A long-awaited history that promises to dramatically change our understanding of race in America, What Comes Naturally traces the origins, spread, and demise of miscegenation laws in the United States--laws that banned interracial marriage and sex, most often between whites and members of other races. Peggy Pascoe demonstrates how these laws were enacted and applied not just in the South but throughout most of the country, in the West, the North, and the Midwest. Beginning in the Reconstruction era, when the term miscegenation first was coined, she traces the creation of a racial hierarchy that bolstered white supremacy and banned the marriage of Whites to Chinese, Japanese, Filipinos, and American Indians as well as the marriage of Whites to Blacks. She ends not simply with the landmark 1967 case of Loving v. Virginia, in which the Supreme Court finally struck down miscegenation laws throughout the country, but looks at the implications of ideas of colorblindness that replaced them. What Comes Naturally is both accessible to the general reader and informative to the specialist, a rare feat for an original work of history based on archival research.

"In literary theory, the philosophy of law, and the sociology of knowledge, no issue has been more central to current debate than the status of our interpretations. Do they rest on a ground of rationality or are they subjective impositions of a merely personal point of view? In Doing What Comes Naturally, Stanley Fish refuses the dilemma posed by this question and argues that while we can never separate our judgments from the contexts in which they are made, those judgments are nevertheless authoritative and even, in the only way that matters, objective. He thus rejects both the demand for an ahistorical foundation, and the conclusion that in the absence of such a foundation we reside in an indeterminate world. In a succession of provocative and wide-ranging chapters, Fish explores the implications of his position for our understanding of legal, literary, and psychoanalytic interpretation, the nature of professional and institutional culture, and the place of reason in a world that is rhetorical through and through."--Publisher description.

From the New York Times bestselling author of Confessions of a Scary Mommy and the wildly popular blog ScaryMommy.com, a hilarious new essay collection that exposes the “vicious lies” that every parent is told. Newly pregnant and scared out of her mind, Jill Smokler lay on her gynecologist’s examination table and was told the biggest lie she’d ever heard in her life: “Motherhood is the most natural thing in the world.” Instead of quelling her nerves like that well intentioned nurse hoped to, Jill was instead set up for future of questioning exactly what DNA strand she was missing that made the whole motherhood experience feel less than natural to her. Wonderful? Yes. Miraculous? Of course. Worthwhile? Without a doubt. But natural? Not so much. Jill’s first memoir, the New York Times bestseller Confessions of a Scary Mommy, rocketed to national fame with its down and dirty details about life with her three precious bundles of joy. Now Jill returns with all-new essays debunking more than twenty pervasive myths about motherhood. She’s here to give you what few others will dare: The truth.

In this Time Top 100 Book of the Year, the National Book Award finalist and New York Times bestselling author of Heartland “analyzes how Dolly Parton’s songs—and success—have embodied feminism for working-class women” (People). Growing up amid Kansas wheat fields and airplane factories, Sarah Smarsh witnessed firsthand the particular vulnerabilities—and strengths—of women in working poverty. Meanwhile, country songs by female artists played in the background, telling powerful stories about life, men, hard times, and surviving. In her family, she writes, “country music was foremost a language among women. It’s how we talked to each other in a place where feelings aren’t discussed.” And no one provided that language better than Dolly Parton. In this “tribute to the woman who continues to demonstrate that feminism comes in coats of many colors,” Smarsh tells readers how Parton’s songs have validated women who go unheard: the poor woman, the pregnant teenager, the struggling mother disparaged as “trailer trash.” Parton’s broader career—from singing on the front porch of her family’s cabin in the Great Smoky Mountains to achieving stardom in Nashville and Hollywood, from “girl singer” managed by powerful men to self-made mogul of business and philanthropy—offers a springboard to examining the intersections of gender, class, and culture. Infused with Smarsh’s trademark insight, intelligence, and humanity, this is “an ambitious book” (The New Republic) about the icon Dolly Parton and an “in-depth examination into gender and class and what it means to be a woman and a working-class hero that feels particularly important right now” (Refinery29).

Mika Hakkinen is one of the fastest drivers in Formula 1 - in his first race for Marlboro Mclaren in 1993, he outqualified Ayrton Senna. He is also known for his frequent crashes. The cheerful Finn's racing ability and dogged optimism helped him hold the McLaren team together through their recent traumas, and to fight back after a near-fatal accident to take fifth place in the 1996 drivers' World Championship. This work is his full story. It includes an in-depth review of 1996 and the start of the 1997 season with expert analysis of the new McLaren chasis and Mercedes engine.

Oh Huishan addresses the issues in her life through fictional and lyrical prose writing, along with some short story ideas in this book "What Comes Naturally... Before I Forget." Let the pieces of prose and short stories pique your interest in this portfolio of writings. There are themes of love, fantasy, vampires, magic, mental illness and even humour. After her first book "Words That I Can't Say - A Workbook For Journal Therapy," Oh Huishan continues to write to replace her tears and sadness with words and inspiration. Visit www.ohhuishan.com for more details on the author.