Ross Parsons has been working with HIV-positive children in Mutare since 2005. As a child psychotherapist, he was interested in exploring how a therapeutic group, meeting regularly, might offer a way of elaborating and meeting their needs. His account of these experiences is presented as a rare blend of anthropological and psychotherapeutic approaches to the study of children, and he is candid about the close, even intimate, relationships that resulted: I have crossed the classical ethnographic and psychoanalytic boundary of the cool observer. The therapist, while still awkwardly present, has also become an advocate in pursuit of the ethnographic. The period of his research coincided with one of deep crisis in Zimbabwes economy: employment opportunities were few, public health and education services were in decay, and the prospects were grim for those on the margins of society. In the course of my fieldwork I have attended too many funerals. In the absence of state support, the poor look variously to international NGOs, and to the church. Parsons offers telling insights into the crossroads of donated pharmaceuticals and Christian faith, and is constantly alert to the place of traditional spirituality and ties of kinship.

"Zimbabwe stands at the epicentre of the global HIV epidemic. Families are severely depleted by death and migration. HIV infection is often lived in secrecy despite obvious physical manifestations. This study seeks to describe the specificity of the Zimbabwean context as it affects the lives of HIV-positive children in the eastern town of Mutare at a time of severe crisis in the state, marked by impoverishment, organised violence and mass death." -- Book jacket.

Preston McDaniels uses his wit, wisdom, and talent to help children understand the deeper meaning of this 1865 Baring-Gould song.

*A New York Times Notable Book* *A New York Times Book Review Editors' Choice* *A Publishers Weekly Top Ten Book of the Year* Binyavanga Wainaina tumbled through his middle-class Kenyan childhood out of kilter with the world around him. This world came to him as a chaos of loud and colorful sounds: the hair dryers at his mother's beauty parlor, black mamba bicycle bells, mechanics in Nairobi, the music of Michael Jackson—all punctuated by the infectious laughter of his brother and sister, Jimmy and Ciru. He could fall in with their patterns, but it would take him a while to carve out his own. In this vivid and compelling debut memoir, Wainaina takes us through his school days, his mother's religious period, his failed attempt to study in South Africa as a computer programmer, a moving family reunion in Uganda, and his travels around Kenya. The landscape in front of him always claims his main attention, but he also evokes the shifting political scene that unsettles his views on family, tribe, and nationhood. Throughout, reading is his refuge and his solace. And when, in 2002, a writing prize comes through, the door is opened for him to pursue the career that perhaps had been beckoning all along. A series of fascinating international reporting assignments follow. Finally he circles back to a Kenya in the throes of postelection violence and finds he is not the only one questioning the old certainties. Resolutely avoiding stereotype and cliché, Wainaina paints every scene in One Day I Will Write About This Place with a highly distinctive and hugely memorable brush.

(Piano Vocal). This sheet music features an arrangement for piano and voice with guitar chord frames, with the melody presented in the right hand of the piano part as well as in the vocal line.