A young physician, Dr. Abby Wilmore, attempts to escape her past by starting over at the Grand Canyon Clinic. Silently battling her own health issues, Abby struggles with adjusting to the demands of this unique rural location. She encounters everything from squirrel bites to suicides to an office plagued by strong personalities. While tending to unprepared tourists, underserved locals, and her own mental trials, Abby finds herself entangled in an unexpected romance and trapped amidst a danger even more treacherous than the foreboding desert landscape.

Sandra Cavallo Miller’s debut novel transports readers to the beautiful depths of Arizona and weaves an adventurous and heartwarming tale of the courage and strength it takes to overcome personal demons and to find love.

West of the Four Corners and east of the Colorado River, in southeastern Utah, a unique one-hundred-mile-long, two-hundred-foot-high, serrated cliff cuts the sky. Whether viewed as barrier wall or sheltering sanctuary, Comb Ridge has helped define life and culture in this region for thousands of years. Today, the area it crosses is still relatively remote, though an important part of a scenic complex of popular tourist destinations that includes Natural Bridges National Monument and Grand Gulch just to the west, Glen Canyon National Recreation Area and Lake Powell a bit farther west, Canyonlands National Park to the north, Hovenweep National Monument to the east, and the San Juan River and Monument Valley to the south. Prehistorically Comb Ridge split an intensively used Ancient Puebloan homeland. It later had similar cultural—both spiritual and practical—significance to Utes, Paiutes, and Navajos and played a crucial role in the history of European American settlement. To tell the story of this rock that is unlike any other rock in the world and the diverse people whose lives it has affected, Robert S. McPherson, author of multiple books on Navajos and on the Four Corners region, draws on the findings of a major, federally funded project to research the cultural history of Comb Ridge. He carries the story forward to contention over present and future uses of Comb Ridge and the spectacular country surrounding it.

Forty years after the fact, 1960s counterculture---personified by hippies, protest, and the Summer of Love---basks in a nostalgic glow in the popular imagination as a turning point in modern American history and the end of the age of innocence. Yet, while the era has come to be synonymous with rebellion and opposition, its truth is much more complex.

In a bold reconsideration of the late sixties San Francisco counterculture movement, Counterculture Kaleidoscope takes a close look at the cultural and musical practices of that era. Addressing the conventional wisdom that the movement was grounded in rebellion and opposition, the book exposes two myths: first, that the counterculture was an organized social and political movement of progressives with a shared agenda who opposed the mainstream (dubbed "hippies"); and second, that the counterculture was an innocent entity hijacked by commercialism and transformed over time into a vehicle of so-called "hip consumerism."

Seeking an alternative to the now common narrative, Nadya Zimmerman examines primary source material including music, artwork, popular literature, personal narratives, and firsthand historical accounts. She reveals that the San Francisco counterculture wasn't interested in commitments to causes and made no association with divisive issues---that it embraced everything in general and nothing in particular.

"Astute and accessible, Counterculture Kaleidoscope provides thought-provoking insights into the historical, cultural and social context of the San Francisco counter-culture and its music scene, including discussions of Vietnam and student protest, the Haight-Ashbury Diggers, the Grateful Dead, Led Zeppelin, Altamont, and Charlie Manson. A must for students and scholars of socio-musical activity and for all of us to whom music matters."
---Sheila Whiteley, author of The Space Between the Notes: Rock and the Counter-Culture and Too Much Too Young: Popular Music, Age and Gender

"The hippie counterculture has never garnered the scholarly attention accorded the new left and the black freedom struggle. Overviews of the period ritualistically mention it as part and parcel of that apparently incandescent era---the Sixties---but rarely capture its distinctiveness. Counterculture Kaleidoscope is a timely and provocative intervention in Sixties scholarship that significantly deepens our understanding of this important but understudied phenomenon."
—Alice Echols, Associate Professor, University of Southern California, and author of Scars of Sweet Paradise: The Life and Times of Janis Joplin

A major contribution to both art history and Latin American studies, A Culture of Stone offers sophisticated new insights into Inka culture and the interpretation of non-Western art. Carolyn Dean focuses on rock outcrops masterfully integrated into Inka architecture, exquisitely worked masonry, and freestanding sacred rocks, explaining how certain stones took on lives of their own and played a vital role in the unfolding of Inka history. Examining the multiple uses of stone, she argues that the Inka understood building in stone as a way of ordering the chaos of unordered nature, converting untamed spaces into domesticated places, and laying claim to new territories. Dean contends that understanding what the rocks signified requires seeing them as the Inka saw them: as potentially animate, sentient, and sacred. Through careful analysis of Inka stonework, colonial-period accounts of the Inka, and contemporary ethnographic and folkloric studies of indigenous Andean culture, Dean reconstructs the relationships between stonework and other aspects of Inka life, including imperial expansion, worship, and agriculture. She also scrutinizes meanings imposed on Inka stone by the colonial Spanish and, later, by tourism and the tourist industry. A Culture of Stone is a compelling multidisciplinary argument for rethinking how we see and comprehend the Inka past.