All Our Stories Are Here

This wide-ranging collection of essays addresses a diverse and expanded vision of Montana literature, offering new readings of both canonical and overlooked texts. Although a handful of Montana writers such as Richard Hugo, A. B. Guthrie Jr., D'Arcy McNickle, and James Welch have received considerable critical attention, sizable gaps remain in the analysis of the state's ever-growing and ever-evolving canon. The twelve essays in "All Our Stories Are Here" not only build on the exemplary, foundational work of other writers but also open further interpretative and critical conversations. Expanding on the critical paradigms of the past and bringing to bear some of the latest developments in literary and cultural studies, the contributors engage issues such as queer ambivalence in Montana writing, representations of the state in popular romances, and the importance of the University of Montana's creative writing program in fostering the state's literary corpus. The contributors also explore the work of writers who have not yet received their critical due, take new looks at old friends, and offer some of the first explorations of recent works by well-established artists. "All Our Stories Are Here" conveys a sense of continuity in the field of Western literary criticism, while at the same time challenging conventional approaches to regional literature.

Winner of the 2003 Trillium Book Award "Stories are wondrous things," award-winning author and scholar Thomas King declares in his 2003 CBC Massey Lectures. "And they are dangerous." Beginning with a traditional Native oral story, King weaves his way through literature and history, religion and politics, popular culture and social protest, gracefully elucidating North America's relationship with its Native peoples. Native culture has deep ties to storytelling, and yet no other North American culture has been the subject of more erroneous stories. The Indian of fact, as King says, bears little resemblance to the literary Indian, the dying Indian, the construct so powerfully and often destructively projected by White North America. With keen perception and wit, King illustrates that stories are the key to, and only hope for, human understanding. He compels us to listen well.

A bold and unconventional collection of first-person stories told and illustrated by immigrants and refugees living across the United States. Stanford scientist, deaf student, indigenous activist, Black entrepreneur-all immigrants and refugees-recount journeys from their home countries in ten vibrantly illustrated stories. Faced by unfamiliar vistas, they are welcomed with possibilities, and confronted by challenges and prejudice. Timely, sobering, and insightful, Our Stories Carried Us Here acts as a mirror and a light to connect us all with immigrant and refugee experiences. Green Card Voices works to educate and empower communities by amplifying first-person stories of America's immigrants. Edited by Tea Rozman, Julie Vang, and Tom Kaczynski. Cover by Nate Powell. Foreword by Thi Bui

Celebrate the act of giving with the beloved characters from the beloved bestseller All Are Welcome! This Step 2 early reader is perfect for emerging readers who are learning to give back to their communities. Get together, lend a hand. Can we do it? Yes, we can! The kids from All Are Welcome are working together to give back to their community. How do they do it? By gathering a team to follow a dream and lending a hand when someone is in need. Step 2 readers use basic vocabulary and short sentences to tell simple stories. They are ideal for children who recognize familiar words and can sound out new words with help. Perfect for children who are ready to read on their own!

“. . . to suddenly discover yourself existing . . . .” Our Stories: An Introduction to South Asian America is an anthology rooted in community. Bringing together the voices of sixty-four authors—including a wide range of scholars, artists, journalists, and community members—Our Stories weaves together the myriad histories, experiences, perspectives, and identities that make up the South Asian American community. This volume consists of ten chapters that explore both the history of South Asian America, spanning from the 1780s through the present day, and various aspects of the South Asian American experience, from civic engagement to family. Each chapter offers stories of struggle, resistance, inspiration, and joy that disrupt dominant narratives that have erased South Asian Americans’ role in U.S. history and made restrictions on our belonging. By combining these narratives, Our Stories illustrates the diversity, vibrancy, and power of the South Asian American community.

This book presents the stories of 20 women from Bradford between the ages of 14 and 80. It offers an intricate mosaic of the experiences, views and hopes of these women and in so doing emphasises the power of people's lives to aid deeper debate and understanding and gives voice to an important and often marginalised group.

What is home? The answer seems obvious. But Telling Our Stories of Home, an international collection of eleven plays by and about women from Lebanon, Haiti, Venezuela, Uganda, Palestine, Brazil, India, UK, and the US, complicates the answer. The "answer" includes stories as far-ranging as: enslaved women trying to create a home, one by any means necessary, and one in the ocean; siblings wrestling with their differing devotion to home after their mother's death; a family wrestling with the government's refusal to allow the burial of their soldier-son in their hometown; a young scholar attempting to feel at home after studying abroad; a young man fleeing home due to his sexual orientation only to discover the difficulty of creating home elsewhere, and Siddis (Indians of African descent) continuing to struggle for acceptance despite having lived in India for over 600 years. These are voices seldom represented to a larger audience. The plays and performance pieces range from 20 to 90-minute pieces and include a mix of monologue, duologue, and ensemble plays. Short yet powerful, they allow fantastic performance opportunities particularly in an age of social-distancing with flexible casts that together invite the theme of home to be performed and studied on the page. The plays include: The House by Arzé Khodr (Lebanon), Happy by Kia Corthron (US), The Blue of the Island by Évelyne Trouillot (Haiti), Nine Lives by Zodwa Nyoni (UK), Leaving, but Can't Let Go by Lupe Gehrenbeck (Venezuela), Questions of Home by Doreen Baingana (Uganda), On the Last Day of Spring by Fidaa Zidan (Palestine) Letting Go and Moving On by Louella Dizon San Juan (US), Antimemories of an Interrupted Trip by Aldri Anunciação (Brazil), So Goes We by Jacqueline E. Lawton (US), and Those Who Live Here, Those Who Live There by Geeta P. Siddi and Girija P. Siddi (India)

Many preachers ignore preaching from the Old Testament because they feel it is outdated in light of the New Testament and difficult to expound. On the other hand, some preachers will preach from the Old Testament frequently but fail to handle it correctly, turning it into moralistic rules or symbolic lessons for our spiritual life. In How to Preach and Teach the Old Testament for All Its Worth, Christopher J. H. Wright proclaims that preachers must not ignore the Old Testament. It is the Word of God! The Old Testament lays the foundation for our faith and it was the Bible that Jesus read and used. Looking first at why we should preach from the Old Testament, the author moves on to show the reader how they can preach from it. Covering the History, Law, Prophets, Psalms, and Wisdom Literature, interspersed with practical checklists, exercises, and sermons, Wright provides an essential guide on how to handle the Old Testament responsibly.