Presents haiku poetry about nature and the seasons.

A new version of the traditional American folk song, in which the expected guest will be wearing frilly pink pajamas and juggling with jelly when she comes.

A historical study of the Federal Music Project (FMP) investigates the paradoxical mission of employing popular musicians during the depression and "raising" musical tastes by emphasizing European classical traditions. Bindas (history, Kent State U.) reveals the obvious tensions between FMP leadership and its musicians, particularly the racial and ethnic segregation perpetuated by its policies. However, in an even-handed treatment, the project's successes in bringing music to millions of listeners is also highlighted. Annotation copyright by Book News, Inc., Portland, OR

"Though St. John the Evangelist saw many strange monsters in his vision, he saw no creature so wild as one of his own commentators." ~ G.K. Chesterton The book of Revelation was written to do just that: reveal. But most commentaries nowadays either engage in bizarre speculations about the future, or they keep an embarrassed distance from all the apocalyptic events that the apostle John says will “shortly take place.” In this commentary, Douglas Wilson provides a passage-by-passage walkthrough of the entire book, showing how John’s most notorious prophecies concern the Fall of Jerusalem in A.D. 70. Explaining symbols and characters as he goes, Wilson shows from the text that not only is this book not an elaborate code, but that Revelation is not even ultimately concerned with the end of the world as we know it. Revelation is about the triumph of the Church, which always happens when the Man comes around.

Rudy Autio, one of the important figures in the contemporary clay movement beginning in the 1950s, discusses his early days growing up in a Finnish immigrant family in Butte, Montana, his time in the Navy at the end of WWII, the start of the Archie Bray Foundation in Helena, Montana, with Peter Voulkos, and his building methods of early murals using brickyard clay. Later he helped K Ross Toole, the new director of Montana Historical Society Museum in Helena, with a number of dioramas there in 1954, especially the Lewis and Clark diorama. He then was hired at University of Montana in Missoula to build a ceramics program by President McFarland. He discusses noteworthy students he learned from during his 28-year teaching career and various commissions he built during those years, like the Grizzly, the ceramic murals for Polson, Walla Walla, and Helena. In the 1970s workshops in ceramics demonstrations became popular, especially after the first SuperMud conference, and Rudy describes some of these. Later chapters explore his first trips to Finland, meeting relatives and artists alike. He discusses ways his work changed throughout his life.

Important American periodical dating back to 1850.