Strong, character-driven novel about four young country farm boys who experience a horrific event, which profoundly changes all of them and how they attempt to grow past the disastrous experience. Taking place in the 1950s, four inseparable brothers fight to save themselves from an unknown killer after they witness the unimaginable while playing in the woods around the tranquility of their favorite playground, Hargus Lake. The experience haunts them into adulthood. Fast-forward twenty years,

Character driven novel about two lonely people who find a revised outlook on life after they survive a horrible airplane crash in the remote Amazon Jungle. Legendary rock singer Ms. Phoenix and a former hard luck military specials forces soldier are tossed into an indescribable situation of survival, having to draw strenght from one another to keep themselves alive. The two desperate characters experience one disaster after another, all the while being chased by rougue rebel attempting to capture them.The excitement seemingly never ends when fighting the wild elements of the jungle and rebels troops relentlessly chasing them.

The richness of Detroit’s music history has by now been well established. We know all about Motown, the MC5, and Iggy and the Stooges. We also know about the important part the Motor City has played in the history of jazz. But there are stories about the music of Detroit that remain untold. One of the lesser known but nonetheless fascinating histories is contained within Detroit’s country music roots. At last, Craig Maki and Keith Cady bring to light Detroit’s most important country and western and bluegrass stars, such as Chief Redbird, the York Brothers, and Roy Hall. Beyond the individuals, Maki and Cady also map out the labels, radio programs, and performance venues that sustained Detroit’s vibrant country and bluegrass music scene. In the process, Detroit Country Music examines how and why the city’s growth in the early twentieth century, particularly the southern migration tied to the auto industry, led to this vibrant roots music scene. This is the first book—the first resource of any kind—to tell the story of Detroit’s contributions to country music. Craig Maki and Keith Cady have spent two decades collecting music and images, and visiting veteran musicians to amass more than seventy interviews about country music in Detroit. Just as astounding as the book’s revelations are the photographs, most of which have never been published before. Detroit Country Musicwill be essential reading for music historians, record collectors, roots music fans, and Detroit music aficionados.

This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide.

The narrator of Hogg is a Huck Finn–like youngster caught in society’s most sinister seams—but unlike Huck, he passes no moral judgments on the violence he takes part in . . . Hogg is the story of a man—a depraved trucker named Franklin Hargus, whom the people he works for call Hogg—and of the nameless boy who tells the story of three days of unspeakable sexual violence and devastation, which, together, they initiate in a small seaside American city in the middle of the last century. Hogg is a towering brute who makes his living as a rapist for hire. By the end of a series of vicious attacks, kidnappings, and mass murders, the reader will wonder who is more corrupt: the man or the boy. Samuel R. Delany completed his first draft of Hogg within a day, if not within hours, of the 1969 Stonewall Riots in New York City and revised it over the next four years, though it was not released until 1995.

Linguistic typology identifies both how languages vary and what they all have in common. This Handbook provides a state-of-the art survey of the aims and methods of linguistic typology, and the conclusions we can draw from them. Part I covers phonological typology, morphological typology, sociolinguistic typology and the relationships between typology, historical linguistics and grammaticalization. It also addresses typological features of mixed languages, creole languages, sign languages and secret languages. Part II features contributions on the typology of morphological processes, noun categorization devices, negation, frustrative modality, logophoricity, switch reference and motion events. Finally, Part III focuses on typological profiles of the mainland South Asia area, Australia, Quechuan and Aymaran, Eskimo-Aleut, Iroquoian, the Kampa subgroup of Arawak, Omotic, Semitic, Dravidian, the Oceanic subgroup of Austronesian and the Awuyu-Ndumut family (in West Papua). Uniting the expertise of a stellar selection of scholars, this Handbook highlights linguistic typology as a major discipline within the field of linguistics.