Social Studies Books

This book is very fun and imformative. It gives us information, but in a fun way...I recomend this book to anyone under the age of 13, and who enjoys history...if you get this book in school, dont be scared it is fun!

I love the writing in this series, it's such a pleasure to read, I wonder why are so many other textbooks so boring?

I'd love to give it five stars, except that there are recurring themes I find grating - some of her "fan club for the US government" stuff is just in totally inappropriate places. For instance, "American slavery was a horror. We should never pretend it was anything else. But the American system of government lets us correct mistakes. When you study history you see we usually do. Of that we can be proud." Gag me with a spoon, slavery was not abolished until more than 240 years after the first slave was delivered in 1619! Hakim does such a great job of fairly telling the story, why ruin it?

Another place I found disappointing was the perpetuation of the myth that the first settlers at Plymouth were called "Pilgrims" and that the Europeans started Thanksgiving. She has a box on Thanksgiving saying the story of the first Thanksgiving is a "real turkey", lists some other European Thanksgiving celebrations, and then neglects to mention that the Indians had been conducting Thanksgiving celebrations at harvest time for generations. I'd love to see someone do such a great job TELLING the story, who could also not perpetuate those irritating little false stories that schoolchildren are always taught.

Gosh, this doesn't sound like the positive review I inteded, but I see others have already told the good stuff. It's wonderfully well written!

I just borrowed this book from the library and now plan to buy the whole set. As a home schooling parent, I am always struggling to find quality materials and this series is just that. Hakim's books are easy to read and comprehend. Most importantly, they give a realistic view of history, not the politically correct one so often taught.

As I teach my children U.S. history, I want them to know that, yes, the white people were sometimes violent and unfair to the Native Americans, but some Native Americans were that way too. Before the Europeans came, they kidnapped and killed each other. I want my kids to know the whole truth and these books are very fair. No matter what the race, some people are good and some are not.

I highly recommend these books for teaching history to children and even adults.

"Making Thirteen Colonies: 1600-1740" is the second volume in Joy Hakim's "A History of US." The first volume covered how the first Americans crossed over from Asia to become Indians and the first Europeans, mainly the Spanish but also the French and English, began settling the New World. This volume focuses on the narrow string of settlements established by the English that became the thirteen colonies whose people began moving westward and who also started to question the relationship they had with England (there is a small amount of overlap between this and the next volume, which covers period of American history from 1735-1791).

Hakim begins with a preface that looks at the vast mixture of ideas that were brought over from the Mediterranean world and took root in the Americas. Along with the first chapter, which talks about the comet that appeared in 1607 as a portent of great changes for the world, this preface sets up several key themes that will be revisited throughout this and future volumes. "Making Thirteen Colonies" has 42 chapters and it the book is divided into five main sections. The first (chapters 2-12) tells how English settlers came to stay by establishing the first permanent colony in Jamestown, Virginia. The second (chapters 13-23) looks primarily at the Puritans arriving in New England, although Hakim also touches on what was happening between the Indians and the Spanish in the southwest. The third section (chapters 24-30) tells about the mid-Atlantic colonies, most notably New Amsterdam/York and Pennsylvania. The fourth section (chapter 31-39) returns to the South, looking at not only Ole Virginny but also the two Carolinas and Georgia. This unit also looks at the Triangle Trade and other considerations that united the four southern and nine northern colonies. The final section (chapters 40-42) is a transitional unit, that looks at how the colonists began to move westward and the stage was set for the period of history that would make those thirteen colonies into a new nation.

One of the great advantages to writing a ten-volume history of the United States is that unlike most standard American history textbooks "A History of US" is able to clearly establish the unique identities of each of those original thirteen colonies. I recently finished reading an excellent series of books, each of which was devoted to an individual colony, and Hakim ends up being closer to those volumes than she does the standard textbook. Consequently, in addition to the traditional stories about Pocahontas and John Smith in Jamestown, William Penn and the Quakers of Pennsylvania, the Salem witch trials, Ben Franklin as the quintessential American, and Daniel Boone finding routes through the mountains, Hakim establishes an individual identity for each colony.

However, the main strength of this series is how Hakim engages young readers, the same way you would expect a "real" teacher to do in a "real" classroom. This shows up primarily in her ability to anticipate and answer questions that students might have (e.g., why the Indians were not enslaved). I can easily see why this series is popular with parents who are home schooling their children. The book is richly illustrated with dozens and dozens of historic paintings, etchings, drawings, maps, engravings, and assorted reproductions. The margins are crammed with interesting facts, definitions, and quotations, and features on topics such as Land Green and Africa: The Unknown Continent are sprinkled throughout the book. The After Words this time around are devoted to cartography and has some superb examples of 16h- and 17th-century maps. It is easily to see why this series has impressed so many people and why Hakim is able to get such good responses from young students who are used to getting their information from computers and the Internet.

"Making Thirteen Colonies: 1600-1740" is the second volume in Joy Hakim's "A History of US." The first volume covered how the first Americans crossed over from Asia to become Indians and the first Europeans, mainly the Spanish but also the French and English, began settling the New World. This volume focuses on the narrow string of settlements established by the English that became the thirteen colonies whose people began moving westward and who also started to question the relationship they had with England (there is a small amount of overlap between this and the next volume, which covers period of American history from 1735-1791).

Hakim begins with a preface that looks at the vast mixture of ideas that were brought over from the Mediterranean world and took root in the Americas. Along with the first chapter, which talks about the comet that appeared in 1607 as a portent of great changes for the world, this preface sets up several key themes that will be revisited throughout this and future volumes. "Making Thirteen Colonies" has 42 chapters and it the book is divided into five main sections. The first (chapters 2-12) tells how English settlers came to stay by establishing the first permanent colony in Jamestown, Virginia. The second (chapters 13-23) looks primarily at the Puritans arriving in New England, although Hakim also touches on what was happening between the Indians and the Spanish in the southwest. The third section (chapters 24-30) tells about the mid-Atlantic colonies, most notably New Amsterdam/York and Pennsylvania. The fourth section (chapter 31-39) returns to the South, looking at not only Ole Virginny but also the two Carolinas and Georgia. This unit also looks at the Triangle Trade and other considerations that united the four southern and nine northern colonies. The final section (chapters 40-42) is a transitional unit, that looks at how the colonists began to move westward and the stage was set for the period of history that would make those thirteen colonies into a new nation.

One of the great advantages to writing a ten-volume history of the United States is that unlike most standard American history textbooks "A History of US" is able to clearly establish the unique identities of each of those original thirteen colonies. I recently finished reading an excellent series of books, each of which was devoted to an individual colony, and Hakim ends up being closer to those volumes than she does the standard textbook. Consequently, in addition to the traditional stories about Pocahontas and John Smith in Jamestown, William Penn and the Quakers of Pennsylvania, the Salem witch trials, Ben Franklin as the quintessential American, and Daniel Boone finding routes through the mountains, Hakim establishes an individual identity for each colony.

However, the main strength of this series is how Hakim engages young readers, the same way you would expect a "real" teacher to do in a "real" classroom. This shows up primarily in her ability to anticipate and answer questions that students might have (e.g., why the Indians were not enslaved). I can easily see why this series is popular with parents who are home schooling their children. The book is richly illustrated with dozens and dozens of historic paintings, etchings, drawings, maps, engravings, and assorted reproductions. The margins are crammed with interesting facts, definitions, and quotations, and features on topics such as Land Green and Africa: The Unknown Continent are sprinkled throughout the book. The After Words this time around are devoted to cartography and has some superb examples of 16th- and 17th-century maps. It is easily to see why this series has impressed so many people and why Hakim is able to get such good responses from young students who are used to getting their information from computers and the Internet.

I lucked into this book when it came out in 1999; my editor asked me to review it. I was previously unfamilliar with Farrell's work; now I am thrilled to see this book is still in print.

Farrell is a writer's journalist. This is not the sensationalist, info-tainment, "if-it-bleeds-it-leads" garbage you see on Fox News. He goes deep beneath the surface of his story, looking for the larger truths as much as the simple truth. Many of these truths hurt as much as they enlighten. He covers topics ranging from kite-flying to the Hillside Strangler with insight and style. His pieces on serial killers and rape victims are sensitive, yet they pack a serious punch.

This book is much more than a collection of amazing snapshots of recent American history -- it's also literature. No matter what the subject matter, his passion for writing shines through; no matter how gruesome a scene he describes, his style leaves you jubilant.

Barry Farrell died too young, in 1984. This book will keep his memory alive for those who learned from his lapidary prose. I wish I could have been one of his students--but in a way, having read his work, I feel that in a way, I am.

I've been reading with enormous delight this collection of articles by Barry Farrell. It's a posthumous collection by a brilliant writer who died in 1984. What an unexpected thrill it was to discover this book's existence. It helps bring back to life an unfortunately neglected writer. I knew him briefly (too briefly) -- a fine guy. Barry Farrell's bracing journalistic style and humanity take the reader back to a better time in journalism when writers cared deeply about their subject matter.

Barry Farrell is a name I didn't know before two weeks ago. Barrey Farrell is now a name I won't forget. As a young journalist, I think this book is an essential read for anyone considering a career in the field. But anyone interested in reading great stories that take a smart, comprehensive view of a subject will find just that in this little green book. Farrell is an angel of a writer. But what I admire more is his hard-nosed reporting. After reading some of these stories, for instance "Stalking the Hillside Strangler," it awed me knowing how much footwork had to go into such exquisite work. This book is a clinic on how to report and write, and I will turn to it often for inspiration.

Certainly I'm not an objective reviewer. I attended Barry Farrell's classes at UC Santa Barbara in the 1970s -- and was, I believe, rather a disappointment to him -- but he nonetheless became one of my most important role models as a writer. What I've long regretted, however, was not having more of his writing on my bookshelf. Barry mostly published in magazines, and so it's been hard even for those of us who are devoted to his work to find and collect any significant fraction of his lifetime output. I own and cherish a few aging magazines featuring his writing, but these bits and pieces barely scratch the surface of his 30 fruitful years of shoe-leather journalism. This book, then, is a wonderful and long-overdue development. I had read perhaps a third of these pieces, and was delighted to discover them anew. The other two-thirds of the book was an absolute delight, each page a treasure of flowing language and unerring eye for detail. Of course, it also brought back to my ear Barry's voice, and images of him I'll always carry with me: coffe at the outdoor cafe in front of the library at UC Santa Barbara after class, or the time he cajoled Joan Dideon and John Gregory Dunne into visiting our small class of 12 or 15 students in the English Department's spartan conference room. So, take it from a blatantly partisan -- but completely sincere -- reviewer: buy this book! For heaven's sake, if you love great non-fiction writing -- if you are devoted to writers like Joan Dideon, John McPhee, the non-fiction of Wallance Stegner, and other master wordsmiths of our age -- you will not be disappointed.

What a find this book is! How often we say, when somebody has died, "If there is anything I can do..." We're sincere, but usually, after we've prepared a casserole, we feel so helpless to do anything more. Then I discovered "How We Grieve: Relearning the World." Since then I've been giving it to bereaved friends. They take comfort that others have shared their experiences. They learn the ways that others have begun putting their lives back together. Several have conveyed to me what reading "How We Grieve" has meant to them. It gave them a sense of being understood and it provided many useful clues to understanding themselves and discovering how to reengage in the joys and burdens life brings. So, in truth, I no longer say, "If there is anything I can do." Instead, perhaps three months after the funeral, I write a heart-felt inscription in a copy of "How We Grieve" and send it to my friend. I commend the practice for the solace and healing it has provided.

This is a very, very good book. It helps immensely in understanding why grief can be so difficult and absorbing. It teaches how to be patient and understanding in dealing with grief, our own grief or the grief of others. It offers deep and valuable insights into the many aspects of the grief process--including why the world seems so strange after somebody dies, the importance of stories in grieving, our choice-making in bereavement, the ways we remain connected to a loved one who has died, even why so many of us want to read about grief when we are grieving.

Grief is a topic that has been explored only in recent years, with Kubler-Ross getting it all started. Attig brings this topic a step further in discussing not only how we grieve, but in suggesting that in doing so, we must relearn the world. We have lost a loved one and our world has been vastly changed in just a few quick moments. We need to cope, to allow ourselves to grieve, and ultimately to create or "relearn" a world that can never be the same. The wonderful case studies Attig presents are the most helpful in helping the grieving reader to do this important life task. They tell real stories of real people that we can identify with and relate to. They evoke emotional responses that help us grow and believe we too can relearn our world in the face of grieving. I heartily recommend this book to anyone who is grieving the loss of a beloved relative or friend, or to those who wish to prepare themselves in advance for the inevitable.

Is grief an illness? Are there stages of grief? Does time heal all wounds? For Thomas Attig, the answer to all of these questions is NO! Grief is a process by which one relearns his/her world, a world that has been permanently altered by the death(s) of significant persons in one's life. Using the stories of eleven persons, Attig demonstrates the active nature of grieving. For Attig, the stories are the heart of the matter. The reader is introduced into the stories at the point of the loss experiences. Attig takes us through their coping behaviors as he develops the model of relearning the world; including relearning our selves and our relationships with the deceased. How We Greive is a very special book. It does not simply restate the stages and phases of grief so frequently outlined in like texts. Attig presents a different and important perspective to the understanding of how one copes with the death of a loved one and why grief occurs. Although Attig's book may be perceived as a resource for the professional caregiver, it can motivate all of us to examine the nature of our own relationships and assess our own coping styles and support systems.

Grief is a topic that has been explored only in recent years, with Kubler-Ross getting it all started. Attig brings this topic a step further in discussing not only how we grieve, but in suggesting that in doing so, we must relearn the world. We have lost a loved one and our world has been vastly changed in just a few quick moments. We need to cope, to allow ourselves to grieve, and ultimately to create or "relearn" a world that can never be the same. The wonderful case studies Attig presents are the most helpful in helping the grieving reader to do this important life task. They tell real stories of real people that we can identify with and relate to. They evoke emotional responses that help us grow and believe we too can relearn our world in the face of grieving. I heartily recommend this book to anyone who is grieving the loss of a beloved relative or friend, or to those who wish to prepare themselves in advance for the inevitable.

I initially purchased this book because the subject matter interested me, but lo and behold,subsequently it was the required text for a college history course I was enrolled in. It is a unique and fascinating look at 400 years of childhood in America. Mintz does a great job of explicating the changes that childhood underwent over the years and centuries. For instance: adolescence is a 20th century creation! Also, the Puritans viewed children as little adults and made no exceptions for their age. In the colonial period American Indian children(especially boys) lived such a carefree existence that frequently abducted colonist children refused to be reunited with their white biological parents mainly due to the life of ardous drudgery which constituted childhood in 18th century New England.

This fine work is filled with fascinating bits of information as the aforementioned. It spans the period between the 17th century up to the period of the Columbine massacre, showing the myriad changes which accompanied childhood in America. Great reading and great history, highly recommended. If you have an interest in this subject matter you will not be disappointed. READ IT!!!

THIS BOOK CAME IN PERFECT CONDITION! NOT A MARK ON IT! I LOVED THE CONTENT TOO... THIS BOOK OPENED MY EYES TO THE UNIQUENESS OF AMERICAN CHILDHOOD, AND ITS HISTORY! I HIGHLY RECOMMEND IT!

I overheard an interview with the author of this book on NPR, and I sensed he attributed much of the malaise of modern youth to this same thing that bothers me -- basically a lack of space and flexibility. He ends his book with these sentences. "Who would envy Huck's battered childhood? Yet he enjoyed something too many children are denied and which adults can provide: opportunities to undertake odysseys of self-discovery outside the goal-driven, overstructured realities of contemporary childhood." Hence the title of the book, Huck's Raft, what Mintz regards as the solution to Columbine -- a space where children can drift down a river without being cordoned off into an artifical universe, a place where they can interact meaningfully and creatively in the great, wide world.

However, lest I mislead, the book is first and foremost an excellent history. The discussion of Columbine and the hysteria of modern overprotectionism does feel like the culmination of the book, but it occupies only a few pages in the final chapters. The bulk of the book provides a perspective on the modern situation, by relating how it has been, how exactly we have evolved to where we are now. This is an incredibly valuable service. Sometimes I felt he made childhood in America sound overly negative, but on the whole, the book provided a very well researched and balanced account of how life for children has evolved.

Especially various facts that he cites stick with me. In the 17th Century in the Chesapeake, over 2/3 of children lost a parent before the age of 21. And as late as the early 20th Century, most parents experienced the death of a child. In the 1600s 2/3 of all immigrants of all races arrived in some form of unfreedom, though black slaves certainly had the worst of it, and the longest and saddest chapter in the book is devoted to children of African descent in bondage. I was surprised to learn that only 4% of slaves brought to the New World were brought to the United States. He traces our gradual attempts to right the wrongs, to introduce children's rights and end their exploitation. But in the process we have lost something as well. Huck in his artificially safe, commercialized, hypersexualized universe has lost touch with his raft.

Delving into the complete history of childhood in America is a huge undertaking, and for the most part Mintz handles the difficulties with detailed aplomb. Surveying the culture of childhood as lived by children and as represented and mythologized by current or later society, Mintz moves from pre-colonial times to the very-near present.
With so much to cover, not just chronologically but socially as well (after all, "childhood" isn't the same for all at any given time--race, class, ethnicity, etc. all create separate spheres of childhood rather than an all-conclusive web), one might expect some problems. Luckily, the strongest parts of the book are also those which will probably be most insightful and new to readers.
The sections that deal with pre-colonial and colonial times are especially detailed. Richly vivid, they open up a world most people are unfamiliar with or, if they are familiar with it, are so through less-than-accurate myth or romanticism, the kind of "history" we all "know" to be true.
As the book progresses, it becomes more and more difficult to keep that level of detail and richness as the topic literally grows larger and larger. Slavery, war, immigration, race, class, economics all force Mintz to deal with different subsets of childhood as well as with the relatively simple chronological changes and so some detail is shed, some richness lost, and the book begins to feel a bit scattershot, a bit unwieldy. By the time we get to the last 20-30 years, one feels Mintz is running to keep in place. The sections are more generalized, the conclusions not so deeply explored. But as nothing really new comes up in these sections in comparison to what one has read in recent articles or books dealing with just this time period, it isn't really much of a loss.
It's hard to imagine a longer work, or one more fully documented. And while I personally would have wished the same length but with a narrower focus on the pre-1900's, I can't really fault Mintz for not deciding to write several volumes, say one for each century. So the negatives aren't really much to complain about and are more than overshadowed by the scope of the book as a whole and the depth of the first half. Stylistically, the book is clearly written, if at times dense, and the more personal, anecdotal stories focusing on a single historical individual do a nice job not only of conveying the more academic arguments, but of breaking up some of the factual density. Strongly recommended, especially for its early history sections.

I used "Huck's Raft" in a senior seminar I taught in the fall 2005 semester on Children's Health, Education & Welfare, and it was one of my students' favorites. It works especially well as a first book in a course, because it is so comprehensive and engrossing. Seldom do academic books read as well as this one. It is literally hard to put it down and, at the same time, one learns so from it much chapter after chapter. For a history of childhood in the U.S., this is probably the best book available. I cannot recommend it more highly.

I bought this book thinking it also had the cassette with it. It does not. Customer reviews which write about the cassette are followed with a note from Amazon that it is a review for the "Hard Cover" edition.

If you notice right below the reading level for this item, it says "Hard Cover". So I thought that this was the edition that includes the cassette. It does not.

The book seems great otherwise, but you MUST know French and be able to read music though. It is difficult to know what tune you should be singing in if you can't read musical notes.

My 9.5 month old son lights up the minute I press play. We dance and bounce to these adorable songs while I am learning the words. I am very amused that he enjoys this cassette more than the ones I have with children's songs in english.

My 4 year old niece who doesn't know a word of French learnt to sing a long after a few days. My 3 year old son loves to listen to the songs, and reading the book while listening to the music. The book is pleasing for children will lots of illustrations. We also use the book to talk about what's on the pages and can spend a long time just reading it! This is a great gift idea.

My children love this book and cassette and we keep humming the tunes around the house. The children who sing the songs are very clear and the music is well done. I just wish there were more books in this series, I would've bought them all.

I Can Sing en Francais is fun and educational. The songs are a fun way to learn a new language because they have a nice melody and they deal with the basic words in French that beginners should know. Savez-Vous Planter Les Choux is my favorite song on the tape. The song lyrics in French and English are included in the book.

Very, very, very nice. A bargain at the price. The pics have appeared before in glossy, "male art" mags, but I am still looking forward for Mr Black's next book.

Wonderful...the men are magnificent, the photography beautiful, the presentation flawless...a great coffee table book...and fun to flip through too!

Jonathan Black's highly successful book Idols is now available in postcard form. Beautiful colour images in an easy pull out book. Great value.

This book is stunning. A sexy, erotic yet classy book suitable for any man's coffee table.

Excellent Photography, Vivid Color and HOT men.

I was impressed with the chapter by Charlotte Laws on Jainism. I have spent years searching for information on this elusive religion and found very little. Jainism has much to offer the environmental movement, both radical and mainstream. As a novice Jain, this chapter made me think about my own habits and realize I need to make some major changes. I can lend a hand to the environment and animals and plan to do so from now on.

People in and around mainstream environmentalism have spent the last year mentally masturbating about whether or not environmentalism is dead. Igniting a Revolution is a thoughtful, noisy, cantankerous, and courageous collection that should serve as a conceptual prophylactic that ends that debate once and for all. During a time of Green Scare when federal authorities are infiltrating activist groups everywhere, decrying "ecoterrorism" in the hollow halls of government, and carting earth and animal liberationists off to prision as quickly as possible, Best & Nocella (along with the AK collective) have edited/produced a roof raising howl of tremendous defiance and disgust. Only time will tell if the book is prophetic and ecologically mindful revolutionary forces materialize to play a role in transforming society such that a verdant peace grows out of the shorted-out circuitry of the mega-war-machine. In the meantime, however, the diverse range of essays included herein should be more than capable of setting fire to readers' imaginations as they generate ideas of how a more just, peaceful, and beautiful world might be achieved. A must read I would think for anyone with even the slightest concern for the state of the planet...

In a time when apathy is no longer a luxury we can afford; this book delves into the deep social-environmental issues that involve us all. This book has an underlying message that hyper-individualism is not at all in our best interest, we should be practicing social responsibility for even the slightest hope of a sustainable planet.

Much of the environmental struggle reminds me of the idea that the means of resistance is not determined by the oppressed; rather the oppressor.

Are the "eco-terrorists" fighting fair? Well, how about their opponents; big business with seemingly endless financial resources and legal sway?

This book is a great read and a real motivator.

I have read this book twice and find something amazing everytime I read it. With so many authors talking about so many amazing and important topics, this book is perfect for anyone interested in social change, - from feminism to veganism. This book is a must read!

I've been a member of the friends of AK press for about six years. Every month or so I get a package filled with books, videos and CDs. It is a cool deal, for twenty bucks a month you get everything AK press produces plus stickers and random zines.

Today I opened an AK press package and found a book with my writing in it. It was pretty cool. Igniting a revolution: voices in defense of the earth is a pretty intense anthology with a nice rant from King Maxwell. It was cool enough to be in an AK press book, but this book is filled with some serious radical stars and takes up where most of the other radical ecology books of the nineties finished.

The alliance-orientented big tent approach is worn on most of our sleeves. Queers, radical labor peeps, "take back the land" indigenous activists, eco-feminists, animal liberationists, anti-civilization roughnecks - y'all are included in here. This ain't your Dave Foreman radical ecology.

Despite being in the book, I had no idea who else was going to be included. Poems from anti-imperialist political prisoner Marilyn Buck help to set the tone of the text as open but SERIOUS. A few poetic words are included on being imprisoned by Little Chairman Fred Hampton - POCC. The book includes a nice essay from Robert Jensen who seems to agree with the 100-mile diet as a revolutionary ecological tactic and a piece by Derek Jensen on his own direct action. Adam Weismann, a dedicated NY activist who is serious about freegan scavenging and helps to articulate a feral city-based life style in his chapter. L. Kimmerer offers a strong argument about faith and liberation.

I'm kind of excited that there is a fervent discussion on the contribution of the anti-civilization movements to earth liberation activities. John Zerzan drops a brief tribute to liberation. Imprisoned activists Rob Los Ricos and "Critter" Marshall get seriously hardcore on folks while Jeff "Free" Luers tells his story of radical activism.

Igniting a revolution has a great section on repression with words from a dozen folks who've done time for earth, native, and anti-imperialist actions. Sara Olson, the symbionese liberation army underground activist who was captured in 1999 calls for Armageddon. Rik Scarce writes about the repression of authors and activists. Anne Hansen also provides a chapter reflecting on her own contributions to earth liberation and the continued value of direct action.

The two highlights of the book in my opinion are former Black Panther and former BLA activist Ashanti Alston's essay on the cross-fertilization between militants called "Mojo Workin'" - an awesome dialogue. The other piece which brought me to tears was pattrice jones' "stomping with the elephants" which documents how humans can learn from animals about liberation. Both should be required reading, and soon will be in my classes . . .

Closing with a poem from BLA coordinator Jalil Muntaqim on Katrina, the book stands as an incredible testament to the power and diversity of the struggles for the earth. There is no other text like this - certainly nothing as diverse or as militant.

The book is awesome and worth your attention. Support AK Press, get your learn on and buy one now!

I very highly recommend this book. The research was excellent and there were many great points.

FOR THOSE WHO HAVE WONDERED WHY MALES HAVE DOMINATED VIRTUALLY EVERYTHING FOR AS FAR BACK AS MOST WRITTEN HISTORY COVERS. BARNES POSES INTERESTING INFORMATION AND IDEAS AS TO WHY AND HOW THIS CAME TO BE. NOW THAT WOMEN ARE BEGINNING TO BE ALLOWED A BETTER CHANCE TO REACH THEIR POTENTIAL, THIS IS IMPORTANT INFORMATION.

The book is impressively researched and exhaustively presented. The author has amassed a body of ideas that is irrefutable, and archaeological discoveries make the idea more plausible all the time. That idea is that in pre-recorded history there were cultures in the Mediterranean that were nonviolent, matriarchal and did not suffer from overpopulation. This is in sharp contrast to our Biblical and Greco-Roman accounts of male-dominated nations that were constantly warring to reduce their population.

I recommend this book for any who want a well-rounded alternative view of anthropology. Once you realize just how chauvinistic our version of history is, you will interpret all historical knowledge in a new light.

Craig Barnes' book gives us our roots as women in Western Civilization, while at the same time liberates both women and men from these "stories" that have become our psychology and social fabric. Without this orientation, our understanding of women and men in today's world is incomplete. If I had only one book to give my own daughter, this would be my choice.

There are many books available that touch in some form or another on the ancient goddess religions, but this is the first to be written by a distinguished attorney and international negotiator proving that the feminine principle has been systematically discredited by the mythology of western civilization. It is both shocking and liberating. Any woman who has a sense of mission about correcting some kind of imbalance in the world will be inflamed by this book like a volcano erupting. If it became a basic textbook in high school, it would change the world for the better.

Great entertainment from the the first to the last page, even if you aren't a jazz buff. Mr. Crow was a bassist and he must have heard most of those anecdotes on the grapevine.

I love every moment since I read this book. This book would take u on forever even if u're a craver for jazz music. It tells all the details from Wynton, Duke, Miles, Hirt, Coltrane, Bird, all of 'em right here on 1 book. Go get it or u'll miss out a world of good music.

For anyone into jazz, if you don't have a copy of this book, you're in for a rare treat. Wonderfully captures the essence of jazz and jazz musicians. Great stories, unique personalities, and guaranteed a laugh a minute. Caution: Don't read it while you're eating and/or drinking...you'll probably choke to death. Thanks for a very special book Bill!

I bought this book for my son, whoÕs a musician, but I heard him laughing so much as he was reading it that I asked to borrow it. Even if youÕre not a musician, or even very knowledgeable about jazz, this is a really entertaining book. Almost every chapter has at least a couple of laugh-out-loud lines. It also gives you a good feel for what the lives of jazz musicians were like Ð the camaraderie and competition, the inventiveness, the struggles over money, the often terrible working (and especially recording) conditions. There are also poignantly funny stories about problems with drugs and alcohol, and even about the racial prejudice that musicians had to put up with. My favorite story in the book was about Bessie Smith storming out to confront a group of Klansmen gathering outside the tent where she was working. Peppering them with curses, she ordered them to "pick up them sheets and run." They did. Great woman. There are lots of great women (and men Ð mostly men) in this book. I thoroughly enjoyed getting to know a little bit about them.

A - "About half a beat behind the drummer." Or. Q - "How can a jazz musician end up with a million dollars?" A - "Start with two million." Or. Q - "What do you call a person that likes to hang around with musicians?" A - "A drummer."

Jazz Anecdotes by Bill Crow is much more than a collection of jokes skewed towards a jazz musician's cattywhumpus view of the world. It's even more than a collection of colorful war stories about life on the road, playing lousy clubs, and trying to keep a band together. It's really an insider's look at the world of jazz, and a wonderful one. If nothing else emerges from this book certainly one learns that only love could keep a jazz musician playing, given the obstacles of this lifestyle.

Fact and myth seem to bob and weave through these tales, which is perhaps appropriate. I am a little uncertain about Lester Young's claim that he started playing the sax only after giving up on the drums because he noticed that when a gig was done and girls were milling around the bandstand, the sax players quickly packed up their horns and left with girls on their arms while the drummer desperately tried to pack up and when he was done - left empty handed.

Jazz Anecdotes is rich in content, interesting for novice and aficionado alike. The careers of great individuals and the storied histories of seminal bands are examined in detail. What's fun is that some of the "legend" is worn off, replaced by the person. Jazz truly is America's greatest contribution to world culture, we should all be proud of it. It's worth remembering that the music is not a monolithic entity but an organic, dynamic thing - the product of a diverse and eccentric group of splendid individuals. Bill Crow's book takes you inside that world.

Herald Loomis says this to his estranged wife in the final scene of this play, set in a 1911 Pittsburgh boarding house.

The play was first performed in 1986, and it is part of August Wilson's ten-play tetracycle about African-Americans in Pittsburgh during each decade of the 20th century.

Charles S. Dutton and Delroy Lindo played the role of Herald Loomis in the early productions of this play. Loomis is a 32 year old man who is looking for his wife, whom he lost touch with after he was put on Joe Turner's chain gain in Memphis for seven years.

Seth Holly is the 50 year old owner of the boarding house in which Loomis and his daughter stay (along with Holly's wife and a number of other residents). Seth is both practical and skeptical (of people, banks and society): "Anybody liable to do anything far as I'm concerned." (2.1)

It's a story about identity and relationships. Bynum, the 60 year old mystic who lives in the house, sums it up well: "Seem like everybody looking for something."

Herald Loomis is looking for himself.

We lost a great playwright when August Wilson died a few years ago. And the greatest contribution to theatre was the chronology of 10 socially critical plays. August Wilson's plays contained a lot of dialogue, with great monologues, that drove the plight of African Americans.

As Joe Turner is from the second decade of storytelling, you can begin with "Ma Rainey's Black Bottom" which takes you to the world of black musicians in the 20s. Explore the chronology of August Wilson.

Joe Turner's Come and Gone is about the disconnect from slavery and the search for their identity and place in America.

The setting for "Joe Turner's Come and Gone" takes place in a boarding house where owners Seth and his wife operate with strict rules for the many transients. Joe Turner is NOT a character in the play, but a man who enslaved Harold Loomis, the main character, for years. Now Loomis tries to find his wife. This is a wonderful story with folklore, blues, spirituality, search and identity, which is metaphorically referred to as a "song". ......Rizzo

August Wilson, a Pulitzer-Prize winning playwright captures the essence of the African-American experience of slavery, migration, and the quest for an identity. These themes are part of the written slave narrative, from which the African-American literary tradition was born. In "Joe Turner's Come and Gone", Wilson brings the struggle of migration from the agricultural South to the Industrial North to light; set in the early 1900's when this great migration had just begun. The quest for self/an identity is one of the many scarring ramifications of slavery, and the result of namelessness. Wilson, is able to capture this central theme through religion, allegory, and music-Jazz/Blues. The quest for ones identity is rooted in the metaphorical use of the quest for a song. Songs mean different things for different people; they touch people in different ways. Why? Because each individual is unique, each individual has a song, an identity. With the historical culture of the African-American, and its connection to Music, this collaboration of rhythms and imagery proliferate the importance of this quest to life. Wilson, like Toni Morrison, offers his work as an illustration of the Blues Theory of Art-the idea that music has the ability to reach deep into the soul, and pull from it the raw feelings that may otherwise be unreachable. Music goes to the core of ones being, and helps the healing process. With Loomis, this was evident in the search for his song, his identity, it was all part of the restorative process, yet a consequence of America's greatest shame-Slavery. I must say that "Joe Turner's Come and Gone" in a wonderful way, using symbolism, folklore, and like Jazz, a non-written form of art, serves as an anchor and captures the heart of the African-American experience.

The title "Joe turner's Come & Gone symbolizes the American socialized system of oppression. Joe Turner is "the Man", Joe Turner is jail, and oppression. In this play, Herald Loomis has been detained by Joe Tuerner for seven years. Upon his release he searches to find his daughter and his wife while all along he has been searching for his inner self.
Bynum Walker is a "Rootworker", one who practices unconventional spiritual worship. He lives in the boarding house an tells a story of a shiny man who has the secrete of life. This secret that he refers to, the secret of life, symbliizes the meaning of all in existance and most impoprtantly the knowledge of self. Joe Turner, "the Man", "the system", and American society have stripped, robbed,and raped the African American of self. It is this quest for idenity that Herald Loomis searches for within himself. This same quest is also found in all of the other characters in the play as well. Those that come to the boarding house are unstable and have not found their true selves. Even Seth and Bertha, the owners of the house also quest for their idenity. They have a better financial system than the others, but they are stil timid when they encounter white America. Seth constantly states the rules of the boarding house. He proclaims to operate a clean, safe, and respectful house. He feels that any other behavior would call too much attention to him and his home. Resulting in white American society to take oppresive actions against his achievements.
Joe Turner's Come & Gone is an excellent concept that spiritually looks at the concept of knowing ones-self. August Willson's use of quest for idenity among all his characters allows the reader to unmistakenly find a connection with their own secret song to sing.

"Joe Turner's Come & Gone" is the first play of Wilson's that I've read. I finished the play the week before his death. As a Pulitzer Prize-winning playwright, many have obviously already recognized the quality of Wilson's work. "Joe Turner's Come & Gone" won the Tony Award for Best Play in 1988 with L. Scott Campbell winning the Tony as Best Featured Actress in a Play for her portrayal of Bertha Holly. Set in a Pittsburgh boardinghouse in 1911, the play is part of Wilson's cycle of plays. Seth Holly is a no-nonsense man who does not allow any shenanigans. His wife Bertha cooks and tries to soften Seth's hard edges. Seth makes dustpans and coffeepots out of metal for travelling salesman Rutherford Selig, who is the lone Caucasian in the show. The show is populated by a series of characters including Jeremy Farlow who is a young guitar player who longs for a girl. Molly Cunningham and Mattie Campbell fill the bill. Herald Loomis is an ex-convict who was incarcerated because of Joe Turner. He got out of prison and found his daughter Zonia. (I think I remember the character was named after Wilson's mother.) Herald, as his name might imply, has a spiritual mission to locate his wife. Loomis employs the peddler Selig who makes extra money by finding people whose names he records as he makes his rounds selling his wares. Angela Bassett played Martha Pentecost who has changed her name from Martha Loomis and is eventually reunited with Zonia. Bynum Walker is also a mystical character who has stories of the shiny man. The play's action flows together organically with great tension and humor. The otherworldly mystical elements imply both spirituality and superstition. The play is an interesting reading experience that makes you wish you'd been able to attend one of the 105 Broadway performances! Enjoy!