Bücher veröffentlicht von Regent Press

Who was Fay Abrahams Stender? A giant among Movement lawyers from the McCarthy Era to the 1970s intent on forcing society to change. Friends could easily picture her as the heroine of a grand opera. A child prodigy, she abandoned the concert piano to become a zealous advocate for society's most scorned and vilified criminal defendants: from the Rosenberg espionage case during the Cold War to militant black clients, Black Panther Party leader Huey Newton and revolutionary prisoner George Jackson to prisoners in the "e;Dachau"e; of maximum security. Stender achieved amazing legal successes in criminal defense and prison reform, before she ultimately refocused with similar zeal on feminist and lesbian rights. In May 1979, an ex-felon invaded her home and shot her execution-style after forcing her to write a note saying she betrayed George Jackson. She barely survived. Wheelchair bound and under 24-hour police protection, she then became the star witness in her assailant's prosecution. Awaiting trial in a secret hideaway in San Francisco, Fay told the few friends she let visit her there to "e;call me Phaedra,"e; a tragic heroine from Greek mythology. Shortly after the trial, like Phaedra, she committed suicide. Set against a backdrop of sit-ins, protest marches, riots, police brutality, assassinations, death penalty trials and bitter splits among Leftists, this book makes for a compelling biography. Yet it delivers on a broader goal as well - an overview of the turbulent era in which Fay Stender operated under the watchful eye of the FBI and state officials. We not only relive Stender's story, but that of a small cadre of committed Bay Area activists who played remarkable roles during the McCarthy Era, Civil Rights Movement (including Mississippi Freedom Summer), the Free Speech Movement, Vietnam War protests, and the rise of Black Power. Besides revolutionaries Huey Newton and George Jackson, Fay's life intertwined with: Jessica Mitford (who dubbed Fay her "e;frenemy'), Bob Treuhaft, Charles Garry, Bob Richter, Stanley Moore, Tom Hayden, Jane Fonda, Stokely Carmichael, Cesar Chavez, Mario Savio, George Crockett, Joan Baez, Willie Brown, Ron Dellums, Jerry Rubin, Max Scherr, Jean Genet, Elsa Knight Thompson, Kay Boyle, Bobby Seale, David Hilliard, Angela Davis, Eldridge and Kathleen Cleaver, and Mike Tigar, among others. By the fall of 1970, Stender had gained international press coverage as the most sought-after Movement lawyer in America. She had just achieved spectacular successes against all odds for two black revolutionary clients. The book also describes Stender's ultimate failure to surmount class and racial differences to make her clients' cause her own and how, as in a Greek tragedy, hubris led to her downfall. Fay's tragic end served as a sobering lesson to her Movement friends of the personal risks many of them had run. For many, her death symbolized the end of an era.

On the 50th anniversary of the Black Panther Party, Pearlman's new book American Justice on Trial: People v. Newton compares the explosive state of American race relations in 1968 to race relations today with insights from key participants and observers of the internationally-watched Oakland, California death-penalty trial that launched the Black Panther Party and transformed the American jury "e;of one's peers"e; to the diverse cross-section we often take for granted today. The book includes comments from Newton prosecutor Lowell Jensen, pioneering black jury foreman David Harper and TV journalist Belva Davis, as well as from Huey Newton's older brother Melvin Newton, former Panthers Kathleen Cleaver, David Hillliard and Emory Douglas. It also includes comments from civil rights experts including Bryan Stevenson, Barry Scheck and John Burris. This book complements the nonprofit documentary project of the same name for which Pearlman is co-producer/co-director on behalf of Arc of Justice Productions, Inc. [www.americanjusticeontrial.com].

African Openings To The Tree of Life uncovers the universal essence and life generating principles of African religion, philosophy, mythology, folklore, rituals, and symbolism, ordered and crystallized. These principles pertain to one''s total development, relating on different levels to the person, the family, the social group, the spiritual group, the neighborhood, the community, and work organization. These principles are intended to orient one toward understanding, seeing and living life as an on-going process. The principles may be used to deal with, or simply reflect upon life in its many aspects. Certain principles when turned over in the mind and meditated upon may provide solutions to a vast range of problems. The second portion of the book is an invaluable, concise essay on the profound significance ideas and symbols have upon the building of cultures, civilizations and personalities.

From Czernowitz to China and Beyond is the personal account of an extraordinary woman born of Jewish parents in 1890 in Czernowitz, then a part of the Austro-Hungarian Empire. She describes her life in Czernowitz as a child, China in 1910 at age 20, New York in 1912 and Shanghai again in 1924. Ethel Liebman Wiesinger tells of being married to a German entrepreneur in pre-revolutionary China and how politics affected her life. Her husband Otto Wiesinger, a lifelong German, fought in Tsingtau, China during WWI and later sought to import arms to support warlord Chang Tso-lin. In the 1930s, they had an Asian arts store in San Francisco that went bankrupt during the Great Depression. In 1938 Otto returned to Nazi Germany to support Hitler. Now on her own, Ethel opened the Beverly Hills Hotel Gift Shop and knew many celebrities. After retirement she lived in Charlevoix, Michigan, until her death in 1984. Additional stories of the family's life in the 20th century are written by her daughters. Edith Gilbert: My Shanghai - At Age Seven Margot Smith: Growing Up In Beverly Hills

Live music artist. I have the passion of the pen to draw the moment. I started drawing music and people around the Bay Area in the late eighties. Thousands of local and well-known bands in around San Francisco, California, along the coast to British Columbia and over to Europe in Berlin, Paris and beyond have been caught by my pen. I take a moment to hear the music dance through me while the hand goes to the paper and logs the moment. Always on the hunt for the next draw in restaurant café or just where I am. My late husband, Allen Cohen, was a well-known poet and the editor, founder of the San Francisco Oracle. I illustrated two of Allen's books of poems: The Book of Hats and Like a Radiant White Dove both published by Regent Press. My work is in many private collections and has appeared in Beatitude Magazine, Relix Magazine and Split Shift and in various CD's of the musician's that I have drawn. I Draw the Line in the Night Feeling the taste of the moment Eyes on me and I use to close book And leave the room No More I sit and draw, I'm in our living room Enjoying you When a person is in a social environment that requires one to be very quiet, and if this person needs to be busy all the time, pen and paper is a best friend.

For two decades famed artist Andrew Wyeth forged a special relationship with neighbors Helen and George Sipala. The couple was a special part of Andrew''s world and their home, Painter''s Folly, became a home-away-from-home refuge for Andrew and also a studio. Andrew included the couple in many of his special events, from art openings in New York City to a movie preview with Charlton Heston. Helen and George hosted Christmas parties for Andrew and Andrew invited the couple to spend time with him in Maine during summers.Besides being a friend, hostess and model for Andrew, Helen was a confident of the painter. Helen and Andrew spent many hours discussing painting, family, religion and other sensitive subjects.Andrew suggested that Helen keep a diary of their meetings and talks. He hoped Helen "was writing all this down." If Helen was to share their relationship, Andrew wanted her to not make his stories "sweet" but to "put an edge to it."Beyond the MARRIAGE Bed is the sweet and not too sweet chronicle of the relationship among Andrew Wyeth and Helen and George Sipala.

Christopher Bernard, "one of [our] best-kept lyric secrets" (Ivan Arguelles), offers a magnificent new collection of poems to help inspire us through this age of emergency as we face a pandemic, a crisis of democracy, and a world racing toward environmental disaster. "A vibrant and focused collection" (Marvin R. Hiemstra); poems "lyrical, funny, haunting, provocative, and sometimes maddening . . . adventurous, entertaining, and full of life" (Jane Tompkins). "With humor, grace, and human insight, Bernard leads us toward our ever-nearing future" (Keith Ekiss).

Revolutionary Hillbilly is a history book, an organizer''s notebook, and an autobiography. These are stories of unity against poverty and racism. Hy Thurman is a hillbilly and a revolutionary organizer. As a co-founder of the Young Patriots Organization, Thurman helped organize poor white communities in alliance with the Illinois Black Panther Party and Young Lords Organization during the Sixties. He is an educator who got his schooling in the fields of Tennessee, his PhD on the streets of Chicago, and his hunger for justice in the back of a patrol car.  Revolutionary Hillbilly is unique because it is a first person chronicle of the unfolding of landmark events of the 1960''s. Hy Thurman''s book provides an insiders view of how coalitions can form and the group dynamics that can keep these movements vibrant. It is an invaluable resource for historians and activists alike.

The author/artist writes: The first drawing published in this book was January 13, 2020. Life was filled with adventure. I draw nearly every day. I organize my drawings by calendar date and file in thick folders that I make. When the folder is full with about forty drawings, I start another. These drawings from January 13 until March 16, 2020 are an accurate log created with pen, paint, papers, and musings of my life in San Francisco and the greater Bay Area.

THE BLUE NOTE is an indiscreet book about a discreet subject. It is a love and sex story that takes place both in the virtual world and in the real world. The computer screen is the mediating interface, the "e;door of perception,"e; through which our heroine and hero speak of love and, step by step, achieve sexual union. They discover and exploit the intense eroticism provided by the anonymity of electronics, a phenomenon of current technology that is causing a total upheaval in the way the sexes meet and merge.

And above all, Pete Najarian, of whose "e;Wash Me On Home, Mama"e; one wants to cry, Perfect! One puts down the book with rinsed eyes and clear heart. How does it happen? Formally the novel is simple: a few pages at a time devoted to the inner moments of a handful of characters living loosely together in a sort of commune, a line to indicate forward movement drawn lightly by an italicized paragraph between each section. The sensation is strangely and liberatingly of space, created by rhythm perhaps, the timing of one quality of thought and being and then another. This is not the device familiar as "e;multiple points of view mutually commented upon, criticizing, and reducing one another. Something new is happening here. The completeness and validity of each heart and mind opens world on world moving in free relations to each other. Yes, here, in this book, is the dance. These characters are given to us below the level of their self-conceptualizing. There is no surface to cut through or interpret: these characters have simply to be known, not outguessed: they are seen and shown without the defenses, self-deceptions, self-fantasizing that comprise ego and what we are accustomed to think of as personality. The mail girl eating her peanut butter sandwich in the box during the rain, a man's sudden terror at nightfall walking his dogs, the secret pleasure of manure in the garden, the kitchen before anyone's awake, the girl putting in her earrings before she sets out for her abortion, the dream of fresh bread-it is not only the precision of the moments, the transparency of language (one is wholly unaware also of Najarian himself), but that a spring is touched where everything is still pristine, significant, free, even the terrible (the political prisoner overseas, the failed commune, the broken loves, the unhappy child, the polluted bay), for all its modesty and even, judging from Najarian's covering paragraph, fiction takes a new turn in the little volume. Qualities we have come to think essential to the novel are unimportant if present at all, and what we have given up as impossible-space, light, air, time, joy-flower, not in the text but in the reader. The invocations to home and the sea that keep the beat are appropriate, for a locus of perception has been found where the heart is at home. This is quiet and consummate art, to be read like a piece of music slowly and luxuriously and then over again. (Harriet Adams Transue, associate professor and Director of Women's and Gender Studies, University of Toledo. For The American Book Review, 1981)