Best Selling Books by E. Knight

This novel follows the lives of three women through the decades from the twenties to the turn of the century and explores the changes that have occurred in both the expectations and experiences of women during these decades. There is Alice, a fun-loving flapper of the twenties, who marries Robert during the Depression years. She faces the difficulties of feeding and clothing her growing family during the years of war and resultant rationing but basically is happy in her life's role as a wife and mother. Their third daughter Liz marries charismatic, ambitious Rod and gives up her teaching position when she becomes pregnant with their first child. She is a dependent wife and mother during the fifties and sixties but leaves the marriage to begin a new life of self-sufficiency in the country with a new love. Helen is her daughter and is quite seriously affected by her parent's divorce. As she matures she becomes typical of the young women of her generation, in that she sees sexual freedom, independence and equality at work and in relationships as her right. A major theme is the importance the preparation and serving of food is in the lives of women and how shared meals are so much a part of celebratory times in one's life. Many aspects of food preparation are covered including the difficulty of providing nourishing family meals when many food items are rationed, the fun of entertaining friends and family and the sharing of meals, the challenge of growing and collecting food as part of a self-sustainable lifestyle.

If you are looking to improve your or your team's communications skills, creativity, teamworking or leadership skills, and you want to have fun while doing so, then this is the book for you. It provides an introduction to improvisation at work with an emphasis on both practice and theory, and an up-to-date international reference list.

Since the early 1960s, James Turrell has used light and space as his primary mediums. His site-specific artworks, from the ambitious and on-going Roden Crater, a natural cinder volcano situated in the Arizona desert which Turrell is transforming into a naked-eye observatory, to his Skyspace series, make manifest the physical presence of light and heighten the viewer's visual perception. This unique, limited edition, case-bound publication, signed by the artist, printed on archival paper, and with 14 individual color plates suitable for framing, provides an overview of both of these projects as well as Turrell's room-size light works in which forms seem to float in air and spaces gradually fill with mysterious light. The color and materials used to fabricate James Turrell: Infinite Light reflect the natural texture and palette of Roden Crater, and iconic symbols related to the crater's underground chambers are embossed and die-cut into the folios of each section.

This is a cultural study on the dominance of whiteness and the exclusion of blackness in ballet. This research will focus on how the Anglo- European body image in ballet affects "the black dancing body" (Dixon Gottschild 2003), described in Brenda Dixon Gottschild's The Black Dancing Body: A Geography from Coon to Cool. This research starts from cultural factors that contribute to why ballet has been traditionally viewed as a white upper-class art form, supported by material from Joann Kealiinohomoku's An Anthropologist Looks at Ballet as an Ethnic Dance Form (1970), Jennifer Fisher's "Ballet and Whiteness" (upcoming), and Cynthia Novack's "Ballet, Gender, and Cultural Power" (1993).

In the corruption plagued Philippines of Ferdinand Marcos, a company under attack by unknown enemies engages a trouble-shooter named Czernik to investigate. Czernik overcomes dangers in Mindanao, Manila & remote mountain areas of Luzon where warlords rule, the military struggles with insurgents & aboriginal tribes still hunt heads when they can. Knight served in the U.S. Embassy in Manila for four years during the Marcos period & was in Manila when Marcos was overthrown. Library Journal: "fast-paced action adventure...highly recommended for all public libraries." Publishers Weekly: a "convincing story of industrial espionage & intrigue." Rapport magazine: "Knight shocks with scenes of horror when they are least expected." Philippine News: "A dandy read." Filipinas magazine: "Anyone who likes adventure, mysteries & suspense will like THE BAMBOO GAME." Retired U.S. Ambassador Francis Underhill: "A first-class job - fast-paced, cleverly plotted, tough, witty style." THE BAMBOO GAME'S distributor is BookWorld Services, 1993 Whitfield Loop, Sarasota, FL 34243; Tel: 813-758-8094; FAX: 813-753-9396; Toll-free ordering, day or night: 800-444-2524.

The Song of Deborah and Barak is a poetic depiction of the Kishon Battle, an Israelite military offensive against the forces of Northern Canaan. Featuring rare vocabulary and unique poetic elements, the song is preserved in the book of Judges after its narrative counterpart (4:1-24). The relative dating of the two accounts is debated, as is the song's historical provenance and redactional history. However, in the last forty years, the diachronic inquiries that characterized Judges scholarship in the early twentieth century have been eclipsed by synchronic studies that demonstrate the selectivity and intentional arrangement of the book's contents. Given the purposeful design of the overarching Judges narrative, an investigation of the function of the song in its literary context is warranted. To discern its narrative function, in this dissertation I will investigate the contribution of the Song of Deborah and Barak to the microplot (i.e., the Kishon Battle) and the macroplot (i.e., the book of Judges) in terms of plot development, characterization, and thematic emphases. Attributed to the prophet Deborah and Barak, the Israelite general, on the day of Israelite victory over Canaan, the song is not simply an imaginative duplicate of the prose-style battle report in Judges 4. Instead, the song consists of the pedagogically motivated reflections of a prophet, concerned to interpret recent events theologically for the battle-weary Israelite people. As a culminating moment in the Kishon Battle, the song heralds the righteous acts of YHWH, the Divine Warrior, who is able to overcome the strongest of opponents with the weakest of instruments. The song also evaluates Israel's response to the muster, exposing the hesitancy of certain tribes as doubting YHWH's saving power. Within the broader context of the book of Judges, the song underscores the celebratory tone of the first three narrative cycles, which highlight the mighty deeds of YHWH, and challenges the people to respond appropriately to their recent saving history. Israel's utter failure to heed the prophet's words in the subsequent cycles renders the song condemnatory; there, Israel's faithful Sovereign gives them over to their own faithless impulses.