FROM EXCITING AUTHOR OF YA FICTION LANNE GARRETT Book three in the A Cursed Crow series We all will pay tithe in the end. The horn blows over Elphame. The warning is ignored. An oath has been broken. The wild hunt has begun. No lie can save you. The truth cannot set you free. Elphame has called for blood. We all will pay tithe in the end. In Elphame, where every Crow Taken faces slavery and certain death at the hands of Fae, Perdi is the first to survive and the last to be Taken. Cut off from the mortal realm, the horn of Elphame sounds for only her. An oath breaker has been named, and the call has tasked Perdi with hunting down the truth before wild magic decides the fate of them all. It rests on Perdi' s shoulders to save herself, her people and the man she loves from an unstoppable power— the Caller of Crows.

The quintessential depiction of 1980s New York and the downtown scene from the artist, actor, musician, and composer John Lurie “A picaresque roller coaster of a story, with staggering amounts of sex and drugs and the perpetual quest to retain some kind of artistic integrity.”—The New York Times In the tornado that was downtown New York in the 1980s, John Lurie stood at the vortex. After founding the band The Lounge Lizards with his brother, Evan, in 1979, Lurie quickly became a centrifugal figure in the world of outsider artists, cutting-edge filmmakers, and cultural rebels. Now Lurie vibrantly brings to life the whole wash of 1980s New York as he developed his artistic soul over the course of the decade and came into orbit with all the prominent artists of that time and place, including Andy Warhol, Debbie Harry, Boris Policeband, and, especially, Jean-Michel Basquiat, the enigmatic prodigy who spent a year sleeping on the floor of Lurie’s East Third Street apartment. It may feel like Disney World now, but in The History of Bones, the East Village, through Lurie’s clear-eyed reminiscence, comes to teeming, gritty life. The book is full of grime and frank humor—Lurie holds nothing back in this journey to one of the most significant moments in our cultural history, one whose reverberations are still strongly felt today. History may repeat itself, but the way downtown New York happened in the 1980s will never happen again. Luckily, through this beautiful memoir, we all have a front-row seat.

“Reveals the strange and wondrous adaptations birds rely on to get by.” —National Audubon Society When we see a bird flying from branch to branch happily chirping, it is easy to imagine they lead a simple life of freedom, flight, and feathers. What we don’t see is the arduous, life-threatening challenges they face at every moment. Beaks, Bones, and Bird Songs guides the reader through the myriad, and often almost miraculous, things that birds do every day to merely stay alive. Like the goldfinch, which manages extreme weather changes by doubling the density of its plumage in winter. Or urban birds, which navigate traffic through a keen understanding of posted speed limits. In engaging and accessible prose, Roger Lederer shares how and why birds use their sensory abilities to see ultraviolet, find food without seeing it, fly thousands of miles without stopping, change their songs in noisy cities, navigate by smell, and much more.

Contributions by Joshua Coleman, Christine Hand Jones, Kevin C. Neece, Charlotte Pence, George Plasketes, Jeffrey Scholes, Jeff Sellars, Toby Thompson, and Jude Warne After performing with Ronnie Hawkins as the Hawks (1957–1964), The Band (Rick Danko, Garth Hudson, Richard Manuel, Robbie Robertson, and Levon Helm) eventually rose to fame in the sixties as backing musicians for Bob Dylan. This collaboration with Dylan presented the group with a chance to expand musically and strike out on their own. The Band’s fusion of rock, country, soul, and blues music—all tinged with a southern flavor and musical adventurousness—created a unique soundscape. The combined use of multiple instruments, complex song structures, and poetic lyrics required attentive listening and a sophisticated interpretive framework. It is no surprise, then, that they soon grew to be one of the biggest bands of their era. In Rags and Bones: An Exploration of The Band, scholars and musicians take a broad, multidisciplinary approach to The Band and their music, allowing for examination through sociological, historical, political, religious, technological, cultural, and philosophical means. Each contributor approaches The Band from their field of interest, offering a wide range of investigations into The Band’s music and influence. Commercially successful and critically lauded, The Band created a paradoxically mythic and hauntingly realistic lyrical landscape for their songs—and their musicianship enlarged this detailed landscape. This collection offers a rounded examination, allowing the multifaceted music and work of The Band to be appreciated by audiences old and new.

The book is a fascinating account of a surgeon "s odyssey into the spirit world of African healing. It is the story of his initiation as a sangoma and how his life has been changed and enriched by the experience. It includes photographs of the author "s training.

These fourteen essays address controversies over a variety of cultural properties, exploring them from perspectives of law, archeology, physical anthropology, ethnobiology, ethnomusicology, history, and cultural and literary study. The book divides cultural property into three types: Tangible, unique property like the Parthenon marbles; intangible property such as folktales, music, and folk remedies; and communal "representations," which have lead groups to censor both outsiders and insiders as cultural traitors.

Manikay are the ancestral songs of Arnhem Land, passed down over generations and containing vital cultural knowledge. Singing Bones foregrounds the voices of manikay singers from Ngukurr in southeastern Arnhem Land, and charts their critically acclaimed collaboration with jazz musicians from the Australian Art Orchestra, Crossing Roper Bar. It offers an overview of Wägilak manikay narratives and style, including their social, ceremonial and linguistic aspects, and explores the Crossing Roper Bar project as an example of creative intercultural collaboration and a continuation of the manikay tradition.

Glenn Hinson focuses on a single gospel program and offers a major contribution to our understanding not just of gospel but of the nature of religious experience. A key feature of African American performance is the layering of performative voices and the constant shifting of performative focus. To capture this layering, Hinson demonstrates how all the parts of the gospel program work together to shape a single whole, joining speech and song, performer and audience, testimony, prayer, preaching, and singing into a seamless and multifaceted service of worship. Personal stories ground the discussion at every turn, while experiential testimony fuels the unfolding arguments. Fire in My Bones is an original exploration of experience and belief in a community of African American Christians, but it is also an exploration of African American aesthetics, the study of belief, and the ethnographic enterprise.

After her father's death, Rilla Brae puts off thoughts of college to take over his lobstering business, while helping an archaeology student excavate nearby Malaga, an uninhabited island with a ghost that beckons her.

From Oracle Bones to Computers not only provides a succinct yet in-depth account of the development of writing technologies in the five thousand years of China's history but also develops an operationalized model of rhetorical analysis that can be applied to the study of any writing technology development.