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The weekly source of African American political and entertainment news.
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Haven't you ever wondered where time comes from, or what it's made of? Does it go on endlessly, or is there just a certain amount of it, like grains of sand in an egg timer? Is every bit of time the same as every other, or are there different types here and there? Why do some people struggle to cope if they have too much time, whilst others never seem to be able to find enough?What if time works differently for some people? People like Timothy Swift, for instance. He's always trying to find some time, to make time, to buy a little time...because he always has too much to do, and never enough time to do it in.But the funny thing is, no matter how little time Timothy has, he somehow gets everything done. And, remarkably, even when he doesn't have a single moment to spare, he can almost always find enough time do one more thing.And what about dreams? Does time work the same in dreams?
The Crisis, founded by W.E.B. Du Bois as the official publication of the NAACP, is a journal of civil rights, history, politics, and culture and seeks to educate and challenge its readers about issues that continue to plague African Americans and other communities of color. For nearly 100 years, The Crisis has been the magazine of opinion and thought leaders, decision makers, peacemakers and justice seekers. It has chronicled, informed, educated, entertained and, in many instances, set the economic, political and social agenda for our nation and its multi-ethnic citizens.
Can we love God and others without our desires eclipsing the very beauty, integrity and diversity toward which we are drawn; that is, can we love without trying to possess? Spanning centuries, continents, and religious traditions, Longing and Letting Go looks to Christian writer Hadewijch and Hindu songstress Mirabai to explore their inextricable practices of longing and letting go, and more particularly, the interreligious possibilities of passionate non-attachment for an interconnected, pluralistic world.
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The essays in this book chart how women’s profound and turbulent experiences of migration have been articulated in writing, photography, art and film. As a whole, the volume gives an impression of a wide range of migratory events from women’s perspectives, covering the Caribbean Diaspora, refugees and slavery through the various lenses of politics and war, love and family. The contributors, which include academics and artists, offer both personal and critical points of view on the artistic and historical repositories of these experiences. Selfies, motherhood, violence and Hollywood all feature in this substantial treasure-trove of women’s joy and suffering, disaster and delight, place, memory and identity. This collection appeals to artists and scholars of the humanities, particularly within the social sciences; though there is much to recommend it to creatives seeking inspiration or counsel on the issue of migratory experiences.
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