41. Deeper Meanings: The Tale Within the Tale – This book not only reveals the secret meanings of four popular third-world tales – the metaphor within the metaphor - but also presents a methodology called “explanatory exhumation” for discovering the same. The deciphered tales arranged in order of simplicity are: 1) a Carnival float presentation in Trinidad based on a tale called Kalaloo; 2) The King’s Horn from the Mahafaly people of Madagascar; 3) Furukombe (from the Comoros Islands in the Indian Ocean); and 4) A Pumpkin Speaks (from the Bezanozano of Madagascar).

42. The Illustrated Adventures of Dan Aiki: Books I – V – This is the new, corrected, and fully-illustrated collection of the first five books of the Adventures of Dan Aiki.

43. The Illustrated Adventures of Dan Aiki: Books VI – X - This is a new updated and brilliantly illustrated black and white version of entry #35 above. The illustrator of Books VI & VII is Djibrirou Kane (from Senegal); whereas SOIMANGA (from Madagascar) provided the illustrations for Books VIII, IX, and X.

44. The Illustrated Adventures of Dan Aiki Books I – X – This is a new completely illustrated volume which combines entries #42 and #43, above.

45 . The Illustrated Adventures of Waburi: Book 1 – This is the brilliantly illustrated version of entry #15, above. Both Color and Black & White versions are available. This book was illustrated by SOIMANGA from Madagascar.

46. BMA V: Dravidian Displays of Daring - presents a 210-page “journey of discovery” to India and Mauritius to witness various manifestations of Tamil bravery in confrontations not only with other armed or un-armed men (silambam), but also with fire (theemithi), sword ladders (kathi poosai), fierce bulls (jalli kattu), oiled poles (mallar kambam) and even the inner self (kavadee). Supported by over 175 recent color photographs taken by the author in late 2003 and early 2004, this is perhaps the most comprehensive publication ever written on the subject.

In it, I discuss the aforementioned “deeds of daring” in detail and also include separate sections dealing with: 1) the Tamil people; 2) their origins, culture, and history, and 3) a justification for including both them and other Dravidian (Melano-Indian) peoples in the “Black Martial Artist” family. The journey is presented in the first person plural so that you, the reader, will feel that you are actually with the author as he discovers, step by step, the substance and intricacies of these marvelous manifestations of Tamil courage.

47. In Search of the Vanaras in Tamil Nadu & the Andamans: Hanuman’s People - Through pictures (over 350 color photos) and words (615 pages), the reader is taken on a breath-taking trip through Tamil Nadu and the Andaman Islands in the first leg of a journey to those areas of the Indian sub-continent where the author hopes to find remnant aboriginal populations who may (or may not) be descendants of the Vanaras (“Hanuman’s People”). Hanuman, as all Indians know, was that legendary figure who helped deliver Lord Rama’s wife from the clutches of the Demon King Ravana in the famous Ramayana epic. Throughout this “armchair journey of discovery” the reader: 1) comes face to face with representatives of a number of local Melano-Indian populations and their neighbors, and 2) is referred to a number of fascinating appendices that provide detailed geographical, historical, religious, and cultural descriptions of the peoples and lands visited. Highlights of this trip include a stay in Chennai (formerly Madras) and visits to the Nilgiri Hills; Madurai, Rameswaram, and the Andamans. The book is written in the first person plural ("We") and thus the reader soon feels that he or she has become a character in the narrative. Much of the information in this book was obtained directly from representatives of each of the communities visited from September 2003 to February 2004. All color photographs were taken by the author (save for a precious few that were either purchased or given to him by helpers). This is the third book of The Lore of Greater Melanesia which, in turn, is the fourth volume in a seven volume treatment of black & indigenous culture and folklore of the tropics.

48. Black Songs & Dances of the Tropics: Book 1 The African-Indian Ocean – in this volume (the first in a series of 4 publications) the following “song & dance” traditions are discussed: 1) the Hira Gasy tradition of the Merina people of Madagascar; 2) a “combat song & dance” tradition known as mrengé from the Comoro Islands; 3) Black folklore song & dance traditions from the Seychelles; 4) the Maloyá tradition of Reunion; 5) the Sega tradition of Mauritius; 6) traditional songs and dances as well as “rap and hip-hop” songs from Rodrigues; 7) funerary songs from Chagos; and 8) Babura Nishun and Raivaru of the Maldives. For every tradition (i.e. song & accompanying dance) presented, the “what? where? when? who? how? & why?” of each is discussed and placed within a brief geographic and socio-historic context. Moreover, in responding to these “6 basic questions,” the nature of the tradition in question, the musical instruments employed, the dance movements where applicable, and the costumes worn (if any) is provided along with: 1) an ample discussion of song lyrics including the structure, content and artistic qualities of many of the songs presented; and 2) a collection of original photos to help the reader better conceptualize the author’s explanations.

49. Black Songs & Dances of the Tropics: Book II Central & South America (Mexico, Guatemala, Honduras, Panama, Ecuador, Peru, Bolivia, Brazil) – in this volume (the second in a series of four publications) the following “song & dance” traditions from Central & South America are discussed: 1) Black song and dance of the Costa Chica in Mexico; 2) the Native American Palo de Voladores from Guatemala and Mexico; 3) Garifuna (Black Carib) song and dance from Honduras; 4) Congo song and dance from Panama; 5) several Black and Native American song and dance traditions from Ecuador; 6) a number of Black and Native American song and dance traditions from Peru; 7) some Black and Native American song and dance traditions from Bolivia (including the Saya); and 8) Capoeira Angola from Brazil. For every tradition (i.e. song & accompanying dance) presented, the “what? where? when? who? how? & why?” of each is discussed and placed within a brief geographic and socio-historic context. Moreover, in responding to these “6 basic questions,” the nature of the tradition in question, the musical instruments employed, the dance movements where applicable, and the costumes worn (if any) are provided along with: 1) an ample discussion of song lyrics including the structure, content and artistic qualities of many of the songs presented; and 2) a collection of 120 original photos to help the reader better visualize the author’s explanations.

50 . The Pop Wuj in Verse – This 112-paged volume comprises my versification of the mythological portion of the Pop Wuj (Books I & II) along with a foreword, introduction, and conclusion which provide a great deal of contextual and interpretive information. It also has a comprehensive glossary and additional sections dealing with the “Tale within the Tale” and “Cosmic Interpretations.” A partial listing of the deeper meaning of characters and events as well as a short comparison of the Mayan myth with an Ancient Egyptian creation myth is also provided. The book is illustrated with 20 original drawings by two Mayan artists from Chichicastenango, Guatemala – the place where the original version was first discovered by a Spanish Friar.