Dancing In Paradise Burning In Hell

An often overlooked segment of Maine (and American) history is the story of women in the working class dance industries. Generally looked upon with a gasp of shock, burlesque and vaudeville dancing, and later taxi dancing and marathon dancing, were often the only way for women to survive (In taxi dancing, men paid women by the dance; while marathon dancing was a contest and women tried to outlast each other on the dance floor.) In turn-of-the-20th-century Maine, this new form of dancing was taking off, as it was elsewhere in the country. Historian Trudy Irene Scee explores the dance industries of Maine, how they were effected by national events, and how events in Maine effected national trends. She explores the difficulties women faced at that time and how they turned to new forms of entertainment to make money and pay for food and shelter. The focus of the book centers on the 1910s through the 1970s, but extends back into the 1800s, largely exploring the dance halls of the nineteenth century (be they saloons with hurdy-gurdy girls and the like, or dance halls with women performing the early forms of taxi- and belly dancing), and includes a chapter on belly dancing and other forms of dance entertainment in Maine in the 1980s to early 2000s. The newest form of dance—striptease dancing—is not be examined specifically, but is discussed as it pertains to the other dance forms. The book forms a unique look at one segment of Maine history and is a terrific addition to the literature on women’s issues.

Many nefarious characters have passed through Maine on their way to infamy, including the pirates Dixie Bull and Blackbeard (Edward Teach), and gangster Al Brady, who was gunned down by G-men in the streets of Bangor. The rogues and scoundrels assembled in this book, however, are either Maine natives or notorious individuals whose mischief, misdeeds, or mayhem were perpetrated in the Pine Tree State.

In 1831 a new entity appeared on the American landscape: the garden cemetery. Meant to be places where the living could enjoy peace, tranquility and beauty, as well as to provide a final resting place for the dead, the garden cemeteries would forever change the culture of death and burial in the United States. The ideal cemetery would become one in which ornamental trees, bushes, flowers, and waterways graced the ever more artistic (for those who could afford them) monuments to the dead. Previous to the 1830s, the deceased were buried in church lots, in small and soon overcrowded public lots, and even, occasionally in backyards and fields. Graves were often untended, weeds and decay soon took over, and the frequently used wooden grave markers rotted away. Some turned to a movement emerging in Europe, in which horticulture was starting to become a factor in cemetery planning, at a time in which cemetery planning itself was a novel idea. New England was the first region in America to take up the new ideals. The first such cemetery, Mt. Auburn, opened in Cambridge, Massachusetts, in 1831, and Mount Hope Cemetery, in Bangor, Maine, followed in 1834. Today, these cemeteries are both beautiful places to visit and important historical sites. The author takes readers on a historical tour of eighteen of the Northeast's garden cemeteries, exploring the landscape architecture, the stunning beauty, and delving into the rich history of both the sites and of those who are buried there.

The Great Open Dance offers a progressive Christian theology that endorses contemporary ideals: environmental protection, economic justice, racial reconciliation, interreligious peace, gender equality, and LGBTQ+ celebration. Just as importantly, this book provides a theology of progress—an interpretation of Christian faith as ever-changing and ever-advancing into God’s imagination. Faith demands change because Jesus of Nazareth started a movement, not a tradition. He preached about a new world, the Kingdom of God, and invited his followers to work toward the divine vision of universal flourishing. This vision includes all and excludes none. Since we have not yet achieved the world that Jesus describes, we must continue to progress. The energizing impulse of this progress is the Trinity: Abba, Jesus, and Sophia, three persons united by love into one perfect community. God is fundamentally relational, and humankind, made in the image of God, is relational as a result. We are inextricably entwined with one another, sharing a common purpose and a common destiny. In this vision, we find abundant life by practicing agape, the universal, unconditional love that Abba extends, Jesus reveals, and Sophia inspires.

Words have their own lives independent from their function as describers of real worlds. They hold time and place but also can help us imagine new worlds. They preserve our experience against the dismantling force of death ... This is why Im fascinated with words. As well as a writer, I am a painter and a poet. I teach college art and film classes and work at a variety of tasks looking for satisfaction.

DANCE is poetry as performance, precarious and joyful, a three-part journey through hell, earth, and paradise.

In its northern fastness Britannia - despite all the benefits of the Pax Romana, with its technology and brutally rationalist philosophy - has kept its mysterious secrets, hidden deep in the wild forests that still cover much of the land. As the Empire gathers its forces, three young people hold the future in their hands: the Roman Viti, now known as Coll, Angus the mechanic-turned-revolutionary and Mirana the student, now in touch with strange powers. And as the cold, rational imperatives of Rome meet the wild magic of an older world, the Empire's dominion will at last be challenged. The Burning Forest: the triumphant conclusion to the magical epic A Land Fit for Heroes.