In this intimate and moving graphic memoir, Teresa Wong writes and illustrates the story of her struggle with postpartum depression in the form of a letter to her daughter Scarlet. Equal parts heartbreaking and funny, Dear Scarlet perfectly captures the quiet desperation of those suffering from PPD and the profound feelings of inadequacy and loss. As Teresa grapples with her fears and anxieties and grasps at potential remedies, coping mechanisms, and her mother’s Chinese elixirs, we come to understand one woman's battle against the cruel dynamics of postpartum depression. Dear Scarlet is a poignant and deeply personal journey through the complexities of new motherhood, offering hope to those affected by PPD, as well as reassurance that they are not alone.
The New York Times bestseller that’s perfect for any parent or Grandparent A few years ago, Mike Huckabee began drafting a series of letters to his grandchildren, Chandler and Scarlett, about the things that matter most: faith, love, family, overcoming adversity, and staying true to your values in the face of failure and temptation. Those letters are collected in this charming and inspirational bestseller, full of personal stories. They are nonpolitical and have universal appeal, no matter what your age, religion, or personal situation. We can all benefit from what Huckabee wishes he had known during tough times, rather than learning the hard way.
One month after her novel Gone With the Wind was published, Margaret Mitchell sold the movie rights for fifty thousand dollars. Fearful of what the studio might do to her story—“I wouldn’t put it beyond Hollywood to have . . . Scarlett seduce General Sherman,” she joked—the author washed her hands of involvement with the film. However, driven by a maternal interest in her literary firstborn and compelled by her Southern manners to answer every fan letter she received, Mitchell was unable to stay aloof for long. In this collection of her letters about the 1939 motion picture classic, readers have a front-row seat as the author watches the Dream Factory at work, learning the ins and outs of filmmaking and discovering the peculiarities of a movie-crazed public. Her ability to weave a story, so evident in Gone With the Wind,makes for delightful reading in her correspondence with a who’s who of Hollywood, from producer David O. Selznick, director George Cukor, and screenwriter Sidney Howard, to cast members Clark Gable, Vivien Leigh, Leslie Howard, Olivia de Havilland and Hattie McDaniel. Mitchell also wrote to thousands of others—aspiring actresses eager to play Scarlett O’Hara; fellow Southerners hopeful of seeing their homes or their grandmother’s dress used in the film; rabid movie fans determined that their favorite star be cast; and creators of songs, dolls and Scarlett panties who were convinced the author was their ticket to fame and fortune. During the film’s production, she corrected erring journalists and the producer’s over-the-top publicist who fed the gossip mills, accuracy be damned. Once the movie finished, she struggled to deal with friends and strangers alike who “fought and trampled little children and connived and broke the ties of lifelong friendship” to get tickets to the premiere. But through it all, she retained her sense of humor. Recounting an acquaintance’s denial of the rumor that the author herself was going to play Scarlett, Mitchell noted he “ungallantly stated that I was something like fifty years too old for the part.” After receiving numerous letters and phone calls from the studio about Belle Watling’s accent, the author related her father was “convulsed at the idea of someone telephoning from New York to discover how the madam of a Confederate bordello talked.” And in a chatty letter to Gable after the premiere, Mitchell coyly admitted being “feminine enough to be quite charmed” by his statement to the press that she was “fascinating,” but added: “Even my best friends look at me in a speculative way—probably wondering what they overlooked that your sharp eyes saw!” As Gone With the Wind marks its seventy-fifth anniversary on the silver screen, these letters, edited by Mitchell historian John Wiley, Jr., offer a fresh look at the most popular motion picture of all time through the eyes of the woman who gave birth to Scarlett.
All this time Scarlett's thought her dad was a thief, but years after his death a strange man turns up at the door and hands her a box, "on her father's instructions". Inside is a baffling series of clues that leads Scarlett and her friend, Ellie, on a wild, scary, often funny journey of discovery about her father and his mysterious life. But the more the girls learn, the more danger they're in. They must stay one step ahead of the sinister mayoress and her chauffer as they race to unravel her dad's final clue: Keep looking up... From the acclaimed author of Saving Sophia and Murder in Midwinter. "Fleur Hitchcock has cornered the market in hard-boilers for beginners." - Alex O'Connell, The Times
This perennially popular Norton Critical Edition has been revised to reflect the most current scholarly approaches to The Scarlet Letter—Hawthorne’s most widely read novel—as well as to the five short prose works—“Mrs. Hutchinson,” “Endicott and the Red Cross,” “Young Goodman Brown,” “The Minister’s Black Veil,” and “The Birth-mark”—that closely relate to the 1850 novel. This Second Norton Critical Edition also includes: · Revised and expanded explanatory footnotes, a new preface, and a note on the text by Leland S. Person. · Key passages from Hawthorne’s notebooks and letters that suggest the close relationship between his private and public writings · Seven new critical essays by Brook Thomas, Michael Ryan, Thomas R. Mitchell, Jay Grossman, Jamie Barlowe, John Ronan, and John F. Birk. · A Chronology and revised and expanded Selected Bibliography.
