A MILESTONE IN GAY FICTION Phillip Froelich is in trouble. The year is 1946, and he’s traveling to Seattle where he will face a court martial for acting insubordinate to a lazy officer in the closing days of World War II. On the way to Seattle he meets Tim Danelaw, and soon the court martial is among the least of Phillip’s concerns.... So begins Quatrefoil, a novel originally published in 1950. It marked a milestone in gay writing, with two of the first non-stereotyped gay characters to appear in American fiction. For readers of the Fifties, it was a rare chance to counteract the negative imagery that surrounded them. Today, Quatrefoil ranks as a classic work of gay writing, a novel that is still as gripping and enjoyable as ever. It is of extra interest to the modern reader for the vivid picture it draws of what life was like for gay men in our recent but little-known past.

Forty-four LGBTQIA+ voices provide a vibrant, necessary, and dazzling component of Minnesota's cultural and historical fabric.

Please the pickiest tech-savvy teens and tweens with these 21 trendy projects you can sew. Most of us would agree that sewing something that teens will like is, without a doubt, a challenge. In Project Teen, Melissa Mortenson, sewist and mother of three teenagers, shares not only her 21 teen-approved designs, but also invaluable tips and tricks for sewing for this unique (a.k.a. picky) age group. Whether you make a stylish tech cover, a cushy study pillow, or a personalized quilt, your teen will love these handmade gifts as much as you love them. • 21 projects, specifically for teens and tweens (ages 11+), including quilts, T-shirts, tech covers, totes, accessories, and so much more • Lots of inspiring ideas and designs for the perfect gifts • Get the 411 on what’s cool when it comes to fabric and style—so that your teen is sure to love what you make! Praise for Project Teen “Mortenson has a good eye for what teenagers actually need and want. . . . Something here will appeal to that trickiest of demographics, making the book a worthwhile buy.” —Publishers Weekly “Project Teen is a fresh, mod, fun way to sew for the tweens/teens in our life - kids, grands, nieces & nephews. The projects meet the ever changing needs of kids, from travel blankets and tablet covers to simple bags to store everything in.” —Generation Q Magazine

ALL'S FAIR IN LOVE . . . AND MAGIC. SLATE Somehow, we survived. It was supposed to be over. No more curses. No more magic. Just a calm, little life in Brume. For the first time ever, I'm ready for calm. So. Damn. Ready. Just so happens that the girl I love doesn't like to leave things unfinished. Fine. So our little crew will assemble the Quatrefoil and bring magic back to the world. We've already faced death. This can't be worse. Or can it? CADENCE I could have let things be. Maybe I should have let things be. My crew is alive. Slate is by my side. And life is returning to normal. Except the university is a giant pile of rubble. Papa is still stuck in a wheelchair. And a girl is dead. If magic can change all that, I want to try one last time to bring it back. Hopefully, I won't regret it. *Warning: profuse cursing (and not just the magical kind).

As archaeologists peel away the jungle covering that has both obscured and preserved the ancient Maya cities of Mexico and Central America, other scholars have only a limited time to study and understand the sites before the jungle, weather, and human encroachment efface them again, perhaps forever. This urgency underlies Yaxchilan: The Design of a Maya Ceremonial City, Carolyn Tate's comprehensive catalog and analysis of all the city's extant buildings and sculptures. During a year of field work, Tate fully documented the appearance of the site as of 1987. For each sculpture and building, she records its discovery, present location, condition, measurements, and astronomical orientation and reconstructs its Long Counts and Julian dates from Calendar Rounds. Line drawings and photographs provide a visual document of the art and architecture of Yaxchilan. More than mere documentation, however, the book explores the phenomenon of art within Maya society. Tate establishes a general framework of cultural practices, spiritual beliefs, and knowledge likely to have been shared by eighth-century Maya people. The process of making public art is considered in relation to other modes of aesthetic expression, such as oral tradition and ritual. This kind of analysis is new in Maya studies and offers fresh insight into the function of these magnificent cities and the powerful role public art and architecture play in establishing cultural norms, in education in a semiliterate society, and in developing the personal and community identities of individuals. Several chapters cover the specifics of art and iconography at Yaxchilan as a basis for examining the creation of the city in the Late Classic period. Individual sculptures are attributed to the hands of single artists and workshops, thus aiding in dating several of the monuments. The significance of headdresses, backracks, and other costume elements seen on monuments is tied to specific rituals and fashions, and influence from other sites is traced. These analyses lead to a history of the design of the city under the reigns of Shield Jaguar (A.D. 681-741) and Bird Jaguar IV (A.D. 752-772). In Tate's view, Yaxchilan and other Maya cities were designed as both a theater for ritual activities and a nexus of public art and social structures that were crucial in defining the self within Maya society.

"Art historian Carolyn Tate presents, in a well-organized and amply illustrated two-part format, a holistic treatment of a single archaeological site—the great ancient Maya city of Yaxchilan.... This is the most successful attempt to relate [art and architecture] within a Maya site that I have seen." —Ethnohistory As archaeologists peel away the jungle covering that has both obscured and preserved the ancient Maya cities of Mexico and Central America, other scholars have only a limited time to study and understand the sites before the jungle, weather, and human encroachment efface them again, perhaps forever. This urgency underlies Yaxchilan: The Design of a Maya Ceremonial City, Carolyn Tate's comprehensive catalog and analysis of all the city's extant buildings and sculptures. During a year of field work, Tate fully documented the appearance of the site as of 1987. For each sculpture and building, she records its discovery, present location, condition, measurements, and astronomical orientation and reconstructs its Long Counts and Julian dates from Calendar Rounds. Line drawings and photographs provide a visual document of the art and architecture of Yaxchilan. More than mere documentation, however, the book explores the phenomenon of art within Maya society. Tate establishes a general framework of cultural practices, spiritual beliefs, and knowledge likely to have been shared by eighth-century Maya people. The process of making public art is considered in relation to other modes of aesthetic expression, such as oral tradition and ritual. This kind of analysis is new in Maya studies and offers fresh insight into the function of these magnificent cities and the powerful role public art and architecture play in establishing cultural norms, in education in a semiliterate society, and in developing the personal and community identities of individuals. Several chapters cover the specifics of art and iconography at Yaxchilan as a basis for examining the creation of the city in the Late Classic period. Individual sculptures are attributed to the hands of single artists and workshops, thus aiding in dating several of the monuments. The significance of headdresses, backracks, and other costume elements seen on monuments is tied to specific rituals and fashions, and influence from other sites is traced. These analyses lead to a history of the design of the city under the reigns of Shield Jaguar (A.D. 681-741) and Bird Jaguar IV (A.D. 752-772). In Tate's view, Yaxchilan and other Maya cities were designed as both a theater for ritual activities and a nexus of public art and social structures that were crucial in defining the self within Maya society.