"Lark recounts...the sometimes peaceful, sometimes uneasy relationship between the Maori natives and the pakeha--the colonists. And the land, which can be rocky and formidable and also breathtakingly beautiful, is as much a character as anyone else." --Historical Novel Society New Zealand, 1893: William Martyn is better educated and more cultivated than the other men breaking their backs searching for gold near Queenstown. William is the son of landed Irish nobility, and he comes to town ready to invest in the best equipment. On his search for supplies, he encounters spirited and beautiful young Elaine O'Keefe, who promptly falls in love with him. He is captivated by her charms until Kura, Elaine's half-Maori cousin, comes to visit. William succumbs at once to Kura's exotic beauty and free-spiritedness, and tension develops not only between the two cousins but also between the colonial settlers and their Maori neighbors.

Helen Davenport, governess for a wealthy London household, spots an advertisement seeking young women to marry New Zealand's honorable bachelors and begins correspondence with a gentleman farmer. When her church offers to pay her travels under an unusual arrangement, she jumps at the opportunity. On the ship, she meets Gwyneira Silkham, traveling to meet a New Zealand baron who won her in a game of blackjack. When their new husbands turn out to be very different than expected, the women must help one another find the life they'd hoped for.

"Mary Summer Rain was the last student of the blind-from-birth Chippewa visionary, and spent many days in the remote cabin in the mountains with the woman who would become her beloved friend and teach her the many lessons of the spirit and of the Earth Mother." -- Back cover.

Songs for the Spirits examines the Vietnamese practice of communing with spirits through music and performance. During rituals dedicated to a pantheon of indigenous spirits, musicians perform an elaborate sequence of songs--a "songscape"--for possessed mediums who carry out ritual actions, distribute blessed gifts to disciples, and dance to the music's infectious rhythms. Condemned by French authorities in the colonial period and prohibited by the Vietnamese Communist Party in the late 1950s, mediumship practices have undergone a strong resurgence since the early 1990s, and they are now being drawn upon to promote national identity and cultural heritage through folklorized performances of rituals on the national and international stage. By tracing the historical trajectory of traditional music and religion since the early twentieth century, this groundbreaking study offers an intriguing account of the political transformation and modernization of cultural practices over a period of dramatic and often turbulent transition. An accompanying DVD contains numerous video and music extracts that illustrate the fascinating ways in which music evokes the embodied presence of spirits and their gender and ethnic identities.

A book of poetry, about awakening, the soul, and consciousness, and G-d.

When life gave Fenrir Goldson a second chance, he asked for a gift receipt.Mr. Goldson is filthy rich. He's also callous and cruel and hasn't got a festive bone in his ancient body. Naturally, he's due for a holiday haunting. When his business partner, Bolbi Baggs, announces that they're to be visited by three spirits, Mr. Goldson braces himself for a whirlwind tour of his past, present, and future.Typically, a trio of time-traveling ghosts heralds a heartwarming tale of hope and redemption for the human race. Mr. Goldson, however, isn't a member of the human race. He's a Dwarf, and Mr. Baggs is a Halfling, and the adventure that's about to take them across the enchanted world of Arth is anything but typical. Holiday magic and economic realities collide in A Song of Three Spirits. It's A Christmas Carol for the 21st century, with a dash of high fantasy. Read this hilarious satire of Charles Dickens's classic today!

Revealing the fascinating body of hymnal work that flourished in Southern communities populated by the children of slaves between 1885 and 1925, this stirring collection of spiritual songs sheds light on a vanished era. While these hymns owe much to their rural Southern origin, they are distinct from traditional gospel, borrowing heavily from the oral storytelling tradition of the region and possessing a rousing, repetitive nature. Twenty-four hymns from this underappreciated era in African American music are included, along with an extensive analysis of each work, providing a rare look into a pivotal generation of church music.