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\"From the award-winning author of the controversial international bestseller The Jewel of Medina, a historical novel that chronicles the lives of four sisters, all daughters of Beatrice of Provence--all of whom became queens in medieval Europe. When Beatrice of Savoy, countess of Provence, sends her four beautiful, accomplished daughters to become queens, she admonishes them: Family comes first. As a result, the daughters--Marguerite, queen of France; Eleanor, queen of England; Sanchia, queen of Germany; and Beatrice, queen of Sicily--work not only to expand their husbands' empires and broker peace between nations, but also to bring the House of Savoy to greater power and influence than before. Their father's death, however, tears the sisters apart, pitting them against one another for the legacy each believes rightfully hers--Provence itself. Told from alternating points of view of all four queens, and set in the tumultuous thirteenth century, this is a tale of greed, lust, ambition, and sibling rivalry on a royal scale, exploring the meaning of true power and bringing to life four of the most celebrated women of their time--each of whom had an impact on the history of Europe. \"--Provided by publisher.

Attorney Jack Olender sued King's vascular surgeon, Dr. Robert Simmons, on her behalf. In the five day trial, Olender presented vascular surgeon from New York and Philadelphia who testified that standard care was not given when King's right leg became cool after the surgery. Following the surgery, blood clots formed in an artery of the right leg. The plaintiff's experts testified that when the doctor then removed some blood clots, he needed to do an angiogram which would have shown that there were still blood clots in the artery. According to the testimony, the blockage of the artery caused the leg to be without blood flow and oxygen so that the leg died, became gangrenous, and had to be amputated.

Recognized worldwide for the high quality they represent, American Library Association awards guide parents, educators, librarians, and others in selecting the best materials for youth. Selected by judging committees of librarians and other children's literature experts, the awards encourage original and creative work. For more information on the ALA youth media awards and notables, visit the ALA website at www.ala.org.

[...]the fair has two new halls in which to showcase exhibitors: halls 29 and 30, which were closed last year, have been completely rebuilt as part of a [euro]138 million renovation at the fairgrounds. In addition to this display, Bologna is honoring the 50th anniversary of the Coretta Scott King Award by hosting an exhibition of works by African-American illustrators called Black Books Matter , which is being offered in conjunction with the Eric Carle Museum of Picture Book Art in Amherst, Mass. [...]echoing the social and political tenor of the times will be a panel discussion hosted by Maria Russo of the New York Times Book Review , focused on books that depict women's roles in society.

This study considers religion and mimetic violence in the work of four contemporary Canadian Native writers: Maria Campbell, Beatrice Culleton, Thomas King, and Basil Johnston. The mimetic violence examined is both social (the colonial attempt to remake the colonized into a reflection of the dominant culture) and personal (inter-Native conflict in which participants mirror one another in their struggle for a mutually covetted object). In order to investigate the former, I rely on the work of Homi K. Bhabha on colonial mimicry and hybridity; to examine the latter, I employ René Girard's model of mimetic desire and violence. The principal academic contexts to this work are the study of Native literature and the academic study of religion, including the sub-field of Religion and Literature. After reviewing the relevant literature in these fields, and examining mimetic violence in key texts by the Native authors listed, I make several concluding points. First, I argue that a causal link between colonial violence and inter-Native mimetic violence is evident in the category of Native literature labelled by Thomas King as \"polemical.\" This includes Campbell's Halfbreed, Culleton's In Search of April Raintree, and King's own Green Grass, Running Water. Second, I find that Johnston's Moose Meat & Wild Rice and Indian School Days generally take care to separate colonial mimesis from Native mimetic conflict. This work fits King's \"associational\" category of Native literature, and the disconnect evident in Johnston's stories between the two forms of mimesis might stand as a defining feature of this category. Third, I assert that in none of the Native literature examined is religion viewed in a positive, idealist manner that assumes in its \"true\" manifestation it cannot be the cause of violence, which is the position taken by most religion scholars. I argue that the emphasis the Native texts place on the historic, material actions and effects of Christian individuals and institutions complements similar work being done by a minority of academics in the study of religion. Fourth, I propose possible avenues for the further investigation of mimesis in Native literature, which would use/focus on: metaphor-centred hermeneutical models; trickster figures and theories; and the conception of both Native and colonial identity. Finally, I argue that critics of Native literature have tended to idealize Native cultures, and that inter-Native mimetic violence offers a humanizing corrective to this perspective.

[Beatrice Louissaint] has helped shape statewide policy for minority business advancement. She was hand-picked by then-Gov. Jeb Bush as vice chairwoman of the One Florida Accountability Commission. In 1994, she was appointed to the Steering Committee for the first Summit of the Americas. That year, she was named \"Advocate of the Year\" by the Minority Business Development Center. In 1997, she was chairwoman of the Miami-Dade Minority Business Advisory Board during the county's transition from minority to small business construction program.

The Montgomery County Board of Education elected Nancy J. King president and Beatrice B. Gordon vice president last night.

Beatrice Moten-Foster, editor and publisher of the Muncie Times, a newspaper that serves the black community, knows firsthand how hard it is to change a city street to Martin Luther King Street or Boulevard. \"It was hard to get a well-traveled street in Muncie named after Dr. King,\" she said. \"We had a street named for him, but it was only about two blocks long in some way-out area, and it had been defaced.\" See related stories: Name a street for King? MLK event promotes diversity Father of girl in church bombing to be speaker King to be remembered in song, dance, reflection MLK's widow reflects on marriage, husband's legacy; Photo: transbar.gif

Revisited, David Richard Contemporary, 130-D Lincoln Ave., 983-9555; through Nov. 13 No other decade in recent memory has been etched in our collective minds like the 1960s. The assassinations of John F. Kennedy in 1963 and Martin Luther King Jr. in 1968 serve as bookends to an era that was both tumultuous and terrific. The rampant war in Vietnam changed the American psyche from one of optimism to cynicism, while-depending on your inclination-one embraced or scorned the paisley patterns of flower power, shoulder-length locks, and exposed flesh of the so-called Summer of Love in 1967. Indeed, peace, love, and war, as well as pop and rock lyrics, became part of everyday language-spoken anthems to freedom and change. Or, as some would have it, things that symbolized all that was wrong with America's youth. The 1960s also unleashed a floodgate of artistic endeavors that eschewed the knockdown, drag-out moment of Abstract Expressionism of the previous years. Pop Art and minimalism emerged as the defining movements of East Coast aesthetics. But alive and kicking amid these head-scratching developments were artists defining other new art forms. Op art, photorealism, perceptual realism, process art, Earth art, kinetic art, hard-edge abstraction, and canvas-stained color-field painting came into their own. An era of pluralist art forms had been initiated. And by no means was painting dead. 1960s Revisited, on exhibit at David Richard Contemporary, is a testament to painters - some well known, others not-who slogged away at their craft despite the predominant forces of Warholian commercialism and minimalist art. Santa Fe painter, educator, and curator Gary Snyder has put together a respectable sampling of work by more than 30 artists who stuck to their brushes and created what was part of what art historian Irving Sandler called \"cool art\"-painting styles that emerged during the '60s that encompassed systemic expressionism, hard-edge technique, stained canvases, and geometric optical sensations.