Baseball player and manager Hugh Ambrose Jennings was the kind of colorful personality who inspired nicknames. Sportswriters called him "Ee-yah" for his famous coaching box cry and "Hustling Hughey" for his style of play. But to the nearly 100 other men from northeast Pennsylvania who followed Jennings from the coal mines to the major leagues, he was known as "Big Daddy," not for his physical stature but for his iconic status to men desperate to escape the mines. The son of an immigrant coal miner from Pittston, Pennsylvania, Jennings himself became a miner at the ripe old age of 11 or 12. He eventually became a mule driver, earning $1.10 per day and dreaming of getting $5 per day for playing baseball on Saturday afternoons. From the rough-and-tumble world of semi-pro baseball to the major leagues, Jennings was driven to succeed and fearless in his pursuit of his dream. He joined the Baltimore Orioles in 1894 and went on to become manager of the Detroit Tigers during Ty Cobb's heyday. Jennings' story is emblematic of how the national pastime and the American dream came together for a generation of ballplayers in the early 20th century.

This exercise is not a translation of The Holy Bible. The main intention of this exercise is to pen down Commentaries, in the Mountain Krio Vernacular which I was taught at home from infancy, and which was the cradle of the developing Krio Vernacular in the eighteenth and nineteenth centuries. It is almost undeniable that the main bulk of indigenous missionaries, teachers, traders, and so on, who settled in The Provinces emanated from, or were trained in the Greater Mountain District of the Peninsula. Of course the Krio Vernacular also developed in other parts of the Peninsula.

Now in paper for the first time, Bitter Music is a generous volume of writings by one of the twentieth century's great musical iconoclasts. Rejecting the equal temperament and concert traditions that have dominated western music, Harry Partch adopted the pure intervals of just intonation and devised a 43-tone-to-the-octave scale, which in turn forced him into inventing numerous musical instruments. His compositions realize his ideal of a corporeal music that unites music, dance, and theater. Winner of the ASCAP-Deems Taylor Award, Bitter Music includes two journals kept by Partch, one while wandering the West Coast during the Depression and the other while hiking the rugged northern California coastline. It also includes essays and discussions by Partch of his own compositions, as well as librettos and scenarios for six major narrative/dramatic compositions.

Alaska is home to more than two hundred federally recognized tribes. Yet the long histories and diverse cultures of Alaska’s first peoples are often ignored, while the stories of Russian fur hunters and American gold miners, of salmon canneries and oil pipelines, are praised. Filled with essays, poems, songs, stories, maps, and visual art, this volume foregrounds the perspectives of Alaska Native people, from a Tlingit photographer to Athabascan and Yup’ik linguists, and from an Alutiiq mask carver to a prominent Native politician and member of Alaska’s House of Representatives. The contributors, most of whom are Alaska Natives, include scholars, political leaders, activists, and artists. The majority of the pieces in The Alaska Native Reader were written especially for the volume, while several were translated from Native languages. The Alaska Native Reader describes indigenous worldviews, languages, arts, and other cultural traditions as well as contemporary efforts to preserve them. Several pieces examine Alaska Natives’ experiences of and resistance to Russian and American colonialism; some of these address land claims, self-determination, and sovereignty. Some essays discuss contemporary Alaska Native literature, indigenous philosophical and spiritual tenets, and the ways that Native peoples are represented in the media. Others take up such diverse topics as the use of digital technologies to document Native cultures, planning systems that have enabled indigenous communities to survive in the Arctic for thousands of years, and a project to accurately represent Dena’ina heritage in and around Anchorage. Fourteen of the volume’s many illustrations appear in color, including work by the contemporary artists Subhankar Banerjee, Perry Eaton, Erica Lord, and Larry McNeil.