My name is Sophie. This book is about me. It tells the heart-stoppingly riveting story of my first love. And also of my second. And, okay, my third love, too. It's not that I'm boy crazy. It's just that even though I'm almost fifteen I've been having sort of a hard time trying to figure out the difference between love and lust. It's like my mind and my body and my heart just don't seem to be able to agree on anything.
Capitalist Nigger is an explosive and jarring indictment of the black race. The book asserts that the Negroid race, as naturally endowed as any other, is culpably a non-productive race, a consumer race that depends on other communities for its culture, its language, its feeding and its clothing. Despite enormous natural resources, blacks are economic slaves because they lack the 'devil-may-care' attitude and the 'killer instinct' of the Caucasian, as well as the spider web mentality of the Asian. A Capitalist Nigger must embody ruthlessness in pursuit of excellence in his drive towards achieving the goal of becoming an economic warrior. In putting forward the idea of the Capitalist Nigger, Chika Onyeani charts a road to success whereby black economic warriors employ the 'Spider Web Doctrine' – discipline, self-reliance, ruthlessness – to escape from their victim mentality. Born in Nigeria, Chika Onyeani is a journalist, editor and former diplomat.
From the author of the New York Times Bestseller Crenshaw How can you take the guy your best friend loves . . . when your best friend’s going to die? Alison Chapman has always believed she’d fall in love hard. And she does—with Sam Cody, a new guy with a gorgeous face and brooding eyes, a guy who’s impossible to resist. When Sam asks her to the Valentine’s Day dance, Alison is elated . . . until she finds out that her best friend, Isabella Cates-Lopez, has fallen for Sam, too . . . until she finds out that Isabella is dying. Now Alison wants Isabella’s last days to be her happiest ever—even if she and Sam have to hide their love. Even if, by sharing Sam, Alison risks losing him forever.
If life were a fairy tale, Daisy Montgomery's stepmother and two stepsisters would surely be cast in the wicked roles. For years, they've made life miserable for Daisy. But when she discovers she has a godmother, she's determined to ask her for help. Little did Daisy expect her godmother to play matchmaker with her very own grandson—who happens to be a viscount! A freewheeling playboy, Charles Thorpe, Viscount Lumley, is bored with his wealth-seeking female admirers. Not only that, he's been cut off from the family coffers. One day, on a bet, he rids himself of what little money he has left in his pockets and vows to solve problems using his wits alone. But when the Impossible Bachelor is confronted with Daisy's plan to save her castle, the payoff is more than he could have bargained for. Sometimes, if you give a girl a viscount, you just might find love....
An engrossing autobiographical exploration of black masculinity as a mode of racial and verbal performance. In Your Average Nigga, Vershawn Ashanti Young disputes the belief that speaking Standard English and giving up Black English Vernacular helps black students succeed academically. Young argues that this assumption not only exaggerates the differences between two compatible varieties of English but forces black males to choose between an education and their masculinity, by choosing to act either white or black. As one would expect from a scholar who is subject to the very circumstances he studies, Young shares his own experiences as he exposes the factors that make black racial identity irreconcilable with literacy for blacks, especially black males. Drawing on a range of interdisciplinary scholarship in performance theory and African American literary and cultural studies, Young shows that the linguistic conflict that exists between black and white language styles harms black students from the inner city the most. If these students choose to speak Standard English they risk alienating themselves from their families and communities, and if they choose to retain their customary speech and behavior they may isolate themselves from mainstream society. Young argues that this conflict leaves blacks in the impossible position of either trying to be white or forever struggling to prove that they are black enough. For men, this also becomes an endless struggle to prove that they are masculine enough. Young calls this constant effort to display proper masculine and racial identity the burden of racial performance. Ultimately, Young argues that racial and verbal performances are a burden because they cannot reduce the causes or effects of racism, nor can they denaturalize supposedly fixed identity categories, as many theorists contend. On the contrary, racial and verbal performances only reinscribe the essentialism that they are believed to subvert. Scholars and teachers of rhetoric, performance studies, and African American studies will enjoy this insightful volume.
Bislama is the national language of Vanuatu, the world's most linguistically diverse nation with at least 80 actively spoken Oceanic languages used by about 200,000 people. Bislama began as a plantation pidgin based on English in the nineteenth century, but it has since developed into a unique language with a grammar and vocabulary very different from English. It is one of very few national languages for which there is no readily available reference grammar. This book aims to fill this gap by providing an extensive account of the grammar of Bislama as it is used by ordinary Ni-Vanuatu. It does not, therefore, aim to describe any kind of artificial written norm but sets out to capture a range of different kinds of ways that Ni-Vanuatu will say things in various contexts, both written and spoken, formal and informal. The thrust of this volume is to show that Bislama has a grammar—an unfamiliar concept for those educated in Vanuatu. It also shows that Bislama is a language of considerable complexity, which will come as a surprise to many of its users, who have been taught to view their language as somehow "simple" and even "deficient."
Prince Lucien's family turns him into a frog in order to keep him safe from assassination attempts and Ariane is the servant tasked with caring for the Frog Prince. Prince Lucien learns that she is a strong, capable person, not just someone to be ordered around and she learns that maybe he's not as dimwitted as he'd presented. But as they begin to fall in love, a dark magic threatens the land.
Cuisine and Culture presents a multicultural and multiethnic approach that draws connections between major historical events and how and why these events affected and defined the culinary traditions of different societies. Witty and engaging, Civitello shows how history has shaped our diet--and how food has affected history. Prehistoric societies are explored all the way to present day issues such as genetically modified foods and the rise of celebrity chefs. Civitello's humorous tone and deep knowledge are the perfect antidote to the usual scholarly and academic treatment of this universally important subject.
This book tells the story of the renaissance of the Kaurna language, the language of Adelaide and the Adelaide Plains in South Australia, principally over the earliest period up until 2000, but with a summary and brief discussion of developments from 2000 until 2016. It chronicles and analyses the efforts of the Nunga community, and interested others, to reclaim and relearn a linguistic heritage on the basis of mid-nineteenth-century materials. This study is breaking new ground. In the Kaurna case, very little knowledge of the language remained within the Aboriginal community. Yet the Kaurna language has become an important marker of identity and a means by which Kaurna people can further the struggle for recognition, reconciliation and liberation. This work challenges widely held beliefs as to what is possible in language revival and questions notions about the very nature of language and its development.
