This book explores the life of a colonial tanner and his importance to the community, as well as everyday life, responsibilities, and social practices during that time

A YOUNG BOY MUST LEARN THE WAYS OF A WARRIOR IF HE IS EVER TO BECOME A PIT GUARD Far to the north of Ananduil, in the province of Kedielewen, a peaceful fishing village celebrates the harvest year when raiders attack. Orphaned and left to fend for himself after the massacre of his entire village, the tanner’s boy chances upon an encounter with a seasoned soldier, Commander Steigauf. A Pit Guard of Dendadia. Taken under Steigauf’s wing, the boy begins his training at the Shiverwind barracks and quickly gathers the skills to defend himself and fight for others. When a rider from across the land arrives seeking help with an investigation of the heinous murder of an unknown traveller, the boy accompanies Steigauf and a small band of unskilled soldiers, to Mountainfall, a place with a terrifying history and reputation. Along the way, the boy battles his inner demons, discovers love, and prepares to stare into the face of death. But nothing could prepare him for what awaits at Mountainfall.

Set on the wild moors of West Yorkshire, The Girl from the Tanner's Yard by Diane Allen is a moving family drama about a girl who rises to prosperity from humble beginnings. After facing the horrors of the Crimean War, Adam Brooksbank returns to Black Moss Farm filled with regret over the path in life he has chosen. Starting anew, he decides to focus on rebuilding his family’s rundown farm and make it a home again. Lucy Bancroft lives with her parents on Prospect Terrace which backs onto the local tannery, and is the most beautiful girl in the village. But unfortunately her wealth doesn’t match her looks, and she soon realizes that nobody wants to court a girl from the filthy Flay Pits, let alone marry her. Yet when Lucy comes to work for Adam as his maid she finds herself falling in love with the farm set high upon the wild Moors of Haworth. Furthermore she begins to imagine a life with her new employer that goes beyond just being his maid. As they spend more time together, their feelings develop for one another despite her parents warning her nothing good will come of it. As rumours swirl around the village igniting jealousies and unearthing deeply buried secrets, will love find a way?

The Hours Have Lost Their Clock charts the rise of nostalgia in an era knocked out of time. In The Hours Have Lost Their Clock, Grafton Tanner charts the rise of nostalgia in an era knocked out of time. Nostalgia is the defining emotion of our age. Political leaders promise a return to yesteryear. Old movies are remade and cancelled series are rebooted. Veterans reenact past wars, while the displaced across the world long for home. But who is behind this collective ache for a home in the past? Do we need to eliminate nostalgia, or just cultivate it better? And what is at stake if we make the wrong choice? Moving from the fight over Confederate monuments to the birth of homeland security to the mourning of species extinction, Grafton Tanner traces nostalgia’s ascent in the twenty-first century, revealing its power as both a consequence of our unstable time and a defense against it. With little faith in a future of climate change and economic anxiety, many have turned to nostalgia to weather the present, while powerful elites exploit it for their own gain. An exploration into the politics of loss and yearning, The Hours Have Lost Their Clock is an urgent call to take nostalgia seriously. The very future depends on it.

“This book constitutes a very welcome contribution to the public appreciation and scholarly study of Henry Ossawa Tanner, a painter of considerable significance in both Europe and America, and one whose religious imagery merits careful consideration. These well-researched essays by an international team of scholars offer substantial reflections on complex issues of race and religion, and situate the artist’s work and career within the context of his life and times. This is a robust framing of Tanner as a cultural phenomenon and one that readers will find quite rewarding.”—David Morgan, Professor of Religion at Duke University and author of The Embodied Eye: Religious Visual Culture and the Social Life of Feeling “Henry Ossawa Tanner has finally been recognized as an important artist in the last twenty years, and is now firmly part of the American canon as the first major African American painter to emerge from the academy. This book enriches our understanding of Tanner’s historic place in American art by considering his work as an early modernist religious artist—a status entwined with his race, but not defined by it. These essays, by an impressive collection of scholars, are full of substantially new material, and succeed in broadening our conception of Tanner’s life and work.”—Bruce Robertson, Professor of Art and Architecture at the University of California, Santa Barbara.