As a teenager, he makes two failed attempts to run away from the orphanage."

Kai and Caleb Goodacre have been kidnapped just as rumors of a cult sweeping across the reservation leads Maggie and Hastiin to investigate an outpost, and what they find there will challenge everything they’ve come to know in this “badass” (The New York Times) action-packed sequel to Trail of Lightning. It’s been four weeks since the bloody showdown at Black Mesa, and Maggie Hoskie, Diné monster hunter, is trying to make the best of things. Only her latest bounty hunt has gone sideways, she’s lost her only friend, Kai Arviso, and she’s somehow found herself responsible for a girl with a strange clan power. Then the Goodacre twins show up at Maggie’s door with the news that Kai and the youngest Goodacre, Caleb, have fallen in with a mysterious cult, led by a figure out of Navajo legend called the White Locust. The Goodacres are convinced that Kai’s a true believer, but Maggie suspects there’s more to Kai’s new faith than meets the eye. She vows to track down the White Locust, then rescue Kai and make things right between them. Her search leads her beyond the Walls of Dinétah and straight into the horrors of the Big Water world outside. With the aid of a motley collection of allies, Maggie must battle body harvesters, newborn casino gods and, ultimately, the White Locust himself. But the cult leader is nothing like she suspected, and Kai might not need rescuing after all. When the full scope of the White Locust’s plans are revealed, Maggie’s burgeoning trust in her friends, and herself, will be pushed to the breaking point, and not everyone will survive.

Young women today have benefited from the strides made by grassroots social activists in the 1960s and 1970s, yet they are hesitant to identify themselves as feminists and seem apathetic about carrying the torch of older generations to redress persistent sexism and gender-based barriers. Contesting the notion that we are in a post-feminist age, this provocative collection of original essays identifies a third wave of feminism. The contributors argue that the next generation needs to develop a politicized, collective feminism that both builds on the strategies of second wave feminists and is grounded in the material realities and culture of the twenty-first century. Organized in five sections that mirror the stages of consciousness-raising, this is an engaging, often edgy, look at a broad range of perspectives on the diversity, complexity, multiplicity, and playfulness of the third wave. It is also a call to action for new voices to redefine a feminism that is not only personally aware but also politically involved.

A unique and compelling portrait of Charles Lindbergh by the celebrated author and long-time staff writer for the New Yorker magazine. Copyright © Libri GmbH. All rights reserved.

"In late August of 1975 when my wife Gailyn and I and our one-and-a-half-year-old daughter arrived in Bolinas, I was almost 29 years old and had become known for writing minimal poetry sometimes consisting of a single word", Aram Saroyan writes in his introduction to Day and Night. "A young writer's ego is a delicate matter, subject as it is to routine battery and assault. When I wrote the first section of a long poem called 'Lines for My Autobiography' one afternoon on the typewriter in the poet Joanne Kyger's house. I was both exhilarated and uneasy. After all, it was two and a half pages long and I'd never before written a poem of even half its length. I ended up throwing it in the waste basket, but Gailyn fished it out, read it, and told me it was the best thing I'd ever written and to go on writing it". That poem and many others like it -- limpid, direct, revealing, open-hearted essays toward a first-person life story -- make up Saroyan's very appealing book about "big-city boys...becoming farmers" in an eccentric, idealist, crackpot-utopian California beach town in the 1970s. This is an unashamedly youthful book, starry-eyed in its approach to family-starting and community-founding, innocently celebrative of the simple wonders of a life lived close to nature. Glancing back at a glamorous but troubled childhood spent among the bright lights of Manhattan and the luxuriant palms of Beverly Hills, the young Saroyan experiences this new world with a freshness of vision.

As an adolescent, Justin Pearson moved with his mother from “Shit Creek Phoenix, AZ” to sunny San Diego after his father was murdered on Halloween. There, he fell in with a subculture of young musicians playing some of the most original and brutal music in the world. Turns out the chaos of Pearson’s bands — The Locust, Swing Kids, and Some Girls — is nothing compared to the madness of his life. An icon of the West Coast noise and punk scene, Pearson managed to arrive at adulthood by outsmarting skinheads and dodging equally threatening violence at home. Once there, the struggle continued, with Pearson getting beat up on Jerry Springer and, on more than one occasion, chased out of town by ferociously angry audiences. From the Graveyard of the Arousal Industry is the outrageously candid story of Pearson’s life. In loving, meticulous detail, Pearson gives readers the dirt behind each rivalry, riff, and lineup change.

Tell Me Again... offers a wide variety of poems written in Hayden Carruth's inimitably eloquent and precise style.

Fifty-seven Ojibwe Indian tales collected from Anishinaabe elders, reproduced in Ojibwe and in English translation.

Native peoples of North America still face an uncertain future due to their unstable political, legal, and economic positions. Views of their predicament continue to be dominated by non-Indian writers. In response, a dozen Native American writers here reclaim their rightful role as influential "voices" in debates about Native communities. These scholars examine crucial issues of politics, law, and religion in the context of ongoing Native American resistance to the dominant culture. They particularly show how the writings of Vine Deloria, Jr., have shaped and challenged American Indian scholarship in these areas since 1960s. They provide key insights into Deloria's thought, while introducing some critical issues confronting Native nations. Collectively, these essays take up four important themes: indigenous societies as the embodiment of cultures of resistance, legal resistance to western oppression against indigenous nations, contemporary Native religious practices, and Native intellectual challenges to academia. Essays address indigenous perspectives on topics usually treated by non-Indians, such as role of women in Indian society, the importance of sacred sites to American Indian religious identity, and relationship of native language to indigenous autonomy. A closing essay by Deloria, in vintage form, reminds Native Americans of their responsibilities and obligations to one another and to past and future generations. This book argues for renewed cultivation of a Native American Studies that is more Indian-centered.

An avant garde set of improvisational essays, Richard Grossinger’s The Bardo of Waking Life is a meditation on the Tibetan Buddhist bardo realm which, in popular culture, is viewed as the bridge between lives, the state people enter after death and before rebirth. This book examines waking life and its history and language as if it were a bardo state rather than ultimate reality, and thus seeks a context for life (and dreams), even as it addresses more "mundane issues" including genetic theory, the war in Iraq and George W. Bush's presidency, North Korea, advertising, global warming, Prison Industrial Culture, childhood trauma, even country western music. Written with playfulness and precision, Bardo takes a new, probing approach to all the important questions of creation, destruction, and existence. In these intellectual field notes, Grossinger proves thematically fearless as he crosses quantum mechanics with totemic hexes and draws transcendental insight from the ephemeral space-time we call daily life. If, as Tibetan cosmology holds true, all conditional realms are bardos, then the state we all share is nothing less than the bardo of waking life.