Mother, the Verb is a collection of work by established and aspirant artists, mostly women, but a few alliies, who serve the idea of One Human Family in their work. Some, like Heather Spears who drew and reported about the children of the Intifada, and Yolonda Skelton, designer emmissary for North Coast Peoples, or lyricist and novelist Karen Lee White are activists who have challenged the status quo in meaningful ways. Some, like ballerina Andrea Robyn Bayne excel at beauty and strive to nuture their art in the next generation. Most are environmentalists, none more eloquent than Maria Luisa de Villa, whose work exalts the earth that gives her inspiration and natural artist materials. Photographers Çağdaş Dinç, Helene Cyr, Jack Adamson and Catherine Marcogliese, prove the yin yang balance as they move gracefully between genres, capturing the beauty and frustration of woman hood. The Swan Sisters are a diverse group and we believe diversity is our strength. Like the yellow sweater mothers who support BLM, we look to finding common cause. And we have met resistance. Central to the story I tell as editor is the failure of matriarchy following the Indian Act in Canada, a tragedy for one family that shines a light on the effort of church and state to collapse the integrity of First Cultures. Hopefully this book speaks in part for those who have been lost to this national tragedy. During Pandemic many in this book transformed their art to support the cure. Artists designed masks. Storytellers entertained and educated captive readers through book, visual art and film. Now we pause to celebrate and lift up the next generation.

An Indigenous leader who has dedicated her life to Indigenous Rights, Jody Wilson-Raybould has represented both First Nations and the Crown at the highest levels. And she is not afraid to give Canadians what they need most – straight talk on what has to be done to collectively move beyond our colonial legacy and achieve true reconciliation in Canada. In this powerful book, drawn from speeches and other writings, she urges all Canadians – both Indigenous and non-Indigenous – to build upon the momentum already gained in the reconciliation process or risk hard-won progress being lost. The good news is that Indigenous Nations already have the solutions. But now is the time to act and build a shared postcolonial future based on the foundations of trust, cooperation, recognition, and good governance. Frank and impassioned, From Where I Stand charts a course forward – one that will not only empower Indigenous Peoples but strengthen the well-being of Canada and all Canadians.

This book studies an extraordinary Latin dialogue with a woman called Jezebel, who is flamboyantly vulgar and irreverent. Ziolkowski first explores medieval attitudes toward the biblical Jezebel. He then sets the poem in the cultural milieu of eleventh-century Normandy. The book contains an edition, a translation, and a copious commentary.

Includes bibliographic references and index.

*NATIONAL BESTSELLER* A PARADE MOST ANTICIPATED BOOK OF THE YEAR A NEW YORK POST BEST BOOK OF THE WEEK In her first novel inspired by a true story, Jane Green re-imagines the life of troubled icon Talitha Getty in this transporting story from a forgotten chapter of the Swinging '60s From afar Talitha's life seemed perfect. In her twenties, and already a famous model and actress, she moved from London to a palace in Marrakesh, with her husband Paul Getty, the famous oil heir. There she presided over a swirling ex-pat scene filled with music, art, free love and a counterculture taking root across the world. When Claire arrives in London from her small town, she never expects to cross paths with a woman as magnetic as Talitha Getty. Yearning for the adventure and independence, she's swept off to Marrakesh, where the two become kindred spirits. But beneath Talitha's glamourous facade lurks a darkness few can understand. As their friendship blossoms and the two grow closer, the realities of Talitha's precarious existence set off a chain of dangerous events that could alter Claire's life forever.

I'm not your average hero. I actually wasn't your average anything. Just a poor guy working an after-school job at a South Beach shoe repair shop to help his mom make ends meet. But a little magic changed it all. It all started with a curse. And a frognapping. And one hot-looking princess, who asked me to lead a rescue mission. There wasn't a fairy godmother or any of that. And even though I fell in love along the way, what happened to me is unlike any fairy tale I've ever heard. Before I knew it, I was spying with a flock of enchanted swans, talking (yes, talking!) to a fox named Todd, and nearly trampled by giants in the Everglades. Don't believe me? I didn't believe it either. But you'll see. Because I knew it all was true, the second I got cloaked.

Love and tragedy dominate book four of Virgil's most powerful work, building on the violent emotions invoked by the storms, battles, warring gods, and monster-plagued wanderings of the epic's opening. Destined to be the founder of Roman culture, Aeneas, nudged by the gods, decides to leave his beloved Dido, causing her suicide in pursuit of his historical destiny. A dark plot, in which erotic passion culminates in sex, and sex leads to tragedy and death in the human realm, unfolds within the larger horizon of a supernatural sphere, dominated by power-conscious divinities. Dido is Aeneas' most significant other, and in their encounter Virgil explores timeless themes of love and loyalty, fate and fortune, the justice of the gods, imperial ambition and its victims, and ethnic differences. This course book offers a portion of the original Latin text, study questions, a commentary, and interpretative essays. Designed to stretch and stimulate readers, Ingo Gildenhard's incisive commentary will be of particular interest to students of Latin at both A2 and undergraduate level. It extends beyond detailed linguistic analysis to encourage critical engagement with Virgil's poetry and discussion of the most recent scholarly thought.