"This book is a history of guitar making in the US since the folk revival of the 1960s. Based largely on the author's interviews, it includes chapters on the rise of the modern independent luthier movement, recent developments at Martin, at Gibson, and at Taylor- especially regarding the use of technology and ways it is in tension with these companies' traditions and ways it honors their traditions-the changing, though still robust market, and the effect of foreign competition on American builders"--
Featuring 400 outstanding works that range from traditional to wildly contemporary, this superb gallery celebrates the art of the wooden box. The wonderfully wide variety of styles includes traditional jewelry and keepsake, turned, and tool boxes; miniature treasure chests; and sculptural work. Each one has been personally chosen by renowned boxmaker Tony Lydgate, and appears in an exquisite color plate; many of the boxes also come with detailed images that reveal important construction secrets. The selection includes pieces by a distinguished group of artists.
The author of the bestselling "Wooden Bowls from the Scroll Saw" returns to offer her creative spin on box projects. She's surveyed the most popular boxes in woodworking and shows crafters how to make bandsaw-style boxes, jewelry boxes, and lidded boxes on the scroll saw. Includes 29 beautiful and creative designs for boxes.
An honest and lyrical coming-of-age memoir of growing up in South Africa at the height of apartheid, and an invitation to recognize and refuse to repeat the sins of our fathers—from the bestselling author of Never Unfriended “Heartfelt, emotionally charged reflections . . . [a] bracing memoir.”—Kirkus Review “Important. Riveting. Unforgettable . . . a profoundly captivating story that can profoundly change your own story.”—Ann Voskamp, New York Times bestselling author of WayMaker Born White in the heart of Zululand during the racial apartheid, Lisa-Jo Baker longed to write a new future for her children—a longing that set her on a journey to understand where she fit into a story of violence and faith, history and race. Before marriage and motherhood, she came to the United States to study to become a human rights advocate. When she naïvely walked right into America’s own turbulent racial landscape, Baker experienced the kind of painful awakening that is both individual and universal, personal and social. Yet years would go by before she traced this American trauma back to her own South African past. Baker was a teenager when her mother died of cancer, leaving her with her father. Though they shared a language of faith and justice, she often feared him, unaware that his fierce temper had deep roots in a family’s and a nation’s pain. Decades later, old wounds reopened when she found herself spiraling into a terrifying version of her father, screaming herself hoarse at her son. Only then did Baker realize that to go forward—to refuse to repeat the sins of our fathers—we must first go back. With a story that stretches from South Africa’s outback to Washington, D.C., It Wasn’t Roaring, It Was Weeping is a courageous look at inherited hurts and prejudices, and a hope-filled example for all who feel lost in life or worried that they’re too off course to make the necessary corrections. Baker’s story shows that it’s never too late to be free.
Includes cases argued and determined in the District Courts of the United States and, Mar./May 1880-Oct./Nov. 1912, the Circuit Courts of the United States; Sept./Dec. 1891-Sept./Nov. 1924, the Circuit Courts of Appeals of the United States; Aug./Oct. 1911-Jan./Feb. 1914, the Commerce Court of the United States; Sept./Oct. 1919-Sept./Nov. 1924, the Court of Appeals of the District of Columbia.
War is hell, and never has it been more hellish than in this moving collection of poetry by Viet Nam War veteran Jim Soular. Few today can deny that the war was a horrific tragedy, resulting in the deaths of 60,000 Americans and millions of Vietnamese, Laotians, and Cambodians. The first section, "In Country," assaults the reader with all the charm of a meat grinder as the poet serves up image after violent image of the indiscriminate carnage of war and the gruesomeness of death in the triple-canopy jungles of Viet Nam. The second section, "Back in the World," returns us to the States but not necessarily to sanity as Soular wades through the psychological aftereffects of the war for both the veterans and their families. With vivid and carefully chosen imagery, this section portrays the mind-numbing consequences of exposure to war, its accompanying PTSD, and the tremendous guilt, sorrow, and despair that many veterans and their families live with to this day. These poems are a raw, new look at war, vignettes of horror, guilt, and sorrow in what many consider America's longest and most brutal conflict, as well as its most divisive since the Civil War.
