by Hyemeyohsts Storm (1973)
Heavily illustrated with photographs of Plains Indians and animals, diagrams of religious symbols, drawings of medicine belts, and color plates and drawings of shields.
Maurice Boyd
Presents Kiowa stories against the historical background of the tribe's life in the Yellowstone, their migration onto the northern Plains with its horse-buffalo culture, and their entry into the southern Plains where they and their Comanche allies dominated Indian life.
Guillaume Apollinaire
A la fin tu es las de ce monde ancien Bergere o tour Eiffel le troupeau des ponts bele ce matin Tu en as assez de vivre dans l'antiquite grecque et romaine Ici meme les automobiles ont l'air d'etre anciennes La religion seule est restee toute neuve la religion Est restee simple comme les hangars de Port-Aviation Seul en Europe tu n'es pas antique o Christianisme L'Europeen le plus moderne c'est vous Pape Pie X Et toi que les fenetres observent la honte te retient D'entrer dans une eglise et de t'y confesser ce matin Tu lis les prospectus les catalogues les affiches qui chantent tout haut Voila la poesie ce matin et pour la prose il y a les journaux Il y a les livraisons a 25 centimes pleines d'aventures policieres Portraits des grands hommes et mille titres divers J'ai vu ce matin une jolie rue dont j'ai oublie le nom Neuve et propre du soleil elle etait le clairon
Jane & Lynn Tilton
"Freedom is in the mountains." The words of the young Apache's father ring in his ears, words that have twice driven the two to flee their white captors. But their last attempt leaves the boy's father dead, and the boy with a burning desire for revenge. He is taken in by a kindly man known to his neighbors as Hector Sanchez, but to his fellow Mexicans as El Aguila - the Eagle, an almost legendary fighter for Mexico's freedom. Although Hector tries to teach the boy to relinquish his hate, Segundo's thirst for revenge seems to grow with every passing year. Will it overpower his yearning to someday find true freedom? And will it jeopardize his chances for happiness with Marta, the girl he loves?
Gregg Camfield
In Sentimental Twain, Gregg Camfield examines the major and minor works of Mark Twain to redraw the boundaries between sentimentalism and realism in the second half of the nineteenth century. Beginning by taking the reactions to the question of race in Adventures of Huckleberry Finn as a test case, Camfield reveals that sentimental ethics persist, though buried, in American culture, and he argues that Americans' ambivalent responses to sentimentalism explain some of the continuing controversy surrounding Mark Twain's work. Specifically, he contends, insofar as the liberal agenda remains substantially sentimental - especially when dealing with issues of race - today's readers of Twain participate in the same dialectic between sentimental compassion and realistic cynicism that Twain himself confronted. Camfield then traces the cultural development of this ethical dialectic and follows Mark Twain's reactions to it, showing that Twain was a closet sentimentalist whose public attacks on sentimentalism veiled a deep longing for a more compassionate world. Throughout, Sentimental Twain is grounded in a discussion of philosophical contexts of nineteenth-century American sentimental literature, paying particular attention to the Scottish Common Sense philosophers, but looking forward to the Pragmatism of William James.