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  Steppe Nomads The: The History...

  Editors Charles River

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  Though history is usually written by the victors, the lack of a particularly strong writing tradition from the Mongols ensured that history was largely written by those who they vanquished. Because of this, their portrayal in the West and the Middle East has been extraordinarily (and in many ways unfairly) negative for centuries, at least until recent revisions to the historical record. The Mongols have long been depicted as wild horse-archers galloping out of the dawn to rape, pillage, murder and enslave, but the Mongol army was a highly sophisticated, minutely organized and incredibly adaptive and innovative institution, as witnessed by the fact that it was successful in conquering enemies who employed completely different weaponry and different styles of fighting, from Chinese armored infantry to Middle Eastern camel cavalry and Western knights and men-at-arms.  
  	Geographically the Tatars descend from several parts of Asia, particularly Central Asia, but the Crimean region has been the nexus of several great power rivalries and numerous conflicts. Yet the Crimean Tatars endured through many of these, aligning themselves with a number of larger powers and developing a reputation as fearsome warriors. Today the Tatars are mainly linked with and live in the Volga region of the Russian Federation. Indeed, Tatarstan is a republic in modern Russia. The “Volga Tatars” are perhaps the best known of the peoples known as Tatars and today number about 5 million people.  
  	Before the Mongols rode across the steppes of Asia and Eastern Europe, the Cumans were a major military and cultural force that monarchs from China to Hungary and from Russia to the Byzantine Empire faced, often losing armies and cities in the process. The Cumans were a tribe of Turkic nomads who rode the steppes looking for plunder and riches, but they rarely stayed long after they got what they wanted. 

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  Life in the Clearings Versus the...

  Susanna Moodie

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  As a middle class Englishwoman Moodie did not particularly enjoy "the bush", as she called it. She and her husband moved to Belleville in 1840, which she referred to as "the clearings". Here she described urban life, including religion, art, and education, especially as compared to relative lack of these things in "the bush". She studied the Family Compact and became sympathetic to the moderate reformers led by Robert Baldwin, while remaining critical of radical reformers such as William Lyon Mackenzie. This caused problems for her husband, who shared her views, but, as sheriff of Belleville, had to work with members and supporters of the Family Compact. (Summary from Wikipedia)This was read as a duet by Cori Samuel and Esther. Joined in section 9 by Jim Mowatt, and in section 12 by Glen Hallstrom.

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  Egyptian Book of the Dead and...

  Gerald Massey

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  There is no death in the Osirian religion, only decay and change, and periodic renewal; only evolution and transformation in the domain of matter and the transubstantiation into spirit. In the so-called death of Osiris it is rebirth, not death, exactly the same as in the changes of external nature. At the close of the day the solar orb went down and left the sun god staring blankly in the dark of death. Taht the moon god met him in Amenta with the eye of Horus as the light the was to illuminate the darkness of the subterranean world. –from “Egyptian Book of the Dead and the Mysteries of Amenta” It goes unappreciated by modern Egyptologists, but it is embraced by those who savor the concept of a “hidden history” of humanity, and those who approach all human knowledge from the perspective of the esoteric. Gerard Massey’s massive Ancient Egypt: The Light of the World–first published in 1907 and the crowning achievement of the self-taught scholar–redefines the roots of Christianity via Egypt, proposing that Egyptian mythology was the basis for Jewish and Christian beliefs. Here, Cosimo proudly presents Book 4 of Ancient Egypt, in which Massey discusses the Egyptian Book of the Dead as the “pre-Christian word of God,” and explores the idea that Amenta, the threshold to the Egyptian underworld, is the first overt expression of a human desire for a noncorporeal afterlife. Massey goes on to connect the “mystery of the mummy” to “the mystery of the Christ” by likening the Christian dogma of physical resurrection to the Egyptian impetus for mummification. Peculiar and profound, this work will intrigue and delight readers of history, religion, and mythology. British author GERALD MASSEY (1828-1907) published works of poetry, spiritualism, Shakespearean criticism, and theology, but his best-known works are in the realm of Egyptology, including A Book of the Beginnings and The Natural Genesis.

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  Here's the Deal - Based on a...

  Stefan Pride, Kashel Char

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  As Daniel drives his new sports car from Cincinnati to Nashville, he notices a hitchhiker thumbing a ride on the side of the highway. In the blink of an eye, a simple game plan forms in the young scholar’s mind. Pulling over, he offers the sexy older man a ride…with conditions.
   
  Mike accepts the conditional offer from the very handsome and arrogant rich boy.
   
  
   
  The deal was straightforward at first—a ride for a ride...
   
  Warning: This book is not intended for readers under 18 years of age. This story has explicit and graphic depictions unsuitable for young and sensitive readers or anyone offended by gay sex.Stefan had invited Kashel to co-author and update his previously published book, “The Twisted Deal,” preparing it for an audiobook recording. It was retitled Here’s the Deal—copyright ©2021 by Stefan Pride and Kashel Char.

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  State of Disaster - The Failure...

  Maria Cristina Garcia

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  Natural disasters and the dire effects of climate change cause massive population displacements and lead to some of the most intractable political and humanitarian challenges seen today. Yet, as Maria Cristina Garcia observes in this critical history of U.S. policy on migration in the Global South, there is actually no such thing as a "climate refugee" under current U.S. law. Most initiatives intended to assist those who must migrate are flawed and ineffective from inception because they are derived from outmoded policies. In a world of climate change, U.S. refugee policy simply does not work. 
   
   
   
  Garcia focuses on Central America and the Caribbean, where natural disasters have repeatedly worsened poverty, inequality, and domestic and international political tensions. She explains that the creation of better U.S. policy for those escaping disasters is severely limited by the 1980 Refugee Act, which continues to be applied almost exclusively for reasons of persecution directly related to politics, race, religion, and identity. Garcia contends that the United States must transform its outdated migration policies to address today's realities. Climate change and natural disasters are here to stay, and much of the human devastation left in their wake is essentially a policy choice.

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  Red Paint - The Ancestral...

  Sasha LaPointe

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  Sasha LaPointe has always longed for a sense of home. When she was a child, her family moved around frequently, often staying in barely habitable church attics and trailers, dangerous places for young Sasha. 
   
   
    
  With little more to guide her than a passion for the thriving punk scene of the Pacific Northwest and a desire to live up to the responsibility of being the namesake of her beloved great-grandmother—a linguist who helped preserve her Indigenous language of Lushootseed—Sasha throws herself headlong into the world, determined to build a better future for herself and her people. 
   
   
    
  Set against a backdrop of the breathtaking beauty of Coast Salish ancestral land and imbued with the universal spirit of punk, Red Paint is ultimately a story of the ways we learn to find our true selves while fighting for our right to claim a place of our own. 
   
   
    
  Examining what it means to be vulnerable in love and in art, Sasha offers up an unblinking reckoning with personal traumas amplified by the collective historical traumas of colonialism and genocide that continue to haunt native peoples. Red Paint is an intersectional autobiography of lineage, resilience, and, above all, the ability to heal.

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