Readers will be touched and inspired by this latest novel from bestselling author Lurlene McDaniel: Beth's world has been torn apart. She cannot figure out how to go on when a car accident claims the lives of her entire family, and she is the only survivor. Things seem to get even worse when she moves in with her aunt and her spoiled cousin, Terri. But with the love and support of her aunt and some unexpected friends, Beth struggles to overcome the despair that threatens to consume her. Will she be able to move past the painful memories without feeling guilty for being a survivor?
Kirkus Best Books of 2019 * Kids’ Indie Next Pick List * Bookpage Best Books of 2019: Middle Grade “Beautiful, mysterious and deeply satisfying.” —Rebecca Stead, Newbery Medal-winning author of When You Reach Me and Goodbye Stranger The world tilted for Elodee this year, and now it’s impossible for her to be the same as she was before. Not when her feelings have such a strong grip on her heart. Not when she and her twin sister, Naomi, seem to be drifting apart. So when Elodee’s mom gets a new job in Eventown, moving seems like it might just fix everything. Indeed, life in Eventown is comforting and exciting all at once. Their kitchen comes with a box of recipes for Elodee to try. Everyone takes the scenic way to school or work—past rows of rosebushes and unexpected waterfalls. On blueberry-picking field trips, every berry is perfectly ripe. Sure, there are a few odd rules, and the houses all look exactly alike, but it’s easy enough to explain—until Elodee realizes that there are only three ice cream flavors in Eventown. Ever. And they play only one song in music class. Everything may be “even” in Eventown, but is there a price to pay for perfection—and pretending? “Engrossing.” —New York Times Book Review “Enchanting, heart-rending, and bittersweet.” —Kirkus Reviews (starred review) “An emotionally complex and wonderfully told story.” —School Library Journal (starred review) “Thought-provoking.” —Publishers Weekly (starred review)
As his fifth birthday party approaches, Little Rabbit decides to invite only those friends who are also too old to cry until he learns that others of all ages weep for all sorts of reasons.
If he had been with me everything would have been different... I wasn't with Finn on that August night. But I should've been. It was raining, of course. And he and Sylvie were arguing as he drove down the slick road. No one ever says what they were arguing about. Other people think it's not important. They do not know there is another story. The story that lurks between the facts. What they do not know—the cause of the argument—is crucial. So let me tell you...
"One of fantasy’s best series." —Booklist, starred review In this explosive conclusion to the epic trilogy that began with Fireborne, Annie and Lee are fighting for their lives—and for each other—as invading dragonfire threatens to burn their home to the ground. A new revolution is underway, and nobody will emerge unscathed. In New Pythos, Griff is facing an execution by the dragonborn, who are furious at his betrayal. He has allies on both sides seeking to defy his fate, but the price of his freedom might come at a dear cost. And Delo will have to make a choice: follow his family, or finally surrender to his conscience. Meanwhile, Annie must race home to hatch a plan to save her Guardians and their dragons. With Callipolis on the brink of collapse and the triarchy set to be reinstated, she may be the one person who can save the city—if she can overcome her own doubts about her future. Lee is a revolutionary at heart, but now he’ll have to find a way to fight with diplomacy. Going up against the dragonborn court and a foreign princess, he faces a test of loyalty that sets his head against his heart. As the fate of Callipolis darkens, Annie and Lee must determine what they are willing to sacrifice in order to save each other, defeat their enemies, and reclaim their home.
Between 1929 and 1934, women in American cinema were modern! For five short years women in American cinema were modern! They took lovers, had babies out of wedlock, got rid of cheating husbands, enjoyed their sexuality, led unapologetic careers and, in general, acted the way many think women only acted after 1968. Before then, women on screen had come in two varieties - good or bad - sweet ingenue or vamp. Then two stars came along to blast away these common stereotypes. Garbo turned the femme fatale into a woman whose capacity for love and sacrifice made all other human emotions seem pale. Meanwhile, Norma Shearer succeeded in taking the ingenue to a place she'd never been: the bedroom. Garbo and Shearer took the stereotypes and made them complicated. In the wake of these complicated women came others, a deluge of indelible stars - Constance Bennett, Ruth Chatterton, Mae Clarke, Claudette Colbert, Marlene Dietrich, Kay Francis, Ann Harding, Jean Harlow, Miriam Hopkins, Dorothy Mackaill, Barbara Stanywyck, Mae West and Loretta Young all came into their own during the pre-Code era. These women pushed the limits and shaped their images along modern lines. Then, in July 1934, the draconian Production Code became the law in Hollywood and these modern women of the screen were banished, not to be seen again until the code was repealed three decades later. Mick LaSalle, film critic for the San Francisco Chronicle, takes readers on a tour of pre-Code films and reveals how this was the true golden age of women's films and how the movies of the pre-Code are still worth watching. The bold, pioneering and complicated women of the pre-Code era are about to take their place in the pantheon of film history, and America is about to reclaim a rich legacy.
Bobbing alongside Margery Kempe—an illiterate medieval mystic who dictated the first autobiography in English—the ragged voice of Cry Baby Mystic finds itself drawn into strange predicaments that are not its own and ferried into abandoned spaces by the gearing of stardom and shame. The revolving sentences overheard by the reader--a muffled chorus of Brechtian aftershocks--survive only as traces of sorrow now craved by all who have known it: sound gossiping the unsound, the excess of the pilgrim. A person climbs out and never comes home.
Eighty-nine-year-old Regina and ninety-year-old Jackie met in 1955, an era when women were rounded up and jailed simply for dancing together or dressing like a man. On a cold winter day they manage to get themselves out of the house with the help of TJ and Ramon, two young men from their working-class neighborhood in Western Massachusetts. They tie their long-dead Christmas tree to the top of their car and, using a screwdriver in place of a broken gearshift, slowly make the drive to the dump. This is also the day when everything changes. During the course of their adventure, memories are triggered. Their history as a passionate and devoted, but troubled couple at the intersection of historic cultural and political change unfolds via scenes from the past—including their first meeting during a police raid on a bar and Regina's epiphany that she could truly love another woman. In the early years, they often live apart as they flee landlords who discover their secret. As their journey leads them to seek jobs and a sustainable life, they are sometimes separated—but always find their way back to each other. Combining the pathos and social significance of Fried Green Tomatoes at the Whistle Stop Café and the humor of The Golden with a cast of diverse characters worthy of the musical Rent, Fishwives chronicles a lifetime through the eyes of two old women behaving badly.
A firsthand, personal view of a family on the front lines of war in Israel “An outstanding work . . . powerfully and movingly written.”—Jerusalem Post WINNER OF THE “BOOKS FOR A BETTER LIFE” AWARD In the summer of 1998, Daniel Gordis and his family moved to Israel from Los Angeles. They planned to be there for a year, but a few months into their stay, Daniel and his wife decided to remain in Jerusalem permanently, confident that their children would be among the first generation of Israelis to grow up in peace. Immediately after arriving in Israel, Daniel had started sending out e-mails about his life to friends and family abroad. These missives—passionate, thoughtful, beautifully written, and informative—began reaching a much broader readership than he’d ever envisioned, eventually being excerpted in The New York Times Magazine to much acclaim. An edited and finely crafted collection of Daniel’s original e-mails, If a Place Can Make You Cry is a first-person, immediate account of Israel’s post-Oslo meltdown that cuts through the rhetoric and stridency of most dispatches from that country or from the international media. Above all, If a Place Can Make You Cry tells the story of a family that must cope with the sudden realization that they took their children from a serene and secure neighborhood in Los Angeles to an Israel not at peace but mired in war. This is the chronicle of a loss of innocence—the innocence of Daniel and his wife, and of their children. Ultimately, through Daniel’s eyes, Israel, with all its beauty, madness, violence, and history, comes to life in a way we’ve never quite seen before.
This bestselling "lyrical, moving book: part essay, part memoir, part surprising cultural study" is an examination of why we cry, how we cry, and what it means to cry from a woman on the cusp of motherhood confronting her own depression (The New York Times Book Review). Heather Christle has just lost a dear friend to suicide and now must reckon with her own depression and the birth of her first child. As she faces her grief and impending parenthood, she decides to research the act of crying: what it is and why people do it, even if they rarely talk about it. Along the way, she discovers an artist who designed a frozen–tear–shooting gun and a moth that feeds on the tears of other animals. She researches tear–collecting devices (lachrymatories) and explores the role white women’s tears play in racist violence. Honest, intelligent, rapturous, and surprising, Christle’s investigations look through a mosaic of science, history, and her own lived experience to find new ways of understanding life, loss, and mental illness. The Crying Book is a deeply personal tribute to the fascinating strangeness of tears and the unexpected resilience of joy.
