A third grader realizes the importance of her name in this classic story of heritage and self-identity. For María Isabel Salazar López, the hardest thing about being the new girl in school is that the teacher doesn't call her by her real name. "We already have two Marías in this class," says her teacher. "Why don't we call you Mary instead?" But María Isabel has been named for her Papá's mother and for Chabela, her beloved Puerto Rican grandmother. Can she find a way to make her teacher see that if she loses her name, she's lost the most important part of herself?
In this timely tale of immigration, two cousins learn the importance of family and friendship. A year of discoveries culminates in a performance full of surprises, as two girls find their own way to belong. Mexico may be her parents’ home, but it’s certainly not Margie’s. She has finally convinced the other kids at school she is one-hundred percent American—just like them. But when her Mexican cousin Lupe visits, the image she’s created for herself crumbles. Things aren’t easy for Lupe, either. Mexico hadn’t felt like home since her father went North to find work. Lupe’s hope of seeing him in the United States comforts her some, but learning a new language in a new school is tough. Lupe, as much as Margie, is in need of a friend. Little by little, the girls’ individual steps find the rhythm of one shared dance, and they learn what “home” really means. In the tradition of My Name is Maria Isabel—and simultaneously published in English and in Spanish—Alma Flor Ada and her son Gabriel M. Zubizarreta offer an honest story of family, friendship, and the classic immigrant experience: becoming part of something new, while straying true to who you are.
An astonishing story that puts a human face on the ongoing debate about immigration reform in the United States, now updated with a new Epilogue and Afterword, photos of Enrique and his family, an author interview, and more—the definitive edition of a classic of contemporary America Based on the Los Angeles Times newspaper series that won two Pulitzer Prizes, one for feature writing and another for feature photography, this page-turner about the power of family is a popular text in classrooms and a touchstone for communities across the country to engage in meaningful discussions about this essential American subject. Enrique’s Journey recounts the unforgettable quest of a Honduran boy looking for his mother, eleven years after she is forced to leave her starving family to find work in the United States. Braving unimaginable peril, often clinging to the sides and tops of freight trains, Enrique travels through hostile worlds full of thugs, bandits, and corrupt cops. But he pushes forward, relying on his wit, courage, hope, and the kindness of strangers. As Isabel Allende writes: “This is a twenty-first-century Odyssey. If you are going to read only one nonfiction book this year, it has to be this one.” Praise for Enrique’s Journey “Magnificent . . . Enrique’s Journey is about love. It’s about family. It’s about home.”—The Washington Post Book World “[A] searing report from the immigration frontlines . . . as harrowing as it is heartbreaking.”—People (four stars) “Stunning . . . As an adventure narrative alone, Enrique’s Journey is a worthy read. . . . Nazario’s impressive piece of reporting [turns] the current immigration controversy from a political story into a personal one.”—Entertainment Weekly “Gripping and harrowing . . . a story begging to be told.”—The Christian Science Monitor “[A] prodigious feat of reporting . . . [Sonia Nazario is] amazingly thorough and intrepid.”—Newsday
Featured in a New York Times article titled "Teach Your Kids to Resist Hatred Toward Asians" A young boy wrestles with his Muslim identify until a compassionate teacher helps him to understand more about his heritage. After a family move, Bilal and his sister Ayesha attend a new school where they find out that they may be the only Muslim students there. Bilal sees his sister bullied on their first day, so he worries about being teased himself, thinking it might be best if his classmates didn't know that he is Muslim. Maybe if he tells kids his name is Bill, rather than Bilal, then they will eave him alone. But when Bilal's teacher Mr. Ali, who is also Muslim, sees how Bilal is struggling. He gives Bilal a book about the first person to give the call to prayer during the time of the Prophet Muhammad. That person was another Bilal: Bilal Ibn Rabah. What Bilal learns from the book forms the compelling story of a young boy grappling with his identity.
Determined to steal an old woman's gold coin, a young thief follows her all around the countryside and finds himself involved in a series of unexpected activities.
"Deep Salt Water is an intimate memoir about abortion, expressed through a layering of language and imagery of the ocean. The story gravitates around the reconnection and ongoing entanglements of a couple who'd had an abortion twenty years earlier. Interdisciplinary in nature and entre-genre in style, Deep Salt Water is organized as thirty-seven separate pieces, divided into three sections (or 'trimesters') that detail the couple's love affair and unwanted pregnancy; the abortion itself; their separation and tenuous reconnection; and the sorrowful, urgent attempt to come to terms with the abortion and its consequences. Included in its pages are two innovative elements-a series of collages by visual artist Catherine Mellinger and a section entitled the 'Afterbirth, ' which discusses environmental issues that informed Apostolides' writing and moves the book from a place of intense intimacy to an outward focus that engages with the broader world and our shared responsibility and hope."--
A sex slave is very often a woman who dares to admit herself exactly what she wants. Absolute submission to love requires a mysterious strength of character that is a far cry from the stereotype of sex slaves as mindless doormats with no self-respect. Beauty and Submission continues the detailed account of Pita's ascent into submission started in The Story of M. As an engagement ring, Pita's Master forged a silver collar and a lock for her to which only he has the key. Pita describes herself as an independent spirit who is also willingly a masterful man's love slave.
A third grader realizes the importance of her name in this classic story of heritage and self-identity. For María Isabel Salazar López, the hardest thing about being the new girl in school is that the teacher doesn't call her by her real name. "We already have two Marías in this class," says her teacher. "Why don't we call you Mary instead?" But María Isabel has been named for her Papá's mother and for Chabela, her beloved Puerto Rican grandmother. Can she find a way to make her teacher see that if she loses her name, she's lost the most important part of herself?
