Displacement, relocation, dissociation: each of these terms elicits images of mass migration, homelessness, statelessness, or outsiderness of many kinds, too numerous to name. This book aims to create opportunities for scholars, practitioners, and silenced voices to share theories and stories of progressive and transgressive music pedagogies that challenge the ways music educators and learners think about and practice their arts relative to displacement. Displacement is defined as encompassing all those who have been forced away from their locations by political, social, economic, climate, and resource change, injustice, and insecurity. This includes: - refugees and internally displaced persons; - forced migrants; - indigenous communities who have been forced off their traditional lands; - people who have fled homes because of their gender identity and sexual orientation; - imprisoned individuals; - persons who seek refuge for reasons of domestic and social violence; - homeless persons and others who live in transient spaces; - the disabled, who are relocated involuntarily; and - the culturally dispossessed, whose languages and heritage have been taken away from them. In the context of the first ever book on displacement and music education, the authors connect displacement to what music might become to those peoples who find themselves between spaces, parted from the familiar and the familial. Through, in, and because of a variety of musical participations, they contend that displaced peoples might find comfort, inclusion, and welcome of some kinds either in making new music or remembering and reconfiguring past musical experiences. Contributors are: #4459, Efi Averof Michailidou, Kat Bawden, Rachel Beckles Willson, Marie Bejstam, Rhoda Bernard, Michele Cantoni, Mary L. Cohen, Wayland “X” Coleman, Samantha Dieckmann, Irene (Peace) Ebhohon, Con Fullam, Erin Guinup, Micah Hendler, Hala Jaber, Shaylene Johnson, Arsène Kapikian, Tou SaiKo Lee, Sarah Mandie, David Nnadi, Marcia Ostashewski, Ulrike Präger, Q, Kate Richards Geller, Charlotte Rider, Matt Sakakeeny, Tim Seelig, Katherine Seybert, Brian Sullivan, Mathilde Vittu, Derrick Washington, Henriette Weber, Mai Yang Xiong, Keng Chris Yang, and Nelli Yurina.

When Zack's friend Spencer brings a 60's-style hippie book on astral travel to a sleepover, Zack learns the ins and outs of out-of-body travel in a snap. Getting out of their bodies seems awfully easy for the boys. The problem is, how do they get back in?!

First, a word about Kiklos. A variant spelling of Greek word Kyklos meaning cycle or circle, it is, in the present context – to quote Nevil Coghill, President, The Poetry Society, which first published the Gavin Bantock poem in question, namely Ichor – the ‘circle-city of person itself.’ This My Body Is Kiklos – a quote from Ichor – retraces Parminder Singh’s journey into the dim and distant past, another inwards. In the course of his journey, he encounters the girl he broke faith with; the wife he couldn’t quite convince of his love; the aged parents he let down; violent death meted out to his cousins in the aftermath of the assassination of the Prime Minister by two Sikh bodyguards. Parminder’s is a journey in quest of the songbird where it nests in a stilled heart.

Travis Hugh Culley came to Chicago to work and live as an artist. He knew he'd have to struggle, but he found that his struggle meant more than hard work and a taste for poverty. In becoming a bike messenger, he found a sense of community and fulfillment and a brotherhood of like-minded individualists. He rode like a postmodern cowboy across the city's landscape; he passed like a shadow through its soaring office towers; he soared like a falcon through the roaring chaos of the multilayered streets of Chicago. He became an invisible man in society, yet at the same time its most intimate observer. In one of the most dangerous jobs on dry land, he found freedom. In The Immortal Class, Culley takes us in-side the heart and soul of an urban icon the bicycle messenger. In describing his own history and those of his peers, he evokes a classic American maverick, deeply woven into the fabric of society from the pits of squalor to the highest reaches of power and privilege yet always resolutely, exuberantly outside. And he celebrates a culture that eschews the motorized vehicle: the cult of human power. The Immortal Class, Culley's vivid evocation of a bicycle messenger's experience and philosophy, sheds a compelling light on the way human beings relate to one another and to the cities we inhabit. Travis Hugh Culley's voice is at once earthy and soaringly poetic a Gen-X Tom Joad at hyperspeed. The Immortal Class is a unique personal and political narrative of a cyclist's life on the street.

Mary of Bethany has personal demons. The Bible tells that Jesus cast seven demons from Mary. In this story, they are not demons that are loud, demanding, or obvious. They are the demons that worm their way into hearts and destroy lives, demons that torment the souls of men, even now. They are born out of our trauma and abuse. We call them hate, fear, lust, greed, revenge, selfishness, and shaming self-blame. This story begins with tragedy, grief, deception, unspeakable pain, compromise, and, finally, desperation. Things seem hopeless. Then Mary meets Jesus and everything is forever changed. She is set free from the past and her wounded soul is healed.MaryaEUR(tm)s salvation experience ripples out to the people around her. Her relationship with Jesus impacts her family, friends, and even her enemies. The story explores the Christian experience of justification, sanctification, and glorification.Mary gives us a very personal view of Jesus. In her story, he is a man that sits by the fire with his friends, laughs easily, and has rich relationships with everyone around him. She sees the Christ in the day-to-day life experience. He is touchable, tangible, real, and approachable. Many of the moments Mary records in her story are ordinary, but because of who Jesus is, they are extraordinary.

The Graveyard Queen is on the hunt for a killer as supernatural forces invade her mind in this contemporary gothic thriller. I am a living ghost, a wanderer in search of my purpose and place. I’m a cemetery restorer by trade, but my calling has evolved from that of ghost seer to death walker to detective of lost souls. I solve the riddles of the dead so the dead will leave me alone. I’ve come to Seven Gates Cemetery nursing a broken heart, but peace is hard to come by . . . for the ghosts here and for me. When the body of a young woman is discovered in a caged grave, I know that I’ve been summoned for a reason. Only I can unmask her killer. I want to trust the detective assigned to the case, for he is a ghost seer like me. But how can I put my faith in anyone when supernatural forces are manipulating my every thought? When reality is ever-changing? And when the one person I thought I could trust above all others has turned into a diabolical stranger?

In its five year anniversary edition, Topaz Winters’ Portrait of My Body as a Crime I’m Still Committing returns with ten new poems, a revised body of work, & a foreword by bestselling author Blythe Baird. An examination of desire as religion, food as compulsion, & illness as a gut reflex in the face of girlhood’s little violences, Portrait haunts the landscape of self-mythology & cuts straight into its own marrow. This book is a howl in the night, a fracture through the dark, as omnivorous & revelatory today as it was five years ago. “Must I say it to survive?” asks its speaker, balanced on the knife’s edge between confessional & manifesto. “Then I will.”

Marish is the name of a mother… Marish is a life story that begins with departure, suffering, and darkness, only to transform into an adventurous journey full of light, self-discovery, and beauty. The narrator unfolds her own story through the last pages of her mother's life, depicting a slice of life. She travels from Tehran to Ubud, from Toronto to a parallel world, and beyond, searching for the meaning of life and hidden truths in a journey filled with emotional turmoil and transcending borders. www.firouzmedia.com/mehraveh

The Routledge History of Sex and the Body provides an overview of the main themes surrounding the history of sexuality from 1500 to the present day. The history of sex and the body is an expanding field in which vibrant debate on, for instance, the history of homosexuality, is developing. This book examines the current scholarship and looks towards future directions across the field. The volume is divided into fourteen thematic chapters, which are split into two chronological sections 1500 – 1750 and 1750 to present day. Focusing on the history of sexuality and the body in the West but also interactions with a broader globe, these thematic chapters survey the major areas of debate and discussion. Covering themes such as science, identity, the gaze, courtship, reproduction, sexual violence and the importance of race, the volume offers a comprehensive view of the history of sex and the body. The book concludes with an afterword in which the reader is invited to consider some of the ‘tensions, problems and areas deserving further scrutiny’. Including contributors renowned in their field of expertise, this ground-breaking collection is essential reading for all those interested in the history of sexuality and the body.