This is Volume 79, Issue 4 2004 of 'Multicultural Perspectives' and this special issue celebrates NAME's 10th Anniversary. This includes a collection of works prior to the annual conference on November 15-19 in Orlando, Florida, were the members will be celebrating the 10th anniversary of the founding of NAME (National Association for Multicultural Education). This is issue includes information on the founding of the organisation, as well as articles on: the treatment of citizens by the law and courts on television and film; Bilingual/Bicultural family narratives to help training and in-service teacher; the needs of Tibetan children in U.S. public schools; multi-racial and multi-ethnic students; and an article on hope that human-kind can work to eradicate hatred and injustice in America.

In this poetry collection, Mbuh Mbuh Tennu offers a virulent indictment of the multifarious faces of pain which have lent a dystopian colouring to our world. These poems are all at once, songs of lament, regret, defiance and protest. The idea of naming which is a central motif underscores the dangers of being foreign named; which implies being claimed and owned and more importantly the imperative of self-naming to claim a name and to own that name; to self-define and to defy attempts to contravene this. This is a collection for our time; our timelessness. It is an urgent, reflective and incisive call to stay awake and be actors of our history.

This book is a printed edition of the Special Issue 2Grand Celebration: 10th Anniversary of the Human Genome Project" that was published in Genes

For lovers of Asian cinema and for those simply curious to know its trends and moods, experiments and innovations since it strode the world stage with assurance in the mid- 80s, Asian Film Journeys is a feast. It presents a selection of articles that appeared in the pages of Cinemaya, The Asian Film Quarterly between 1988 and 2004, articles that closely tracked the bold new film narrative of both the well-known and the lesser-known cinemas as it unfolded. The Quarterly remained, for fifteen years, the one and only serious yet lively platform for writing on the cinemas of Asian countries. Given that the writers were mostly Asian-apart from some keen and long-standing followers of Asian cinema from the West-the magazine offered, for the first time, a truly authentic point of view, a look at films from within their cultures. The book gives a bird’s eye view of the style and substance, art and craft of these cinemas and captures some of the Asian air it let in!