Through Seussian rhyme and quirky illustrations, The Wonderful W tells the story of Princess Willa and her journey to find the missing letter W for without W's wholes turn to _holes and We becomes _e. Facing this void, the princess discovers the wholeness that resides within every hole and how We are the W's We've been Waiting for!
**A multicultural new adult romance from bestselling author, J.J. McAvoy** Eli Davenport thinks he’s found the perfect woman to be his wife. She’s a doctor, like he is. She’s brilliant, like he is. And she’s wealthy, like he is. Guinevere ‘Gwen’ Poe thinks her fiancé is the perfect man. He’s handsome, successful and he was her first... But when Eli’s bride runs off with Gwen’s fiancée on his wedding day, they are left to pick up the broken pieces of each other...
The picture book inspiration for the Academy Award-winning film The Green Book Ruth was so excited to take a trip in her family's new car! In the early 1950s, few African Americans could afford to buy cars, so this would be an adventure. But she soon found out that Black travelers weren't treated very well in some towns. Many hotels and gas stations refused service to Black people. Daddy was upset about something called Jim Crow laws . . . Finally, a friendly attendant at a gas station showed Ruth's family The Green Book. It listed all of the places that would welcome Black travelers. With this guidebook—and the kindness of strangers—Ruth could finally make a safe journey from Chicago to her grandma's house in Alabama. Ruth's story is fiction, but The Green Book and its role in helping a generation of African American travelers avoid some of the indignities of Jim Crow are historical fact.
Gwen knew three things for sure, all of which she learned at aged eight: (1) she was ugly, (2) the only person she could depend on to defend her was herself, and (3) the only way to defend herself from bullies was through merciless confrontation. Gwen lived her life according to those facts. Her resentments grew with each real and perceived unfairness and resulted in increasingly violent retribution, culminating with the loss of her only child. She was determined to get revenge. She lived for it. During this time, however, she does find some good in her life and in her soul, and for a time, the good and the evil comingle inside her until, one day, she encounters someone as desperate as she is. Which part of her will win out then? The good or the evil?
Poetry. Women's Studies. Young Adult. Somewhere between the stem and the fruit is that paradoxical nexus, the point that is both connection and separation, from where you came, to what you are becoming, the scene of the severing, the letting go, the stepping away, the necessary violence and the radical isolation required to be oneself, wholly. And, perhaps, holy. "The poems are written / before they occur to me," Gwen Frost declares at the conclusion of her shattering first collection. "Something about a scar, something about a hymn." She says that poetry saved her life, making this volume a document of that on-going process of healing, and a gift and a hope for others on the same journey. Foremost, it is a document of a contemporary young woman negotiating her way through a perilous world. "Turns out, there are a million different ways to kill a girl," she observes in "Watch," a poem that references Hitchcock's advice to "torture the women" in order to make a popular film, and by extension the misogynistic voyeurism that fetishizes violence against women. This book documents more than a few of those ways, and nowhere more chillingly than in the poem "sticking heads in the sand," in which the query "How was your summer?" follows up almost casually with another question, "What was your rapist's name?" In the inventory of anticipated experience for a young woman, "summer love and sexual assault / adventures and attacks" go hand in hand, "heads pushed into sand" both an act of violence and an act of willful forgetting. Gwen Frost won't forget, and won't let us forget. She is fiercely self-examining and self-revealing, admitting her chief fear is "what I am capable of, I am afraid / that I could kill a man, / and I am afraid / that I might like it." In lieu of this (perhaps understandable) act of violence, she exorcises and expiates through her verse. In the process, she might save us along with herself. She concludes that she "will write one, unshareable poem, / and I will let it die with me, simple and / forever, folded neatly in my throat." This is her one prediction that we must hope is untrue, for we need her to write many, many more poems, and to share them for many years to come.
Gwen has just been released from the home where she has been under psychiatric care. She is trying to re-establish her life, her identity, and her relationship with her estranged young children.
“Kirby has mastered the art of short fiction…A stunning collection from a writer whose talent and creativity seem boundless.” —NPR “Kirby takes joy in subverting the reader’s expectations at every turn. Her characters might be naïve, even reckless, but they aren’t about to be victims: They’re strong, and brave, and nearly always capable of rescuing themselves.” —New York Times Book Review Margaret Atwood meets Buffy in these funny, warm, and furious stories of women at their breaking points, from Hellenic times to today. Cassandra may have seen the future, but it doesn't mean she's resigned to telling the Trojans everything she knows. In this ebullient collection, virgins escape from being sacrificed, witches refuse to be burned, whores aren't ashamed, and every woman gets a chance to be a radioactive cockroach warrior who snaps back at catcallers. Gwen E. Kirby experiments with found structures--a Yelp review, a WikiHow article--which her fierce, irreverent narrators push against, showing how creativity within an enclosed space undermines and deconstructs the constraints themselves. When these women tell the stories of their triumphs as well as their pain, they emerge as funny, angry, loud, horny, lonely, strong protagonists who refuse to be secondary characters a moment longer. From "The Best and Only Whore of Cym Hyfryd, 1886" to the "Midwestern Girl Is Tired of Appearing in Your Short Stories," Kirby is playing and laughing with the women who have come before her and they are telling her, we have always been this way. You just had to know where to look.
With original artworks throughout, an extraordinary fusion of memoir and artistic biography from the acclaimed artist and author of Self-Portrait. Dearest Gwen, I know this letter to you is an artifice. I know you are dead and that I’m alive and that no usual communication is possible between us but, as my mother used to say, “Time is a strange substance” and who knows really, with our time-bound comprehension of the world, whether there might be some channel by which we can speak to each other, if we only knew how. Celia Paul’s Letters to Gwen John centers on a series of letters addressed to the Welsh painter Gwen John (1876–1939), who has long been a tutelary spirit for Paul. John spent much of her life in France, making art on her own terms and, like Paul, painting mostly women. John’s reputation was overshadowed during her lifetime by her brother, Augustus John, and her lover Auguste Rodin. Through the epistolary form, Paul draws fruitful comparisons between John’s life and her own: their shared resolve to protect the sources of their creativity, their fierce commitment to painting, and the ways in which their associations with older male artists affected the public’s reception of their work. Letters to Gwen John is at once an intimate correspondence, an illuminating portrait of two painters (including full-color plates of both artists’ work), and a writer/artist’s daybook, describing Paul’s first exhibitions in America, her search for new forms, her husband’s diagnosis of cancer, and the onset of the global pandemic. Paul, who first revealed her talents as a writer with her memoir, Self-Portrait, enters with courage and resolve into new unguarded territory—the artist at present—and the work required to make art out of the turbulence of life.
Gwen has spent her whole life in a big egg-laying hen house, so she knows very little about what chickens can do (besides lay eggs, of course). A fateful tornado turns her world upside-down and sideways, landing her in a strange new place that's nothing like the hen house. Using her wits and chicken superpowers, Gwen dodges danger at every turn until she finds safety and friendship with a boy named Mateo. Together they discover how extraordinary an ordinary chicken really is. The book includes a bonus section called "More About Chickens," where curious readers can learn that chickens have extraordinary eyesight, a complex language of 24 sounds, and are descended from dinosaurs, among other fun facts. Gwen the Rescue Hen is the second children's book in Stone Pier Press's Farm Animal Rescue Series, perfect for ages 4 to 7. The first book, Sprig the Rescue Pig, was released in the Spring of 2018.
Narrated in alternating voices by mother Nancy and sister Elizabeth, Go, Gwen, Go is an inspiring story about Olympian Gwen Jorgensen and her family. This memoir introduces a young woman of modest athletic achievements who uses desire and discipline to attain the ultimate in sport—the Olympic Gold. You will enter the secret world of Olympic training, professional coaching, international travel, sponsor funding, anti-doping requirements, athlete nutrition, and sports physiotherapy. You will be granted an inside look at the personal life of a professional triathlete, complete with family crises and holiday celebrations. During her triathlon career, Gwen became the first American woman to win a World Triathlon Series event, the first person in history to win 12 consecutive races on the ITU circuit, and the first American triathlete, man or woman, to win an Olympic Gold medal. In this inspiring story, Gwen Jorgensen and her family grow together, from average to Olympian.