The Chinese-speaking Muslims have for centuries been an inseperable but anomalous part of Chinese society--Sinophone yet incomprehensible, local yet outsiders, normal but different. Long regarded by the Chinese government as prone to violence, they have challenged fundamental Chinese conceptiosn of Self and Other and denied the totally transforming power of Chinese civilization by tenaciously maintaining connectios with Central and West Asia as well as some cultural differences from their non-Muslim neighbors. Familiar Strangers narrates a history of the Muslims of northwest China, at the intersection of the frontiers of the Mongolian-Manchu, Tibetan, Turkic, and Chinese cultural regions. Based on primary and secondary sources in a variety of languages, Familiar Strangers examines the nature of ethnicity and periphery, the role of religion and ethnicity in personal and collective decisions in violent times, and the complexity of belonging to two cultures at once. Concerning itself with a frontier very distant from the core areas of Chinese culture and very strange to most Chinese, it explores the influence of language, religion, and place on Sino-Muslim identity.

The Familiar Past surveys material culture from 1500 to the present day. Fourteen case studies, grouped under related topics, include discussion of issues such as: * the origins of modernity in urban contexts * the historical anthropology of food * the social and spatial construction of country houses * the social history of a workhouse site * changes in memorial forms and inscriptions * the archaeological treatment of gardens. The Familiar Past has been structured as a teaching text and will be useful to students of history and archaeology.

Introduction : Iraqi futures and the age of development -- Sovereignty, violence, and the dual mandate -- Determining a self -- The gendering of school time -- Generational time and the marriage crisis -- The family farm and the peculiar futurist perspective of development -- Revolutionary time and wasted time -- Law and the post-revolutionary self -- Epilogue : postcolonial heterotemporalities

"Sometimes I feel myself to have been the last colonial." This, in his own words, is the extraordinary story of the life and career of Stuart Hall—how his experiences shaped his intellectual, political, and theoretical work and how he became one of his age's brightest intellectual lights. Growing up in a middle-class family in 1930s Kingston, Jamaica, still then a British colony, the young Stuart Hall found himself uncomfortable in his own home. He lived among Kingston's stiflingly respectable brown middle class, who, in their habits and ambitions, measured themselves against the white elite. As colonial rule was challenged, things began to change in Kingston and across the world. In 1951 a Rhodes scholarship took Hall across the Atlantic to Oxford University, where he met young Jamaicans from all walks of life, as well as writers and thinkers from across the Caribbean, including V. S. Naipaul and George Lamming. While at Oxford he met Raymond Williams, Charles Taylor, and other leading intellectuals, with whom he helped found the intellectual and political movement known as the New Left. With the emotional aftershock of colonialism still pulsing through him, Hall faced a new struggle: that of building a home, a life, and an identity in a postwar England so rife with racism that it could barely recognize his humanity. With great insight, compassion, and wit, Hall tells the story of his early life, taking readers on a journey through the sights, smells, and streets of 1930s Kingston while reflecting on the thorny politics of 1950s and 1960s Britain. Full of passion and wisdom, Familiar Stranger is the intellectual memoir of one of our greatest minds.

Literary critics have traditionally suggested that the invention of photography led to the rise of the realist novel, which is believed to imitate the detail and accuracy of the photographic image. Instead, says Stuart Burrows, photography's influence on American fiction had less to do with any formal similarity between the two media than with the capacity of photography to render American identity and history homogeneous and reproducible. The camera, according to Burrows, provoked a representational crisis, one broadly modernist in character. Since the photograph is not only a copy of its subject but a physical product of it, the camera can be seen as actually challenging mimetic or realistic theories of representation, which depend on a recognizable gap between original and reproduction. Burrows argues for the centrality of photography to a set of writers commonly thought of as hostile to the camera-including Nathaniel Hawthorne, Henry James, William Faulkner, and Zora Neale Hurston. The photographic metaphors and allusions to the medium that appear throughout these writers' work demonstrate the ways in which one representational form actually influences another--by changing how artists conceive of identity, history, and art itself. A Familiar Strangeness thus challenges the notion of an absolute break between nineteenth-century realism and twentieth-century modernism, a break that typically centers precisely on the two movements' supposedly differing relation to the camera. Just as modernist fiction interrupts and questions the link between visuality and knowledge, so American realist fiction can be understood as making the world less knowable precisely by making it more visible.

Prologue: March, 1770 -- Families of Empire -- Inseparable Interests, 1766-1767 -- Seasons of Discontent, 1766-1767 -- Under One Roof -- Love Your Neighbor, 1768-1770 -- Absent Without Leave 1768-1770 -- A Deadly Riot -- Gathering Up, 1770-1772 -- Epilogue: Civil War, 1772-1775.

The Pulitzer Prize–winning author of The Color Purple weaves a “glorious and iridescent” tapestry of interrelated lives in this New York Times bestseller (Library Journal). Includes a new letter written by the author In The Temple of My Familiar, Celie and Shug from The Color Purple subtly shadow the lives of dozens of characters, all dealing in some way with the legacy of the African experience in America. From recent African immigrants, to a woman who grew up in the mixed-race rainforest communities of South America, to Celie’s own granddaughter living in modern-day San Francisco, all must come to understand the brutal stories of their ancestors to come to terms with their own troubled lives. As Walker follows these astonishing characters, she weaves a new mythology from old fables and history, a profoundly spiritual explanation for centuries of shared African American experience. This ebook features an illustrated biography of Alice Walker including rare photos from the author’s personal collection. The Temple of My Familiar is the 2nd book in the Color Purple Collection, which also includes The Color Purple and Possessing the Secret of Joy.