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We Belong to the Land, the gripping autobiography of Nobel Peace Prize nominee Elias Chacour, capture his life's work toward peace and reconciliation for Israeli Jews, Christians, and Muslims. Nominated several times for the Nobel Peace Prize, world-renowned Palestinian priest, Elias Chacour, narrates the gripping story of his life spent working to achieve peace and reconciliation among Israeli Jews, Christians, and Muslims. From the destruction of his boyhood village and his work as a priest in Galilee to his efforts to build school, libraries, and summer camps for children of all religions, this peacemaker’s moving story brings hope to one of the most complex struggles of our time.
This book illustrates the ways in which the personal is political in the advancement of decolonising scholarship. It explores the intimacies of coloniality entrenched in the narcissism of coloniality, enabling the system through extraction, subjugation and violence. Pushing back against the narcissism of coloniality, which is framed by the ma/ster/slave dialectic or internalised oppression, requires uhuru and ubuntu which are agentic strategies employed in reclaiming ontology and epistemology. Uhuru insists on a decolonisation of self; whereas ubuntu is determined by African radical communitarianism, demanding new ways of knowing and seeing whilst re-examining epistemicides of the enslaved, indentured and colonised. Fanonian theory is used as a framework for understanding the colonial authoritys management of the colonised, determining the unhappiness quintessential in the colonial condition. Freirian concepts of conscientisation and criticality are used as a form of resistance, disrupting the system of racial capitalism and the coloniality of gender. Subsequently, flipping the classroom to resist the coloniality of knowledge allows scholars to connect with community, encouraging engaged scholarship from the personal/political perspective, making the classroom a radical space for addressing trauma and healing whilst bridging art, activism and scholarship. Therefore, the classroom is situated against the blind spots of the banking model with male dominated decolonial work silencing the feminist perspective. Consequently, uhuru and ubuntu promote voice, agency and resistance as a pedagogical praxis paramount for the development of a decolonial feminist pedagogy.
Gathered here in book form for the first time, the fourteen essays in Where We Belong exemplify Paul Shepard's interdisciplinary approach to human interaction with the natural world. Drawn from Shepard's entire career and presented chronologically, these pieces vary in setting from the Hudson River to the American prairie to New Zealand. Equally impressive is Shepard's spatial range, as he moves from subtle differences to grand designs, from the intimacy of an artist's brush stroke to a vista of the harsh Greek terrain. Alluding to a range of sources from Star Trek to Marshall McLuhan to the Bible, the writings discuss such topics as the geomorphology of New England landscape paintings, beautification and conservation projects, the Oregon Trail, and tourism. Whether Shepard is pondering why the Great Plains conjured up sea imagery in early observers, or how pioneers often resorted to architectural terms--temple, castle, bridge, tower--when naming the West's natural formations, he exposes, and thus invites us to unshoulder, the cultural and historical baggage we bring to the act of seeing. Throughout the book, Shepard seeks the antecedents of environmental perception and questions whether the paradigm we inherited should be superseded by one that leads us to a greater concern for the health of the planet. This volume is an important addition to Shepard's canon if only for the new view it offers of his intellectual development. More important, however, these selections demonstrate Shepard's grasp of a wide range of ideas related to the physical environment, including the various factors--historical, aesthetic, and psychological--that have shaped our attitudes toward the natural world and color the way we see it.
An extraordinarily beautiful novel-in-verse, this important debut weaves a dramatic immigrant story together with Pilipino mythology to create something wholly new. Stella and Luna know that their mama, Elsie, came from the Philippines when she was a child, but they don't know much else. So one night they ask her to tell them her story. As they get ready for bed, their mama spins two tales: that of her youth as a strong-willed middle child and immigrant; and that of the young life of Mayari, the mythical daughter of a god. Both are tales of sisterhood and motherhood, and of the difficult experience of trying to fit into a new culture, and having to fight for a home and acceptance. Glorious and layered, this is a portrait of family and strength for the ages.
A biography of nineteenth-century Russian novelist Leo Tolstoy, discussing his childhood and youth, his stint in the military, his discovery of Europe, his relationships, and his writing.
An examination of the lingering effects of a hydroelectric power station on Pimicikamak sovereign territory in Manitoba, Canada. The child of South Asian migrants, Kazim Ali was born in London, lived as a child in the cities and small towns of Manitoba, and made a life in the United States. As a man passing through disparate homes, he has never felt he belonged to a place. And yet, one day, the celebrated poet and essayist finds himself thinking of the boreal forests and lush waterways of Jenpeg, a community thrown up around the building of a hydroelectric dam on the Nelson River, where he once lived for several years as a child. Does the town still exist, he wonders? Is the dam still operational? When Ali goes searching, however, he finds not news of Jenpeg, but of the local Pimicikamak community. Facing environmental destruction and broken promises from the Canadian government, they have evicted Manitoba’s electric utility from the dam on Cross Lake. In a place where water is an integral part of social and cultural life, the community demands accountability for the harm that the utility has caused. Troubled, Ali returns north, looking to understand his place in this story and eager to listen. Over the course of a week, he participates in community life, speaks with Elders and community members, and learns about the politics of the dam from Chief Cathy Merrick. He drinks tea with activists, eats corned beef hash with the Chief, and learns about the history of the dam, built on land that was never ceded, and Jenpeg, a town that now exists mostly in his memory. In building relationships with his former neighbors, Ali explores questions of land and power?and in remembering a lost connection to this place, finally finds a home he might belong to. Praise for Northern Light An Outside Magazine Favorite Book of 2021 A Book Riot Best Book of 2021 A Shelf Awareness Best Book of 2021 “Ali’s gift as a writer is the way he is able to present his story in a way that brings attention to the myriad issues facing Indigenous communities, from oil pipelines in the Dakotas to border walls running through Kumeyaay land.” —San Diego Union-Tribune “A world traveler, not always by choice, ponders the meaning and location of home. . . . A graceful, elegant account even when reporting on the hard truths of a little-known corner of the world.” —Kirkus Reviews “[Ali’s] experiences are relayed in sensitive, crystalline prose, documenting how Cross Lake residents are working to reinvent their town and rebuild their traditional beliefs, language, and relationships with the natural world. . . . Though these topics are complex, they are untangled in an elegant manner.” —Foreword Reviews (starred review)
NAMED A BEST BOOK OF 2020 BY THE NEW YORK TIMES, THE GUARDIAN, THE BROOKLYN RAIL, THE GLOBE AND MAIL, POP MATTERS, COMICS BEAT, AND PUBLISHERS WEEKLY From the “heir to R. Crumb and Art Spiegelman” (Economist), a masterful work of comics journalism about indigenous North America, resource extraction, and our debt to the natural world The Dene have lived in the vast Mackenzie River Valley since time immemorial, by their account. To the Dene, the land owns them, not the other way around, and it is central to their livelihood and very way of being. But the subarctic Canadian Northwest Territories are home to valuable resources, including oil, gas, and diamonds. With mining came jobs and investment, but also road-building, pipelines, and toxic waste, which scarred the landscape, and alcohol, drugs, and debt, which deformed a way of life. In Paying the Land, Joe Sacco travels the frozen North to reveal a people in conflict over the costs and benefits of development. The mining boom is only the latest assault on indigenous culture: Sacco recounts the shattering impact of a residential school system that aimed to “remove the Indian from the child”; the destructive process that drove the Dene from the bush into settlements and turned them into wage laborers; the government land claims stacked against the Dene Nation; and their uphill efforts to revive a wounded culture. Against a vast and gorgeous landscape that dwarfs all human scale, Paying the Land lends an ear to trappers and chiefs, activists and priests, to tell a sweeping story about money, dependency, loss, and culture—recounted in stunning visual detail by one of the greatest cartoonists alive.
The "Today" co-anchor shares the inspiring stories of people who found their life's purpose in unexpected ways, from a Wall Street investment banker-turned-minister to a blue-collar woman who attended Harvard Medical School.
Popular cozy enthusiast and blogger, Liz Marie, and her husband Jose Galvan draw on the sweet story of bringing home a lamb to White Cottage Farm to craft We Belong to Each Other, their first children's book, which focuses on finding family. At first, Grace feels as if she doesn’t belong because she is the only sheep at White Cottage Farm. But as she experiences the love of the other animals and of the kind man and woman and their baby, she begins to feel safe in her new home and recognizes that God provided her with a loving family. With delightful rhyming text and cozy farm illustrations, children will learn: The affirming message that home is any place filled with love Families come in all shapes and sizes How to embrace acceptance with love and patience We Belong to Each Other is perfect for: Ages 4-8 Readers who enjoyed Liz's creativity and welcoming voice in Cozy White Cottage Baby showers and adoption celebrations, birthdays, Gotcha Days, and weddings of blended families You'll love holding your children close as you share the heart of this book with them over and over: we belong to each other.