A thematic, illustrated guide to the Cairo Genizah collections at Cambridge University Library.

As the Soviet Union teetered on the edge of collapse during the late 1980s, and America prepared to claim its victory, a bloody war still raged in Southern Africa, where proxy forces from both sides vied for control of Angola. The result was the largest battle on the dark continent since Al Alamein, with forces from both sides paying in blood what U.S. -Soviet diplomats were otherwise spending in diplomacy.The socialist government of Angola and its army, FAPLA, fully stocked with Soviet weapons, had only to wipe out a massive resistance group, UNITA, secretly supplied by the U.S, in order to claim full sovereignty over the country. A giant FAPLA offensive so threatened to succeed in overcoming UNITA that apartheid-era South Africa stepped in to protect its own interests. The white army crossing the border prompted the Angolan government to call on their own foreign reinforcements—the army of Communist Cuba’s.Thus began the epic battle of Cuito Cuanavale, largely unknown in the U.

A biography of Abū al-Faḍl al-ʿAbbās, the half brother, diplomat, and negotiator of al-Ḥusayn. The author was named Distinguished Scholar of Shia Studies in the Islamic Republic of Iran's 28th World Book Awards in 2020. He is at present a resident faculty member of PISAI, lecturing in Shīʿī Islamic studies, Qurʾān and Islamic Ethics, and a visiting lecturer at the Pontifical Beda College in Rome.

Which Side Are You On? tells the story of the classic union song that was written in 1931 by Florence Reece in a rain of bullets. It has been sung by people fighting for their rights all over the world. Florence's husband Sam was a coal miner in Kentucky. Many of the coal mines were owned by big companies, who kept wages low and spent as little money on safety as possible. Miners lived in company houses on company land and were paid in scrip, good only at the company store. The company owned the miners sure as sunrise.That's why they had to have a union. Miners went on strike until they could get better pay, safer working conditions, and health care. The company hired thugs to attack union organizers like Sam Reece.George Ella Lyon tells this hair-raising story through the eyes of one of Florence's daughters, a dry-witted, pig-tailed gal whose vantage point is from under the bed with her six brothers and sisters. The thugs' bullets hit the thin doors and windows of the company house and the kids lying low wonder whether they're going to make it out of this alive; wonder exactly if this strike will make their lives better or end them, but their mother keeps scribbling and singing. "We need a song," she tells her kids. That's not at all what they think they need. Graphic novelist Christopher Cardinale brings Florence's triumphant story to life in true rip-roaring union style.

In Vietnam, in 1967, William Chickering commanded a Mike Force battalion of Montagnards, highland tribesmen who were also members of a secret army, FULRO. Some senior American commanders worried that FULRO was communist, but those who fought with them understood that the goal of the United Front for the Liberation of Oppressed Races was to drive all Vietnamese—including communists—from the highlands. For a while, FULRO appeared capable of changing the course of the war in Vietnam. Then, inexplicably, it faded away.Chickering’s quest to understand FULRO took him to Phnom Penh in 1973, where he found five of the six leaders, the sixth having been mysteriously murdered. He was unable to discern the truth behind their political smoke, and just two years later, 150 of them—men, women, and children—disappeared into the maw of the Khmer Rouge. Among them was the family of Bhan, one of the leaders, who had been in the United States when Phnom Penh fell.In 1986, Bhan headed back to Southeast Asia to learn their fate. He resurfaced in Cambodia 22 years later, after an extraordinary odyssey. He had never found his family. Were they, and the rest of the FULRO Montagnards, executed by the Khmer Rouge, or could they still be alive, somewhere in Cambodia? Determined to finally unveil the truth, Chickering moved to Phnom Penh. His research led him to the widow of a Cambodian Cham widely assumed to have been FULRO’s sinister puppeteer, and eventually to FULRO’s secret papers. From these he was able to piece together why FULRO faded away, and how FULRO’s failure was connected to its one last heroic shot in 1965 to win a country for the Montagnards.This extraordinary account reveals a previously untold aspect to the Vietnam War: how a minority with dreams of reclaiming their homeland used the protagonists in a wider conflict to try and further their own ends, and almost succeeded.

Lyric meditations on writing poetry in a time of ecological crisis and right wing populismDuring the time of an increasingly powerful alt-right which was also the time when species extinction was ever increasing, Juliana Spahr sat down to read Brecht. She was looking for an answer to Brecht's question about the dark times, about whether there will also be singing during the dark times. The answer that Brecht provides is that yes, that poets will sing of the dark times. In the six ars poeticas that Spahr writes, she sings of the dark times but also of coral, the pop song's possible liberation, and the love of comrades. She writes not only of the rich history of what politics and poetry have done with each other, but what they might yet do together.[Sample Poem]from ARS POETICA 1: CORALTo write poetry after Castle Bravo. Then to write poetry after 1500 feet. After high-quality steel frame buildings not completely collapsed, except all panels and roofs blown in. After 2,000 feet. After reinforced concrete buildings collapsed or standing but badly damaged. After 3,500 feet. After church buildings completely destroyed. After brick walls severely cracked. After 4,400 feet. After 5,300 feet. After roof tiles bubbled and melted. After 6,500 feet. After mass distortion of large steel buildings. To write the Cold War and doves. The Cold War and tapeworms. The Cold War and sails of ships. The Cold War and the steel of bridges. To write poetry after that. To write in a world with few nutrients, one that rocks back and forth. The same beginning in both the sea and the land. To write poetry that knows a hard, cup-shaped skeleton. And then poetry that knows the long, stinging tentacles capturing. Knows the water. The Atlantic and the Pacific. The connections between. The one moving into the other. To develop poetry in the stomach that then exits through the mouth which is the anus. To write poetry in the blue that is the absence of green. Light penetration. Whorls of tentacles. The slime earth too. Hunters and farmers. Shallow water. Few nutrients. High fecundity. Rapid growth. Multiarmed morphology and tube feet. To write tube feet. To write the exact place. Seaward slope place. Sea terrace place. Algal ridge place. Coral algal zone place. Seaward reef flat place. Islet or interisland reef crest place. Lagoon reef flat place. Lagoon terrace place. Lagoon floor or basin place. Coral knolls, pinnacle and patch reefs place. To write poetry after.

In 1927, when aviator Charles A. Lindbergh flew his famous monoplane in a triumphant tour of the United States, the Spirit of St. Louis touched down in Wheeling, West Virginia, for his visit to the Linsly School. There, Lindbergh laid a wreath at the foot of the Aviator—a statue erected by Sallie Maxwell Bennett bearing the likeness of her son, Louis Bennett Jr., West Virginia's only First World War flying ace. Though largely unknown today, Bennett was an airpower innovator whose tragically short combat career would have an enduring impact on American flight and on war memorials both at home and abroad. In Balloon Ace: The Life of an Early Airpower Visionary, historian Charles Dusch reconstructs Louis Bennett Jr.'s lost legacy. Advocating for a national aviation reserve years before the writings of "Billy" Mitchell, Bennett created a state aerial militia in 1917, complete with supporting airbases and an airplane factory. When the US Army refused to accept his unit, a frustrated Bennett joined the Royal Air Force to fight on the Western Front, destroying nine German balloons and three aircraft in a matter of days before he himself was shot down. In the second act of Bennett's story, Dusch traces Sallie Bennett's quest to clandestinely recover her son's body. Posing as a journalist, Sallie traveled to Europe searching the cemeteries on the Western Front and later commissioned twelve memorials to Bennett, including a chapel in France, the RAF window in Westminster Abbey, and the Aviator at Linsly. Moved by the vast destruction of the continent, she would eventually cross political boundaries to bring much-needed publicity to other mothers' demands for the US government to repatriate their own fallen loved ones.

Native puppeteers from the White Earth Reservation search for the meaning of lifeTheatre of Chance is the final novel in the series that started with Blue Ravens, and continued with Waiting for Wovoka, about a group of native puppeteers from the White Earth Reservation in Minnesota. The characters continue their adventures from the White Earth Reservation to an existential colony: the urban reservation in Minneapolis. Basile, the native elder, has become an editorial writer, and the stowaways continue their creative puppet parleys in the context of the historical moment, enduring with ironic parleys the election of Richard Nixon as president. Dummy Trout and the stowaways secure a houseboat and with the loyal mongrels return to French Portage Narrows in Lake of the Woods, the birthplace of Dummy Trout. There, for the first time in more than seventy years she whispers a few words, ending the shamanic silence of her marvelous encounters on the White Earth Reservation and in the native existential colony of Minneapolis.

Evocative new photographs of Connecticut by celebrated photographer William Earle Williams provide insight to the stories of Black American historyTheir Kindred Earth gathers images of Black Connecticut's historic sites by celebrated photographer William Earle Williams. A series of connected essays illuminate how these sites connect to the larger national and international narrative of Black American history. Over the past forty years artist William Earle Williams (born 1950) has made sites of African American history more visible through his exquisite photographs. Mentored in the 1970s by the famed photographer Walker Evans, who had a home in Lyme, Williams attended the Yale School of Art at Evans's suggestion. From that Connecticut inception, Williams embarked on a decades-long journey to identify and photograph places across the country that hold histories of the slave trade, the Underground Railroad, and emancipation. Many remain unmarked and largely overlooked in a society that has long ignored Black history. New archival research has yielded revelations about how we understand Connecticut history. In this book, Williams creates photographs that bring visibility and pay tribute to the unrecognized people who contributed to Connecticut culture and its landscape. The book includes photographs from New London, Old Lyme, Farmington, Middletown, Norwich, New Haven, Hartford, Canterbury, Brooklyn (CT), and Greenwich, including sites of importance to Black figures in the state, such as Venture Smith and David Ruggles. It features essays by Cheryl Finley, Frank Mitchell, Jennifer Stettler Parsons, Carolyn Wakeman, and Deborah Willis.

New in paperback edition of the first critical biography of this visionary artist written by a dance scholar.Simone Forti, groundbreaking improvisor, has spent a lifetime weaving together the movement of her mind with the movement of her body to create a unique oeuvre situated at the intersection of dancing and art practices. Her seminal Dance Constructions from the 1960s crafted a new approach to dance composition and helped inspire the investigations of Judson Dance Theater. In the 1970s, Forti's explorations of animal movements expanded that legacy to launch improvisation as a valuable artform in its own right. From her early forays into vocal accompaniment to her News Animations, Forti has long integrated gesture and text into compelling performances that consistently stretched the boundaries of dance to layer abstract movement with story-telling and political commentary. Her "Land Portraits" series brought an immersive ecological experience to New York City stages in the 1980s, and she is a beloved teacher and mentor whose Body, Mind, World workshops have inspired dancers around the world. In this beautifully written book, author Ann Cooper Albright braids archival research, extensive interviews, and detailed movement analyses of Forti's performances to provide the first kinesthetically-informed and critically-nuanced history of Forti's multifaceted and extensive career.

Rebecca’s Lehmann’s The Sweating Sickness contains wide-ranging topics—the suicide of an abusive ex, parenting young children, fairytales, reproductive rights, domestic violence, ghost stories, ancient myth—all set to the backdrop of the COVID-19 pandemic. Both personal and political, these poems interrogate how we grieve, what it means to be a woman in post-Roe America, and how private and public ghosts can come back to haunt us. Surrealist, maximalist, formal, and with an ear to the underworld, The Sweating Sickness spins the reader into an eco-fabulist wonderland, where anything can happen, and does.

Watching the River Run, A Photographic Journey Down the Youghiogheny, is the perfect photographic companion to Palmer's classic Youghiogheny, Appalachian River

This book provides the exciting results of a long-term project examining Bronze Age round barrow construction and burial practices in Orkney, Scotland. A main focus of this research is on the act of cremation; a technology of bodily metamorphosis as articulated through complex mortuary practices, which produced a distinctive form of funerary architecture. This, and other topical themes, are explored through the results of extensive excavations at several barrow cemeteries including Linga Fiold, Gitterpitten, Varme Dale, Vestrafiold and the Knowes of Trotty, the latter being famous for rich grave goods including gold discs and amber beads. In this context, in being built on the ruins of an early Neolithic settlement, Knowes of Trotty provides an intersection of relational fields, fusing local tradition with faraway places.At Linga Fiold, the barrow cemetery was almost entirely excavated, and by employing sophisticated recovery techniques and analyses, unique evidence is presented for a complex sequence of barrow building and mortuary practices. This enables the reconstruction of an extraordinary ritual journey of the deceased from cremation pyre to final interment.Additionally, several cist excavations are published here for the first time. This evidence allows an appraisal of the developing cist burial tradition in Orkney through the Chalcolithic and Bronze Age, from the insertion of remains into chambered tombs and large re-enterable unobtrusive cists, to the development of imposing linear barrow cemeteries, to the drawing in of the dead closer to home.Overall, the new findings presented here allow a reconsideration of the chronology and specifics of changing Orcadian burial technologies and traditions: clearly, such results have significance beyond Orkney for understanding the complexities of Bronze Age cremation and burial practices across Britain and north-west Europe.