The House of Remember When focuses on a middle-aged man, Neil Moreland, who is dealing with a broken marriage, a boring job, and an estranged father suffering from dementia. Written in first-person narrative, the story weaves significant life events into his present-day problems as Neil attempts to put his life and family back together. From the beginning, Neil is drawn to an old abandoned home that turns out to be a time portal that allows him to go back in time to relive past moments in his life. With the help of a guide, Dobie, he chooses events that had a significant negative or positive impact on his life and personality. Unlike with a theoretical time machine, Neil is not able to change his actions or the outcome of the previous event, but he is able to review the experience and see it from a new perspective. In the process, Neil is better able to deal with the death of a significant loved one and to fill the emptiness in his life. Learning that faith and trust are critical to any relationship, Neil takes one last trip back in time to his wedding day to review his vows to his wife, Rachel.

Tells the full story of house music in Chicago, from its emergence to its queer remediation to its memorialization from the late '70s to the present.

A medieval curse gives Brother and Sister Bear an adventure they’ll never forget! On a beautiful sunny day in Bear Country Park, Brother Bear is riding his skateboard and Sister Bear and her new butterfly friend are skipping rope. Then they notice a sign on the Shagbark Hickory Bulletin Board: HELP WANTED! AT ARCHEOLOGICAL DIGS. Determined to be the first to apply, Sister and Brother Bear hotpaw it to the Bearsonian Institution and meet Professor Actual Factual. He drives them to the dig, where Sister Bear unearths a medieval suit of armor, complete with a curse. They transport the find back to the museum and assemble the knight, hoping it will attract bears from all over. But the next morning, it comes charging out of the tower room! Will the exhibit go on and give everyone in Bear Country a true knight to remember?

"The first novel of a well known and well traveled author turns "home to India" for a story of young woman's choice of a way of life. The daughter of a brilliant lawyer whose crusading has helped the Congress Party and the cause of freedom but whose political usefulness has passed, Baba lives in Bombay, was educated in England, but thinks of her grandmother's country house in Jalnabad as home. It is at the New Year's party in 1947 that Baba meets the young American couple, the Nichols, and is drawn by their open love for one another and enthusiasm for exotic India. Her friend Pria, clannish and withdrawn from the Americans, tells her that they have no place in the Indian way of life -- and as the Americans retreat, bewildered by their encounter with Indians and attempts to be friends, Baba sees the truth the Pris's remark. Still, imbued with the idea of romantic love they embody, she will not marry Hari, the eligible companion and suitor, until she has had a sour taste of infatuation for a young school teacher while visiting her mother and grandmother in Malabar -- her little adventure that provides her answer. Written with the attention to detail and authenticity of her non-fiction and with central interest focussed on a strenuous cultural exercise, this has another atmosphere from the more lyric and dramatic Some Inner Fury by Kamala Markandaya or from the more openly satirical A by R. Prawer Jhabvala."--Kirkus

Grammy Award winner Rhiannon Giddens celebrates Black history and culture in her unflinching, uplifting, and gorgeously illustrated picture book debut. I learned your words and wrote my song. I put my story down. As an acclaimed musician, singer, songwriter, and cofounder of the traditional African American string band the Carolina Chocolate Drops, Rhiannon Giddens has long used her art to mine America’s musical past and manifest its future, passionately recovering lost voices and reconstructing a nation’s musical heritage. Written as a song to commemorate the 155th anniversary of Juneteenth—which was originally performed with famed cellist Yo-Yo Ma—and paired here with bold illustrations by painter Monica Mikai, Build a House tells the moving story of a people who would not be moved and the music that sustained them. Steeped in sorrow and joy, resilience and resolve, turmoil and transcendence, this dramatic debut offers a proud view of history and a vital message for readers of all ages: honor your heritage, express your truth, and let your voice soar, even—or perhaps especially—when your heart is heaviest.

Today, no matter where you are in the world, you can turn on a radio and hear the echoes and influences of Chicago house music. Do You Remember House? tells a comprehensive story of the emergence, and contemporary memorialization of house in Chicago, tracing the development of Chicago house music culture from its beginnings in the late '70s to the present. Based on expansive research in archives and his extensive conversations with the makers of house in Chicago's parks, clubs, museums, and dance studios, author Micah Salkind argues that the remediation and adaptation of house music by crossover communities in its first decade shaped the ways that Chicago producers, DJs, dancers, and promoters today re-remember and mobilize the genre as an archive of collectivity and congregation. The book's engagement with musical, kinesthetic, and visual aspects of house music culture builds from a tradition of queer of color critique. As such, Do You Remember House? considers house music's liberatory potential in terms of its genre-defiant repertoire in motion. Ultimately, the book argues that even as house music culture has been appropriated and exploited, the music's porosity and flexibility have allowed it to remain what pioneering Chicago DJ Craig Cannon calls a "musical Stonewall" for queers and people of color in the Windy City and around the world.

Giving voice to the women who worked as maids—known as "house-girls" in the Pacific islands of Vanuatu—is the goal of this innovative work. The stories the women tell resonate with the experiences of domestic workers around the world; their histories contribute to theorizing intimacy and traveling culture; and their struggles with adverse working conditions help find solutions, which are outlined at the end of the book. In addition to contributions by the editors, workshop reports by eleven ni-Vanuatu women fieldworkers and ten others who spoke about their lives as house-girls are included. These reports detail ni-Vanuatu women’s experiences as domestic workers during the colonial period. One chapter presents an elderly French woman’s recollections of the Vietnamese orphan who grew up in her home and worked as a house-girl. Material from contemporary house-girls appears in a final chapter based on research conducted in Port Vila.