"Every child worries about being different. Follow one brave little boy as he embarks on a wild adventure and learns to understand, accept, and love the differences that make him unique" --
Sometimes to overcome your challenges, all you need is bravery. Follow one little boy as he proves that a little bit of courage can go a long way and shows his friends what it means to be brave!
A Caldecott-honor winning picture book biography of the mother of Emmett Till, and how she channeled grief over her son's death into a call to action for the civil rights movement. Mamie Till-Mobley is the mother of Emmett Till, the 14-year-old boy who was brutally murdered while visiting the South in 1955. His death became a rallying point for the civil rights movement, but few know that it was his mother who was the catalyst for bringing his name to the forefront of history. In Choosing Brave, Angela Joy and Janelle Washington offer a testament to the power of love, the bond of motherhood, and one woman's unwavering advocacy for justice. It is a poised, moving work about a woman who refocused her unimaginable grief into action for the greater good. Mamie fearlessly refused to allow America to turn away from what happened to her only child. She turned pain into change that ensured her son's life mattered. Timely, powerful, and beautifully told, this thorough and moving story has been masterfully crafted to be both comprehensive and suitable for younger readers.
How often does fear hold you back from living your life to the fullest? Join New York Times bestselling author, podcast host, and speaker Annie F. Downs as she shares a call to embrace the God-given courage living inside you. Annie is the first to admit that she's not exactly the bravest woman in the world. Even now, she still cries sometimes when she leaves her parents' home in Georgia, she's never jumped out of a plane, and she only rides roller coasters to impress guys. But Annie knows that courage resides inside each one of us, and she's on a mission to conquer her own fears while encouraging you to do the same. Let's All Be Brave is more than a book; it's a battle cry. Annie uses honest and often humorous illustrations from her own life, contemporary real-life examples from the lives of others, and fascinating biblical stories to challenge you to: Discover God's surprising answers to overcoming fear, uncertainty, and anxiety Let go of the things that hold you back--relationships, comfort zones, expectations, and more Say yes to both small and big things Live boldly and sacrificially for God and others Hold on to hope, trust God, and be brave no matter your circumstances This book is your call to step into those places that require courage, giving you the help you need to take the next step forward—even when it's scary. Praise for Let's All Be Brave: "There are certain types of people who are capable of nudging us toward courage without making us feel small or insignificant, and Annie is at the front of the line. She has done that with Let's All Be Brave, and before you even mean to, you are putting your YES on the table." --Jen Hatmaker, New York Times bestselling author of For the Love and Fierce, Free, and Full of Fire
The never-before-told account of the intersection of some of the most insightful minds of the 20th century, and a fascinating look at how war, resistance, and friendship can catalyze genius. In the spring of 1940, the aspiring but unknown writer Albert Camus and budding scientist Jacques Monod were quietly pursuing ordinary, separate lives in Paris. After the German invasion and occupation of France, each joined the Resistance to help liberate the country from the Nazis and ascended to prominent, dangerous roles. After the war and through twists of circumstance, they became friends, and through their passionate determination and rare talent they emerged as leading voices of modern literature and biology, each receiving the Nobel Prize in their respective fields. Drawing upon a wealth of previously unpublished and unknown material gathered over several years of research, Brave Genius tells the story of how each man endured the most terrible episode of the twentieth century and then blossomed into extraordinarily creative and engaged individuals. It is a story of the transformation of ordinary lives into exceptional lives by extraordinary events--of courage in the face of overwhelming adversity, the flowering of creative genius, deep friendship, and of profound concern for and insight into the human condition.
This book explores how stereotypes of “oppressed Muslim women” feed into the self-representations of women with a Muslim background. The focus is on women active in, and speaking on behalf of, a wide variety of minority self-organisations in the Netherlands and Norway between 1975 and 2010. The author reveals how these women have internalised and appropriated particular stereotypes, and also developed counter-stereotypes about majority Dutch or Norwegian women. She demonstrates, above all, how they have tried time and again to change popular perceptions by providing alternative images of themselves and of Islam, paying particular attention to their attempts to gain access to media debates. Her central argument is that their efforts to undermine stereotypes can be understood as an assertion of belonging in Dutch and Norwegian society and, in the case of women committed to Islam, as a demand for their religion to be accepted. This innovative work provides a “history from below” that makes a valuable contribution to scholarly debates about citizenship as a practice of inclusion and exclusion. Providing new insights into the dynamics between stereotyping and self-representation, it will appeal to scholars of gender, religion, media, and cultural diversity.
Explores how a younger and more sensitive form of masculinity emerged in the United States after World War II. In the decades that followed World War II, Americans searched for and often founds signs of a new masculinity that was younger, sensitive, and sexually ambivalent. Male Beauty examines the theater, film, and magazines of the time in order to illuminate how each one put forward a version of male gendering that deliberately contrasted, and often clashed with, previous constructs. This new postwar masculinity was in large part a product of the war itself. The need to include those males who fought the war as menmany of whom were far younger than what traditional male gender definitions would accept as manlyextended the range of what could and should be thought of as masculine. Kenneth Krauss adds to this analysis one of the first in-depth examinations of how males who were sexually attracted to other males discovered this emerging concept of manliness via physique magazines.
In Cymbeline: Constructions of Britain, Ros King argues that because of previous misunderstanding of the nature and history of tragi-comedy, critics have mistaken the tone of Shakespeare's play. Although it is often dismissed as a pedestrian 'romance', or at best a self-parodic reworking of previous Shakespearean themes, she proposes that Cymbeline's fantastical, black comedy and its facility for keeping multiple plots all in the air together are in fact a tour de force of dramaturgical construction. King's multi-faceted approach combines strikingly perceptive commentaries on the text's most notoriously difficult passages, with descriptions of performance, and analysis of the text's historical, cultural and literary contexts. In this wide-ranging study, the play becomes a focus for considering early modern England's encounters with its Scottish king, with religious struggle in Europe, and with the indigenous peoples of North America. King demonstrates that the play's dramaturgical structure enables it to raise daring questions about the nature of government, the rights of birth and of succession, and the concepts of 'empire', supplying a curiously bitter and indeed tragic undercurrent to the final 'happy' ending while attempting to neutralise contemporary religious conflict. Having explored the influences that went into the writing of Cymbeline, King devotes her final chapter to the play's later reception and shows how it has been made to respond to different cultural pressures over time. Using as a test case the outrageously ebullient production at Shakespeare Santa Cruz, 2000, for which she was dramaturg, she outlines an ethic for interpretation and considers the problems to be faced in both criticism and performance when realising the text as living theatre for a modern audience.