Braving the dusty trails of the Wild West, cowgirl Dorothy and her horse Toto are riding to see the wonderful Wiz Kid of Oz! The legendary entertainer is auditioning new acts for his Emerald Circus, and Dorothy and her friends, Tinny, Crow and Leo, hope they can impress him with their talents. But when Dorothy's lucky silver spurs are stolen by a wicked rival, will Dorothy be able to believe in her own grit and still give her best performance? With Far Out Classic Stories, experience The Wonderful Wizard of Oz like never before in this twisted graphic novel retelling for kids.
In the Iron Age, the world is changing. At night, Isa Uliac lays down her scythe and dances by the fire, her reward for long hours in the fields. The land of June never changes - until the Remi come. These strangers solve problems that should have taken years to unravel. Soon they build roads through the fields and demand tribute. The people of June no longer dance and sing. When the Remi nearly kill Isa's brother, she knows that she must act. She sets off for Cantium, an old ally of June that no one has visited for generations. Only this legendary kingdom could defeat the Remi. But Cantium isn't what Isa expected. Can she overcome her horror at what she finds there and convince the Cantians to help June, before it's too late? Fiction / Fantasy / Historical Approximately 27,000 words (Novella) Book 1 of The Kings of Cantium quartet www.erica-olson.com From Author's End Note: Cantium, though fictionalized here, was a real place: the present-day county of Kent in southeast England. I took the name from Julius Caesar's Gallic Wars, which mentions four kings of Cantium who ruled at the time of Caesar's expedition to Britain in 54 BC. These were Iron Age kings, each ruling from a hill-fort - a fortified center of population, production, and culture. Of all the British tribes, Caesar says, the Cantians were the most civilized. The Remi in The Kings of Cantium are rather like the Romans: foreign invaders with superior weapons and equipment and more systematized ways of doing things. Rome had conquered Iron Age Britain by the end of the first century AD. The real-life Remi were a people of northeastern Gaul (modern France). Allying themselves with Julius Caesar, they fought other Gallic tribes when most of the tribes rebelled against Rome. The Remi were a warlike people, famous for their horses. Later, after they were absorbed into the Roman Empire, Remi troops fought in many of Rome's campaigns, including, probably, the conquest of Britain. The events of this book, though, are entirely of my own invention. I could have written a strictly historical novel, but wanted to allow my imagination free room to play.
In 1969, Supreme Court Justice Abe Fortas called free speech in public schools a "hazardous freedom," but one well worth the risk. A half-century later, with technology enabling students to communicate in ways only dreamed about in Fortas' time, that freedom seems more hazardous than ever. Yet still worth the risk, given equal respect for students' First Amendment rights and for the requirements of an orderly educational institution. This book provides educators, administrators, school board members and parents a starting point in creating student speech policies that encourage the responsible exercise of constitutional freedoms, while respecting the learning environment. The author discusses the history, sociology, law and philosophy surrounding student speech, demonstrating that free speech and effective teaching and administration in public schools are not mutually exclusive.
Practical, inspired, and bite-sized wisdom from renowned religious scholar Erica Brown, these daily meditations help add greater depth and purpose to your leadership. Few leaders have a plan when it comes to soul-building at work. As a result, they often find themselves spiritually or emotionally depleted, and they can lose the larger ideals that made them want to lead in the first place. Take Your Soul to Work is a daily meditational for business and nonprofit leaders looking for inspiration. Each entry focuses on a different quality, emotion, or aspiration ("on discipline," "on compassion," "on impermanence," "on callousness," "on productive narcissism") by presenting a relevant quote, story, or question inspired by the traditions of all faiths as well as artists, poets, and business thinkers to help leaders reframe, rethink, and reset. Leaders rarely have time to reflect between the meeting, calls, and emails that eat away at the work day. With just one thought per day for the entire year, these 365 meditations will anchor, ground, and enrich corporate titans and nonprofit visionaries. Take Your Soul to Work provides spiritual nourishment and encourages leaders to steer their organizations with honesty, grace, and courage--and experience transcendence in the process.
An in-depth look at the diverging paths of Vietnamese American communities, or “Little Saigons,” in America’s built environment. In the final days before the fall of Saigon in 1975, 125,000 Vietnamese who were evacuated or who made their own way out of the country resettled in the United States. Finding themselves in unfamiliar places yet still connected in exile, these refugees began building their own communities as memorials to a lost homeland. Known both officially and unofficially as Little Saigons, these built landscapes offer space for everyday activities as well as the staging of cultural heritage and political events. Building Little Saigon examines nearly fifty years of city building by Vietnamese Americans-who number over 2.2 million today. Author Erica Allen-Kim highlights architecture and planning ideas adapted by the Vietnamese communities who, in turn, have influenced planning policies and mainstream practices. Allen-Kim traveled to ten Little Saigons in the United States to visit archives, buildings, and public art and to converse with developers, community planners, artists, business owners, and Vietnam veterans. By examining everyday buildings-who made them and what they mean for those who know them-Building Little Saigon shows us the complexities of migration unfolding across lifetimes and generations.
An in-depth look at the diverging paths of Vietnamese American communities, or “Little Saigons,” in America’s built environment. In the final days before the fall of Saigon in 1975, 125,000 Vietnamese who were evacuated or who made their own way out of the country resettled in the United States. Finding themselves in unfamiliar places yet still connected in exile, these refugees began building their own communities as memorials to a lost homeland. Known both officially and unofficially as Little Saigons, these built landscapes offer space for everyday activities as well as the staging of cultural heritage and political events. Building Little Saigon examines nearly fifty years of city building by Vietnamese Americans-who number over 2.2 million today. Author Erica Allen-Kim highlights architecture and planning ideas adapted by the Vietnamese communities who, in turn, have influenced planning policies and mainstream practices. Allen-Kim traveled to ten Little Saigons in the United States to visit archives, buildings, and public art and to converse with developers, community planners, artists, business owners, and Vietnam veterans. By examining everyday buildings-who made them and what they mean for those who know them-Building Little Saigon shows us the complexities of migration unfolding across lifetimes and generations.
In Sensory Experiments, Erica Fretwell excavates the nineteenth-century science of psychophysics and its theorizations of sensation to examine the cultural and aesthetic landscape of feeling in nineteenth-century America. Fretwell demonstrates how psychophysics-a scientific movement originating in Germany and dedicated to the empirical study of sensory experience-shifted the understandings of feeling from the epistemology of sentiment to the phenomenological terrain of lived experience. Through analyses of medical case studies, spirit photographs, perfumes, music theory, recipes, and the work of canonical figures ranging from Kate Chopin and Pauline Hopkins to James Weldon Johnson and Emily Dickinson, Fretwell outlines how the five senses became important elements in the biopolitical work of constructing human difference along the lines of race, gender, and ability. In its entanglement with social difference, psychophysics contributed to the racialization of aesthetics while sketching out possibilities for alternate modes of being over and against the figure of the bourgeois liberal individual. Although psychophysics has largely been forgotten, Fretwell demonstrates that its importance to shaping social order through scientific notions of sensation is central to contemporary theories of new materialism, posthumanism, aesthetics, and affect theory.
In The Small Book of Hip Checks Erica Rand uses multiple meanings of hip check-including an athlete using their hip to throw an opponent off-balance and the inspection of racialized gender-to consider the workings of queer gender, race, and writing. Explicitly attending to processes of writing and revising, Rand pursues interruption, rethinking, and redirection to challenge standard methods of argumentation and traditional markers of heft and fluff. She writes about topics including a trans shout-out in a Super Bowl ad, the heyday of lavender dildos, ballet dancer Misty Copeland, the criticism received by figure skater Debi Thomas and tennis great Serena Williams for competing in bodysuits while Black, and the gendering involved in identifying the remains of people who die trying to cross into the United States south of Tucson, Arizona. Along the way, Rand encourages making muscle memory of experimentation and developing an openness to being conceptually knocked sideways. In other words, to be hip-checked.
In Sensory Experiments, Erica Fretwell excavates the nineteenth-century science of psychophysics and its theorizations of sensation to examine the cultural and aesthetic landscape of feeling in nineteenth-century America. Fretwell demonstrates how psychophysics-a scientific movement originating in Germany and dedicated to the empirical study of sensory experience-shifted the understandings of feeling from the epistemology of sentiment to the phenomenological terrain of lived experience. Through analyses of medical case studies, spirit photographs, perfumes, music theory, recipes, and the work of canonical figures ranging from Kate Chopin and Pauline Hopkins to James Weldon Johnson and Emily Dickinson, Fretwell outlines how the five senses became important elements in the biopolitical work of constructing human difference along the lines of race, gender, and ability. In its entanglement with social difference, psychophysics contributed to the racialization of aesthetics while sketching out possibilities for alternate modes of being over and against the figure of the bourgeois liberal individual. Although psychophysics has largely been forgotten, Fretwell demonstrates that its importance to shaping social order through scientific notions of sensation is central to contemporary theories of new materialism, posthumanism, aesthetics, and affect theory.
In The Small Book of Hip Checks Erica Rand uses multiple meanings of hip check-including an athlete using their hip to throw an opponent off-balance and the inspection of racialized gender-to consider the workings of queer gender, race, and writing. Explicitly attending to processes of writing and revising, Rand pursues interruption, rethinking, and redirection to challenge standard methods of argumentation and traditional markers of heft and fluff. She writes about topics including a trans shout-out in a Super Bowl ad, the heyday of lavender dildos, ballet dancer Misty Copeland, the criticism received by figure skater Debi Thomas and tennis great Serena Williams for competing in bodysuits while Black, and the gendering involved in identifying the remains of people who die trying to cross into the United States south of Tucson, Arizona. Along the way, Rand encourages making muscle memory of experimentation and developing an openness to being conceptually knocked sideways. In other words, to be hip-checked.
In After Caliban, Erica Moiah James examines the rise of global Caribbean artists in the 1990s and their production of a decolonized art history for the Caribbean. She draws on Aim C saire's rewriting of Shakespeare's The Tempest, in which Caliban becomes the sole author of his own story, dissolving his fixed position as colonized in relation to Prospero as colonizer. James shows how visual artists such as Marc Latamie, Janine Antoni, Belkis Ay n, Edouard Duval-Carri , and Christopher Cozier followed C saire's model by employing a range of practices and methodologies that refused marginalization. Just as C saire decolonized The Tempest, so too did these artists, who crafted a decolonial aesthetic that redefined their own cultural and historical narratives and positioned art as a key pathway toward a postcolonial future. By providing the foundation for a postcolonial, post-Caliban art world, these artists redefined the critical and popular notion of contemporary Caribbean art. At the same time, James argues, they fulfilled C saire's dream for a postcolonial Caribbean while creating a nonhegemonic art historical practice that exists beyond modern binaries and borders.
In After Caliban, Erica Moiah James examines the rise of global Caribbean artists in the 1990s and their production of a decolonized art history for the Caribbean. She draws on Aim C saire's rewriting of Shakespeare's The Tempest, in which Caliban becomes the sole author of his own story, dissolving his fixed position as colonized in relation to Prospero as colonizer. James shows how visual artists such as Marc Latamie, Janine Antoni, Belkis Ay n, Edouard Duval-Carri , and Christopher Cozier followed C saire's model by employing a range of practices and methodologies that refused marginalization. Just as C saire decolonized The Tempest, so too did these artists, who crafted a decolonial aesthetic that redefined their own cultural and historical narratives and positioned art as a key pathway toward a postcolonial future. By providing the foundation for a postcolonial, post-Caliban art world, these artists redefined the critical and popular notion of contemporary Caribbean art. At the same time, James argues, they fulfilled C saire's dream for a postcolonial Caribbean while creating a nonhegemonic art historical practice that exists beyond modern binaries and borders.
