Where They Ain T

In the 1890s, the legendary Baltimore Orioles of the National League [sic] under the tutelage of manager Ned Hanlon, perfected a style of play known as "scientific baseball," featuring such innovations as the sacrifice bunt, the hit- and-run, the squeeze play, and the infamous Baltimore chop. Its best hitter, Wee Willie Keeler, had the motto "keep your eye clear and hit 'em where they ain't"--which he did. He and his colorful teammates, fierce third-baseman John McGraw, avuncular catcher Wibert Robinson, and heartthrob center fielder Joe Kelly, won three straight pennants from 1894 to 1896. But the Orioles were swept up and ultimately destroyed in a business intrigue involving the political machines of three large cities and collusion with the ambitious men who ran the Brooklyn Trolley Dodgers. Burt Solomon narrates the rise and fall of this colorful franchise as a cautionary tale of greed and overreaching that speaks volumes as well about the enterprise of baseball a century later.

1880s, The Wild West. An easy, solitary life on the outskirts of Ghosthallow is all Lou Ramirez wants. They want to buy some house plans, build a home, and live their quiet life far from townsfolk’s prying eyes. But somehow instead of house plans, a housewife is delivered to their door. Clementine Castellanos desperately needs a way out from under her family debt, and it seems as though selling her services as a wife is the only way to do it. Expecting a rough, harsh man to be her new husband, Clementine is pleasantly surprised to instead be dropped off at the ranch of an equally surprised Lou. Lou would rather Clementine leave them to their lonely existence, but Clementine is too charmed by the quiet and mysterious rancher to give up. She may have come into Lou’s life easily, but she certainly isn’t planning to leave that way. Undeterred by Lou’s prickly demeanor, Clementine is determined to get her reluctant spouse to open up to her. When the past comes back to haunt the pair, the fight for their independence—and their love—may become more deadly than either of them ever expected.

Gilroy demonstrates the enormous complexity of racial politics in England today. Exploring the relationships among race, class, and nation as they have evolved over the past twenty years, he highlights racist attitudes that transcend the left-right political divide. He challenges current sociological approaches to racism as well as the ethnocentric bias of British cultural studies. "Gilroy demonstrates effectively that cultural traditions are not static, but develop, grow and indeed mutate, as they influence and are influenced by the other changing traditions around them."—David Edgar, Listener Review of Books. "A fascinating analysis of the discourses that have accompanied black settlement in Britain. . . . An important addition to the stock of critical works on race and culture."—David Okuefuna, Chicago Tribune

Based on an actual wildcat strike that occured in 1979, There Ain’t No Justice, Just Us tells the story of a middle-aged college professor, and former seventies radical, who finds himself caught in the web of a mid-life crisis and a decaying marriage. In his search for a more authentic identity, he winds up leading a wildcat strike in a gritty South Chicago factory. Along the way he encounters a variety of leftists and African-American and Mexican industrial workers who lead genuine, if impoverished, lives. The wildcat strike becomes the psychological gauntlet through which the characters must pass to achieve personal integration. The professor’s quest for internal wholeness leads to a love affair with a radical feminist attorney and activist. In the end, the professor must choose between authenticity and love, or continuing his sedate, middle-class life. Ancillary characters, including Cecelia Sanchez, a Mexican-American college student, find themselves drawing psychological strength from the unfolding battle and engaging in their own liberation struggles—in her case, trying to find the inner spirit to move out on her own, away from her patriarchal family.

A line from the song "It Ain't Necessarily So," from the Gershwin brothers' play "Porgy and Bess," tells us that "the things that you're liable to read in the Bible, it ain't necessarily so." While we would like to take issue with that comment, this book, of the same title as the song, explores the validity of such a seemingly heretical statement. But it isn't what we read, so much as how we interpret those words that "ain't necessarily so." While the words are accurate, sometimes our understanding can be a bit off-track. In this work, Pastor Austin challenges the reader to explore the relationship between Scripture and Tradition in our lives and in our faith formation. Much of what we claim to believe about the Scriptures is actually based more on our Traditions than we wish to acknowledge. We have been taught by previous generations what the Scriptures are saying to us. This becomes a significant part of our individual Tradition-the sum total of what we believe the Scriptures to say and how they compel us to act. Because we trust those ancestors not to lead us astray, we don't question this Tradition. Perhaps we should. One of the primary assertions of this work is that "Tradition trumps Truth." We don't intend for it to be so, but often what we think we are reading in the Scriptures is tainted by years of Tradition and the teaching of the Church. We don't question what we've been taught; it is the Truth. Sometimes, however, that "truth" is slightly skewed by our life experiences and teachings. When this happens, Scripture often yields to our own Tradition, without our awareness that this is happening. This book explores the possibility that when "Tradition trumps Truth," there might be more than one way of understanding the Scriptures, particularly when we recognize how our truth has been compromised by years of tradition and practice. This is not to say that we have been wrong for all of these years. But these chapters are written in the hopes of spurring further discussion into the many layers in which the Scriptures are given to us, and perhaps lead us to gaining new insights and appreciation for the depths of our faith, not to replace our previous convictions, unless necessary, but to augment them.

As a child John Kerrison was so obsessed with becoming a drummer that he made a snare drum from a biscuit tin and wallpaper. Tutored by the legendary Jim Marshall he turned professional at the age of thirteen. ñI quit school at fifteenƒ The headmaster

What happens when an engineering college fresher: • confronts his violent seniors on the first day of ragging? • tries to woo a beautiful senior who has a nasty boyfriend? • is heart-broken when his past causes his break-up with the girl he loves? • goes boozing for the first time? • is involved in a bloody inter-hostel rivalry with dire consequences? In his debut novel, It Ain’t College, It’s War! (Book 1 of the It Ain’t trilogy), Subhodeep Mukherjee tells the story of Rahul Arora, an outspoken Delhi boy with a devil-may-care attitude that always gets him in trouble. Amidst the politically charged atmosphere of his college and his many adventures, Rahul seeks true love, friendship and a job. Will he manage to find balance in his life? Will he make peace with his teachers, classmates, seniors and father and find what he is looking for or will his attitude get the better of him? Loosely based on true events and also touching on various social issues, this book explores the meaning of love, friendship and career as seen through the eyes of the narrator and protagonist, Rahul Arora.

Nearly forty years ago, when she left home and moved to New York, Sallee Mackey was ready to start her law career and find a man to love. Peter seemed just the guya glamorous attorney who was different in all the right ways. Her family didnt always approve of him, but Sallee stuck by his side, even when it pushed her away from the Mackey clan. Now, Sallees petulant daughter Virginia is getting married, and she has chosen to do so at her grandmothers farm in the Blue Ridge Mountains. Sallee is hesitant to return to her roots, but she doesnt have an option. She wont miss her daughters wedding. Family matriarch Ginny has even renovated the barn to entice the entire family to attend, no matter how many new skeletons tumble from half-open closets. Overall, Sallee is happy to see her daughter marry but is concerned about her daughters fianc, who has recently been discovered to be a star just starred in an as-yet-to-be-named pornographic film. Tension only increases when Virginia loses what little cool she once possessed. The Mackey family will have to hash out all sorts of old grudges as the weather forecast portends the biggest blizzard in years.