This study explores recent trends and the political situation in African politics, and the need for change.

The essays in Nuances of Blackness in the Canadian Academy make visible the submerged stories of Black life in academia. They offer fresh historical, social, and cultural insights into what it means to teach, learn, research, and work while Black. In daring to shift from margin to centre, the book’s contributors confront two overlapping themes. First, they resist a singular construction of Blackness that masks the nuances and multiplicity of what it means to be and experience the academy as Black people. Second, they challenge the stubborn durability of anti-Black tropes, the dehumanization of Blackness, persistent deficit ideologies, and the tyranny of low expectations that permeate the dominant idea of Blackness in the white colonial imagination. Operating at the intersections of discourse and experience, contributors reflect on how Blackness shapes academic pathways, ignites complicated and often difficult conversations, and reimagines Black pasts, presents, and futures. This unique collection contributes to the articulation of more nuanced understandings of the ways in which Blackness is made, unmade, and remade in the academy and the implications for interrelated dynamics across and within post-secondary education, Black communities in Canada, and global Black diasporas.

Published originally in 1935, this is an account of twenty two years spent, off and on, among the Bedouins of Arabia, migrating, hunting, raiding, starving, feasting and making wonderful desert friendships. The author writes the book for 'the Lord of his fathers,' the king of Arabia 'Abdel-' Aziz ibn Sa'ud el Wahhab and his governors and chiefs in Neijd, Hasa, Jauf, and Kaf and Amir Nuri Sha'lan, his family and tribe of the Ruala. An intimate account of the tradition and ancestors of the Bedouin.

Best-selling material expanded with new projects.Clear knitting and crochet patterns show how to knit/crochet and assemble a garden-full of beautiful flowers. Expert knitting and crochet designers use their talents to create flowers with real impact that readers will want to make for themselves. Each pattern is accompanied by a list of the materials and tools needed, step by step advice on how to assemble the flowers, and a stunning styled photograph. There are 28 knitted flowers, including a zinnia, anemone, hibiscus, daffodil, poppy, rose, arum lily and cherry blossom; and 28 crochet patterns including a Tudor rose, foxgloves, camellia, freesias and African violets.

Public administration in Canada needs to change. A handful of scholars across Canada have been sounding the alarm for years but to no avail. Talented young bureaucrats have been joining the public service with fresh ideas capable of creating real change, but the black hole consumes all. In The Black Hole of Public Administration, experienced public servant Ruth Hubbard and public administration iconoclast Gilles Paquet sound a wake-up call to the federal public service. They lament the lack of “serious play” going on in Canada’s public administration today and map some possible escape plans. They look to a more participatory governance model – “open source” governing or “small g” governance – as a way to liberate our public service from antiquated styles and systems of governing. In their recognizably rebellious style, Hubbard and Paquet demand that public administration scholars and senior level bureaucrats pull their heads out of the sand and confront the problems of the current system and develop a new system that can address the needs of Canada today.

INTRODUCTION Some slight sketch of the life and character of Stendhal is particularly necessary to an understanding of Le Rouge et Le Noir (The Red and the Black) not so much as being the formal stuffing of which introductions are made, but because the book as a book stands in the most intimate relation to the author's life and character. The hero, Julien, is no doubt, viewed superficially, a cad, a scoundrel, an assassin, albeit a person who will alternate the moist eye of the sentimentalist with the ferocious grin of the beast of prey. But Stendhal so far from putting forward any excuses makes a specific point of wallowing defiantly in his own alleged wickedness. "Even assuming that Julien is a villain and that it is my portrait," he wrote shortly after the publication of the book, "why quarrel with me. In the time of the Emperor, Julien would have passed for a very honest man. I lived in the time of the Emperor. So—but what does it matter?" Henri Beyle was born in 1783 in Grenoble in Dauphiny, the son of a royalist lawyer, situated on the borderland between the gentry and that bourgeoisie which our author was subsequently to chastise with that malice peculiar to those who spring themselves from the class which they despise. The boy's character was a compound of sensibility and hard rebelliousness, virility and introspection. Orphaned of his mother at the age of seven, hated by his father and unpopular with his schoolmates, he spent the orthodox unhappy childhood of the artistic temperament. Winning a scholarship at the Ecole Polytechnique at the age of sixteen he proceeded to Paris, where with characteristic independence he refused to attend the college classes and set himself to study privately in his solitary rooms. In 1800 the influence of his relative M. Daru procured him a commission in the French Army, and the Marengo campaign gave him an opportunity of practising that Napoleonic worship to which throughout his life he remained consistently faithful, for the operation of the philosophical materialism of the French sceptics on an essentially logical and mathematical mind soon swept away all competing claimants for his religious adoration. Almost from his childhood, moreover, he had abominated the Jesuits, and "Papism is the source of all crimes," was throughout his life one of his favourite maxims. After the army's triumphant entry into Milan, Beyle returned to Grenoble on furlough, whence he dashed off to Paris in pursuit of a young woman to whom he was paying some attention, resigned his commission in the army and set himself to study "with the view of becoming a great man." It is in this period that we find the most marked development in Beyle's enthusiasm of psychology. This tendency sprang primarily no doubt from his own introspection. For throughout his life Beyle enjoyed the indisputable and at times dubious luxury of a double consciousness. He invariably carried inside his brain a psychological mirror which reflected every phrase of his emotion with scientific accuracy. And simultaneously, the critical spirit, half-genie, half-demon inside his brain, would survey in the semi-detached mood of a keenly interested spectator, the actual emotion itself, applaud or condemn it as the case might be, and ticket the verdict with ample commentations in the psychological register of its own analysis.

Modern practicing occultists have argued that renowned horror writer H. P. Lovecraft was in possession of in-depth knowledge of black magick. Literary scholars claim that he was a master of his genre and craft, and his findings are purely psychological, nothing more. Was Lovecraft a practitioner of the dark arts himself? Was he privileged to knowledge that cannot be otherwise explained? Weaving the life story of Lovecraft in and out of an analysis of various modern magickal systems, scholar John Steadman has found direct and concrete examples that demonstrate that Lovecraft’s works and specifically his Cthulhu Mythos and his creation of the Necronomicon are a legitimate basis for a working magickal system. Whether you believe Lovecraft had supernatural powers or not, no one can argue against Lovecraft’s profound influence on many modern black arts and the darker currents of western occultism.