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We Were Liars meets Room in this masterfully plotted psychological thriller from the critically acclaimed author of A List of Cages, Robin Roe. SIXTEEN-YEAR-OLD SAYERS WAYTE HAS EVERYTHING. Popularity, good looks, perfect grades—there's nothing Sayers' family money can't buy. Until he's kidnapped by a man who tells him the privileged life he's been living is based on a lie. Trapped in a windowless room, without knowing why he's been taken or how long the man plans to keep him shut away, Sayers faces a terrifying new reality. To survive, he must forget the world he once knew, and play the part his abductor has created for him. But as time passes, the line between fact and fiction starts to blur, and Sayers begins to wonder if he can escape . . . before he loses himself.
Looking to start an underground band? Don't make a move until you've read this book! So you KNOW you are destined to rock... well you're in luck -- all you need is this book! (Please note musical talent, bandmates, a car for touring, and an uncle who owns a record label might also help.) An original blend of nonfiction how-to's about all things DIY rock created by an indie-circuit veteran with a knack for hysterical snark, PUNK ROCK ETIQUETTE teaches you everything from how to pick your bandmates and choose a name (Never deliberately misspell your band's name. C how lame it lookz?), to detailed guides on screenprinting your own merch, and interviews and advice from studio owners about the do's and don'ts of recording. PUNK ROCK ETIQUETTE is an unfiltered peek backstage that will appeal to aspiring musicians and anyone who's curious about what goes on in the hours between the last chord and the next big show.
Immerse yourself in the captivating world of Roy Judson Snell's adventure-packed children's story. Written by the renowned American author known for his engaging fiction aimed at young readers, this thrilling tale weaves a mesmerizing mystery that will intrigue readers' curiosity from beginning to end.
In the early twentieth century, Native American baskets, blankets, and bowls could be purchased from department stores, “Indian stores,” dealers, and the U.S. government’s Indian schools. Men and women across the United States indulged in a widespread passion for collecting Native American art, which they displayed in domestic nooks called “Indian corners.” Elizabeth Hutchinson identifies this collecting as part of a larger “Indian craze” and links it to other activities such as the inclusion of Native American artifacts in art exhibitions sponsored by museums, arts and crafts societies, and World’s Fairs, and the use of indigenous handicrafts as models for non-Native artists exploring formal abstraction and emerging notions of artistic subjectivity. She argues that the Indian craze convinced policymakers that art was an aspect of “traditional” Native culture worth preserving, an attitude that continues to influence popular attitudes and federal legislation. Illustrating her argument with images culled from late-nineteenth- and early-twentieth-century publications, Hutchinson revises the standard history of the mainstream interest in Native American material culture as “art.” While many locate the development of this cross-cultural interest in the Southwest after the First World War, Hutchinson reveals that it began earlier and spread across the nation from west to east and from reservation to metropolis. She demonstrates that artists, teachers, and critics associated with the development of American modernism, including Arthur Wesley Dow and Gertrude Käsebier, were inspired by Native art. Native artists were also able to achieve some recognition as modern artists, as Hutchinson shows through her discussion of the Winnebago painter and educator Angel DeCora. By taking a transcultural approach, Hutchinson transforms our understanding of the role of Native Americans in modernist culture.
This "gripping and moving" story of two foster brothers sharply examines the impact of loss, grief, and abuse (Emma Donohgue, bestselling author of Room) -- and celebrates the power of friendship. When Adam Blake lands the best elective ever in his senior year, serving as an aide to the school psychologist, he thinks he's got it made. Sure, it means a lot of sitting around, which isn't easy for a guy with ADHD, but he can't complain, since he gets to spend the period texting all his friends. Then the doctor asks him to track down the troubled freshman who keeps dodging her, and Adam discovers that the boy is Julian -- the foster brother he hasn't seen in five years. Adam is ecstatic to be reunited. At first, Julian seems like the boy he once knew. He's still kind hearted. He still writes stories and loves picture books meant for little kids. But as they spend more time together, Adam realizes that Julian is keeping secrets, like where he hides during the middle of the day, and what's really going on inside his house. Adam is determined to help him, but his involvement could cost both boys their lives. First-time novelist Robin Roe relied on life experience when writing this exquisite, gripping story featuring two lionhearted characters.
Ladies' Book of Etiquette, and Manual of Politéness by Florence Hartley Pdf
Do unto others as you would others should do to you. You can never be rude if you bear the rule always in mind, for what lady likes to be treated rudely? True Christian politeness will always be the result of an unselfish regard for the feelings of others, and though you may err in the ceremonious points of etiquette, you will never be im polite. Politeness, founded upon such a rule, becomes the expression, in graceful manner, of social virtues. The spirit of politeness consists in a certain attention to forms and ceremonies, which are meant both to please others and ourselves, and to make others pleased with us ;a still clearer definition may be given by saying that politeness is goodness of heart put into daily practice; the.re can be no true, politeness without kindness, purity, singleness of heart, and sensibility. Many believe that politeness is but a mask worn in the world to conceal bad passions and impulses, and to make a show of possessing virtues not really existing in the heart; thus, that politeness is merely hypocrisy and dissimulation. Do not believe this; be certain that those who profess such a doctrine are practising themselves the deceit they condemn so much.
This National Book Award Finalist is a thought-provoking exploration of emotional abuse, self-reliance and the nature of evil. A heart-wrenching portrait of family crisis, this is perfect for fans of Laurie Halse Anderson’s Speak and Jay Asher’s Thirteen Reasons Why. For Matt and his sisters, life with their cruel, physically abusive mother is a day-to-day struggle for survival. But then Matt witnesses a man named Murdoch coming to a child’s rescue in a convenience store; and for the first time, he feels a glimmer of hope. Then, amazingly, Murdoch begins dating Matt’s mother. Life is suddenly almost good. But the relief lasts only a short time. When Murdoch inevitable breaks up with their mother, Matt knows that he’ll need to take some action. Can he call upon Murdoch to be his hero? Or will Matt have to take measures into his own hands? A gripping, powerful novel that will stay with you long after you’ve read it. Nancy Werlin, the New York Times Bestselling author of Impossible, shows why she is a master of her genre. “[A] dark but hopeful tale, with pacing and suspense guaranteed to leave readers breathlessly turning the pages.”—Booklist (starred review) “Beautifully framed as a letter from Matthew to his younger sister, the suspense is paced to keep Matthew’s survival and personal revelations chock-full of dramatic tension. Bring tissues.”—Kirkus (starred review) “Grace and insight.”—School Library Journal (starred review) National Book Award Finalist LA Times Book Prize Finalist ALA Best Books of the Year ALA Quick Pick
Progressive Primitivism by Elizabeth West Hutchinson Pdf
This dissertation explores concepts of art, race, and gender in the turn-of-the-century celebration of Native American handicrafts. Identifying the Progressive Era interest in Indian art as distinct from the modernist concerns of the twenties and thirties, I identify this phenomenon of the reformist Arts and Crafts Movement. Anglo-Americans of this period promoted private and federal support of "pre-industrial" Indian art to facilitate their own social and cultural progress and accelerate the "civilization" of Indian people. Middle-class women arguing that the advance of American civilization depended on the active participation of their sex helped redefine both the manufacture and enjoyment of Indian art as female activities. Like other aspects of federal assimilationist policy of the time, the celebration of Indian art encouraged Indian people to develop a modern, transcultural understanding of Indianness. This history is not only vital to the understanding of the subsequent course of Native American art, but it illuminates the role of visual culture in concepts of American cultural identity. While American artistic culture of this period is frequently described as anti-modern, conservative, and masculinist, my research allows us to see this period, and the history of American art in general, as a site in which attitudes toward art and commerce, and gender and race, are contested. I have arranged this material in four chapters. Chapter one analyzes the cultural messages about primitivism, civilization and gender in the use of Indian art as home decoration by examining photographs of the George Wharton James, Jewett and Joseph Keppler collections. Chapter two looks at publications celebrating handicraft-oriented Indian reform projects designed by non-Indians Sybil Carter and Estelle Reel to bring Native American women into a middle class American economy and value system. Chapter three examines the relationship between gender, primitivism and early American modernism in representations of Native American artists by pictorialist photographer Gertrude Kasebier. The last chapter looks at how Angel DeCora, a Winnebago painter, manipulated contemporary aesthetic ideas to advance a politicized theory of Indian art within the context of the Indian rights movement