana Fund, a campaign of collaboration between the Montana Preservation Alliance, the Montana History Foundation, and the National Trust for Historic Preservation. This donation will serve to create a challenge grant, earmarked for Montana's endangered one-room schoolhouses.

In the 1970s and 1980s Olivier Stephenson was very actively engaged in Caribbean theatre in New York. There he met a number of Caribbean playwrights, either already living there or making visits. He was looking for plays, they for theatres and performers. Out of this connection came this hugely important and unrepeatable collection of fourteen interviews with most of the founding figures of contemporary Anglophone Caribbean theatre. As the preface by Kwame Dawes indicates, the period of the interviews, from the mid 1970s into the 1980s, was a crucial one for the Caribbean theatre, as its most productive and revolutionary period, and a time when it was already taking on the variety of forms and locations that still characterise it today. Besides talking about their own influences, experiences, goals and aesthetic visions, each playwright contributes to a collective picture of Caribbean theatre being defined by its spaces ù diasporic or regional, proscenium or open air; the nature of its audiences ù a heated debate about the possibilities for a commercial theatre that has the work of Trevor Rhone at its heart - and the playwright's relationship to inherited theatre traditions and to specifically Caribbean cultural resources. Reflective, analytical, visionary, opinionated - these are lively interviews, not least because Olivier Stephenson asked each of the playwrights for their views on their peers - views sometimes given with acerbic frankness. This collection should, of course, have been published many years ago, and the subsequent deaths of eight of the interviewees make it something of a memorial, but the interviews themselves read as freshly as when they were recorded. With extensive annotations and end notes, and insightful introductions by Kwame Dawes and Olivier Stephenson, this is an essential book for anyone interested in contemporary Caribbean theatre and its history. Book jacket.