In the two decades between its debut performance and the death of impresario Sergei Diaghilev in 1929, the Ballets Russes was an unrivalled sensation in Paris and around the world. But while scholarly attention has often centered on the links between Diaghilev’s troupe and modernist art and music, there has been surprisingly little analysis of the Ballets’ role in the area of tastemaking and trendsetting. Ballets Russes Style addresses this gap, revealing the extent of the ensemble’s influence in arenas of high style—including fashion, interior design, advertising, and the decorative arts.

In Ballets Russes Style,  Mary E. Davis explores how the Ballets Russes performances were a laboratory for ambitious cultural experiments, often grounded in the aesthetic confrontation of Russian artists who traveled with the troupe from St. Petersburg—Bakst, Benois, and Stravinsky among them—and the Parisian avant-garde, including Picasso, Matisse, Derain, Satie, Debussy, and Ravel. She focuses on how the ensemble brought the stage and everyday life into direct contact, most noticeably in the world of fashion. The Ballets Russes and its audience played a key role in defining Paris style, which would echo in fashions throughout the century.

Beautifully illustrated, and drawing on unpublished images and memorabilia, this book illuminates the ways in which the troupe’s innovations in dance, music, and design mirrored and invigorated contemporary culture.

In Baring Witness, Holly Welker and thirty-six Mormon women write about devotion and love and luck, about the wonder of discovery, and about the journeys, both thorny and magical, to humor, grace, and contentment. They speak to a diversity of life experiences: what happens when one partner rejects Church teachings; marrying outside one's faith; the pain of divorce and widowhood; the horrors of spousal abuse; the hard journey from visions of an idealized marriage to the everyday truth; sexuality within Mormon marriage; how the pressure to find a husband shapes young women's actions and sense of self; and the ways Mormon belief and culture can influence second marriages and same-sex unions. The result is an unflinching look at the earthly realities of an institution central to Mormon life.

Brazilians in the United States are a relatively new wave of immigrants from South America. In the past their vast country of origin was used to receiving immigrants, not sending them out. The shift is new, and these arrivals do not necessarily fit comfortably in the midst of the huge Spanish-speaking U.S. immigration. This volume offers a broad-ranging discussion of an understudied population and also brings insights into the core issues of immigration research: how immigration can complicate issues of social class, race, and ethnicity, how it intersects with the educational system, and how it fits into the assimilation paradigm.

Within the three broad categories that separate these 14 chapters, discussions by the 24 contributors illuminate the various facets of Brazilian immigration and put them in the broader context of life in the twenty-first century. Discussions of cultural icons like Carmen Miranda and Carnival, of Brazilian immigrant women, of the new generation, and of the economy of remittances are just a few examples of the wide range of topics covered in these pages.

How can an academic who does not believe evil spirits cause illness harbor the hope that her cancer may be cured by a healer who enters a trance to battle her demons? Whose actions are more (or less) honorable: those of a prostitute who sells her daughter’s virginity to a rich man, or those of a professor who sanctions her daughter’s hook-ups with casual acquaintances? As they immerse themselves in foreign cultures and navigate the relationships that take shape, the authors of these essays, most of them trained anthropologists, find that accepting cultural difference is one thing, experiencing it is quite another. In tales that entertain as much as they illuminate, these writers show how the moral and intellectual challenges of living cross-culturally revealed to them the limits of their perception and understanding.

Their insights were gained only after discomforts resulting mainly from the authors’ own blunders in the field. From Brazil to Botswana, Egypt to Indonesia, Mongolia to Pakistan, mistakes were made. Offering a gift to a Navajo man at the beginning of an interview, rather than the end, caused one author to lose his entire research project. In Côte d’Ivoire, a Western family was targeted by the village madman, leading the parents to fear for the safety of their child even as they suspected that their very presence had triggered his madness. At a time when misunderstanding of cultural difference is an undeniable source of conflict, we need stories like these more than ever before.

"This volume of poetry and prose is written by nurses about their experiences of caring. It describes their disasters, their triumphs, their joy and sorrow. It is, quite simply, wonderful. . . . Beg, steal, or borrow this book; if that fails, buy it."--Nursing Times "Their [the nurses'] words expand the practice of nursing as well as the practice of language. By bearing witness to the intimate details of nursing, from the mundane to the beautiful to the tragic, they reveal the epiphanies of life and death."--ADVANCE for Nurse Practitioners "A striking, often beautiful collection which brings to speech what occurs between the caring and the cared for--moments at the edges of life when, for most of us, even crucial communication seems beyond the reach of words. Coming now, Between the Heartbeats seems a particularly important book, breaking as it does the silence of women and men who, perhaps more than any others, live the essentials behind the health care debate."--Honor Moore, author of The White Blackbird "Powerful, honest and vivid, this collection of stories and poetry gives voice to the compassion and grief felt by nurses from around the world. A compelling and graceful anthology which will touch any reader, regardless of medical background."--Creative Health Care Resources "A new class of authors who are experienced professionals as well as skilled and talented writers, these nurses write out of a powerful sense of the immediacy of the body, the concreteness of suffering, and the nuanced individuality of their patients. Honest, vivid, and unsentimental, the works of this collection will not fail to move--at times even astonish--medical and nonmedical readers alike."--Anne Hunsaker Hawkins, College of Medicine, Pennsylvania State University "The best nurses have always been holistically oriented: they are the inevitable sharers of our mind, body, and soul secrets. Reading Between the Heartbeats, we share theirs. These fine poems, stories, and memoirs are honed, harrowing, and surprisingly life-affirming vignettes of the here and now. Between the Heartbeats is a splendid merger of the healing and written arts."--Dick Allen, Director of Creative Writing, University of Bridgeport Nurses who are also creative writers have a powerful empathetic outlet for the joys and griefs of their everyday experiences. In Between the Heartbeats an international, diverse community of nurses write honestly and compassionately about their work. By unsentimentally translating out suffering into prose and poetry, the registered nurses in this brave, graceful anthology perform another enduring act of loving care. THIS HAPPENED Cortney Davis My point is that illness is not a metaphor ... --Susan Sontag The intern and I begin our rounds. In room two, the intern watches me; he doesn't like this patient anyway-- she's messy, a see-through plastic tube pulls bile from her stomach to a bottle near her head. A small balloon inside her throat keeps pressure on vessels wrecked by years of gin. The patient's wide awake, but she can't talk. I see her eyes open, her skin pale at the moment these veins blow, like a tire blows. Blood backs up her nose. She tries to sit; her wrists are tied. I take her hand and say, OK. OK. The intern leaves. Next the patient's gut lets go. Stool and blood clot between her legs, hot and soft, not like sex, more like giving birth. OK, I say. We let our fingers intertwine. By 8:15 the woman calms. Clots thicken in her throat; she holds her breath. At nine, blood coins close her eyes. I breathe deep, stroke the patient's arm. The intern, who went downstairs to sleep, will ask me later. But what happened here can't be said again and be the same. WHAT ABEL SAYS Patricia Maher Abel talks in stories. He tells me a string of them about the sea and a small boat anchored yet moving with the wind and water. Abel tells me he too is anchored anchored to his house by the dirt, he says. I listen, realizing my silence is the precious thing I bring. It makes space for hope. My breathing is shallow the stench is so deep at Abel's. My foot stamps to keep the gray mice away his pets, he says since he lost his dog. He eats cold beans out of the can happy for my company. Frayed shirt and long beard his shoes are molded to his feet. I took them off for him once but now we just stand facing his mantle and look at the pictures and bills. His wife's pocketbook although she's long gone sits open as if she might return like an anchor he can't bear to pull up nor can I, yet. INSTRUCTING A NEW MOTHER Dawn Ramm Like a Little Barracuda the newborn latches on-- nurses until a nipple bleeds. Move him to the other breast, I advise-- speak for the hospital and for the numerous books I have read: how to hold him how to open his mouth how to break the suction with a finger. Yet I never knew my body as this mother does-- its natural capacity. I measured exact amounts of evaporated milk, Karo syrup and water. The efficient nurse who contaminated nothing.

Black Moods collects for the first time all of Frank Marshall Davis’s extant published poems as well as his previously unpublished work. From sharp-edged sketches of Southside Chicago’s urban landscape to the prismatic world that lay beneath Hawaii’s placid surface, Davis’s muscular poems blend social, cultural, and political concerns--always shaped by his promise to “try to be as direct as good blues.”

John Edgar Tidwell’s introduction examines both Davis’s poetry and his politics, presenting a subtle portrait of a complex writer devoted to exposing discriminatory practices and reaffirming the humanity of the common people.

Building a Better Bridge is a record of the fourth "Building Bridges" seminar held in Sarajevo in 2005 as part of an annual symposium on Muslim-Christian relations cosponsored by Georgetown University and the Archbishop of Canterbury. This volume presents the texts of the public lectures with regional presentations on issues of citizenship, religious believing and belonging, and the relationship between government and religion—both from the immediate situation in Bosnia-Herzegovina and from three contexts further afield: Britain, Malaysia, and West Africa.

Both Christian and Muslim scholars propose key questions to be faced in addressing the issue of the common good. How do we approach the civic sphere as believers in particular faiths and as citizens of mixed societies? What makes us who we are, and how do our religious and secular allegiances relate to one another? How do we accommodate our commitment to religious values with acknowledgment of human disagreement, and how can this be expressed in models of governance and justice? How are we, mandated by scriptures to be caretakers, to respond to the current ecological and economic disorder of our world?

Michael Ipgrave and his contributors do not claim to provide definitive answers to these questions, but rather they further a necessary dialogue and show that, while Christian and Islamic understandings of God may differ sharply and perhaps irreducibly, the acknowledgment of one another as people of faith is the surest ground on which to build trust, friendship, and cooperation.