As the elder daughter of an emperor whose wife had presented him with no sons, Isabel stood to inherit the monarchy of Brazil with the passing of Dom Pedro II. On three separate occasions, Isabel was named regent, or head of state, when her father was required to leave the country for extended periods. On each occasion, she served as the dutiful daughter, following her father's instructions to the letter and resisting any attempts at personal aggrandizement. During her third regency, as her father recuperated in Europe, rather than accumulate personal power and oppose the forces of republicanism and abolition, Isabel personally led the struggle to pass the Gold Law of 1888 abolishing slavery throughout Brazil, thus ridding the country of one of the institutions upon which traditional monarchical Brazil was based and speeding the downfall of the monarchy, the monarchy she would inherit, in 1889. Princess Isabel of Brazil examines Isabel's role as an extraordinary woman who had access to material wealth and education and power, in patriarchal nineteenth-century Brazil. Professor Barman looks at how her life was constrained by her subordinate roles as daughter, wife, mother, and even as empress-in-waiting, using the fascinating career of Isabel to examine the interplay of gender and power in the nineteenth century. This new book is an excellent resource for courses biography, women's studies, and Latin American history courses.
Stories are not enough, even though they are essential. And books about history, books of psychology--the best of them take us closer, but still not close enough. Maria Tumarkin's Axiomatic is a boundary-shifting fusion of thinking, storytelling, reportage and meditation. It takes as its starting point five axioms: 'Time Heals All Wounds'; 'History Repeats Itself'; 'Those Who Forget the Past are Condemned to Repeat It'; 'Give Me a Child Before the Age of Seven and I Will Show You the Woman'; and 'You Can't Enter The Same River Twice.' These beliefs--or intuitions--about the role the past plays in our present are often evoked as if they are timeless and self-evident truths. It is precisely because they are neither, yet still we are persuaded by them, that they tell us a great deal about the forces that shape our culture and the way we live.
A burlesque smorgasbord of international high jinks—the “biography” of a hapless, twelve-fingered, would-be assassin who lurches from Sarajevo to Paris to Hollywood to Chicago to Rio, leaving high-stakes chaos in his wake. Our hero, Dimitri Borja Korozec, is born in the late 1800s to a Brazilian contortionist mother and a fanatically nationalist Serbian linotypist father. Dimitri enrolls in a training school for assassins, where he excels—except for his troubling propensity for fouling things up at the last moment. Part Carlos the Jackal, part Woody Allen’s Zelig, part Inspector Clouseau, and part Forrest Gump, Dimitri is a schlemiel of an assassin and anarchist who can’t seem to kill anyone. He does, however, cause enough mayhem to help start World War I, spread Spanish influenza to the American continent, and unintentionally trigger various other significant events of the twentieth century by slipping and falling, misreading signs, and misunderstanding instructions. Along the way Dimitri runs into—and, sometimes, nearly over—a diverse cast of bit players: Mata Hari, Al Capone, Carmen Miranda, Marie Curie, Pablo Picasso, Jean Cocteau, Irving Thalberg, George Raft, and even Aleister Crowley make their appearances. Jô Soares weaves the lives of his characters in and out of modern history, creating odd synchronicities, uncanny coincidences, and the impression that this “biography” might almost be true. True or not, it’s a laugh-out-loud romp that provides an intriguing new perspective on the history and major figures of our time, blurring the line between fact and fiction—a line which, had he encountered it on his way to an assassination, Dimitri would most certainly have tripped over.
Mary O’Hara is a sharp and cheeky 12-year-old Dublin schoolgirl who is bravely facing the fact that her beloved Granny is dying. But Granny can’t let go of life, and when a mysterious young woman turns up in Mary’s street with a message for her Granny, Mary gets pulled into an unlikely adventure. The woman is the ghost of Granny’s own mother, who has come to help her daughter say good-bye to her loved ones and guide her safely out of this world. She needs the help of Mary and her mother, Scarlett, who embark on a road trip to the past. Four generations of women travel on a midnight car journey. One of them is dead, one of them is dying, one of them is driving, and one of them is just starting out. Praise for A Greyhound of a Girl STARRED REVIEW “A warm, witty, exquisitely nuanced multigenerational story.” –Kirkus Reviews, starred review STARRED REVIEW “This elegantly constructed yet beautifully simple story, set in Ireland and spun with affection by Booker Prize–winner Doyle, will be something different for YA readers. These four lilting voices will linger long after the book is closed.” –Booklist, starred review STARRED REVIEW "Written mostly in dialogue, at which Doyle excels, and populated with a charming foursome of Irish women, this lovely tale is as much about overcoming the fear of death as it is about death itself." –Publishers Weekly, starred review "In this moving and artfully structured ghost tale, four generations of Irish women come together. A big part of the pleasure here is the rhythm of the language and the contrasting voices of the generations. Any opportunity to read it aloud would be a treat." –Horn Book "For children grieving the death of a parent or grandparent, this book provides comfort." –Library Media Connection Award: Capitol Choices 2013 - Noteworthy Titles for Children and Teens Cooperative Children’s Book Center (CCBC) Choices 2013 list - Young Adult Fiction USBBY Outstanding International Books List 2013
Cited in BCL3, Sheehy, and Walford . Compiled from the 12 monthly issues of the ABPR, this edition of the annual cumulation lists by Dewey sequence some 41,700 titles for books published or distributed in the US. Entry information is derived from MARC II tapes and books submitted to R.R. Bowker, an