Dahlia Academy’s first-years are away from their fair campus for a friendly three-day school trip, and surprising no one, it only takes one night for the fierce feud between the White Cats and Black Doggies to blow up yet again. This time, it’s leading ladies Persia and Hasuki at each other’s throats over Inuzuka’s affections. They’ve vowed to prove once and for all which of them loves their dear Romio the most. As the sparks fly, can Inuzuka find a way to cool these ladies off without anyone getting burned?
"For fans of Ottessa Moshfegh, Juliet the Maniac is a worthy new entry in that pantheon of deconstruction... Dazzling."—NEW YORK TIMES BOOK REVIEW This portrait of a young teenager's fight toward understanding and recovering from mental illness is shockingly honest, funny, and heartfelt. Ambitious, talented fourteen-year-old honors student Juliet is poised for success at her Southern California high school. However, she soon finds herself in an increasingly frightening spiral of drug use, self-harm, and mental illness that lands her in a remote therapeutic boarding school, where she must ultimately find the inner strength to survive. A highly anticipated debut—from a writer hailed as "a combination of Denis Johnson and Joan Didion" (Dazed)—that brilliantly captures the intimate triumph of a girl's struggle to become the woman she knows she can be.
At long last, star-crossed lovers Inuzuka and Persia are only one step away from becoming head prefects and tearing down the proverbial wall between the Black Doggy and White Cat dorms. That is, until rival candidate Reon Inugami drops one heck of a last-minute election surprise in front of the entire student body on voting day, shattering the tenacious twosome’s hopes in one fell swoop. The cat may finally, irreversibly be out of the bag—and with their whole world seemingly against them, Romio and Juliet may be on the way out of school…
One woman’s investigation into the nature of memory, the past, and above all, love. All families have their myths and Juliet Nicolson’s was no different: her flamenco dancing great-great-grandmother Pepita, the flirty manipulation of her great-grandmother Victoria, the infamous eccentricity of her grandmother Vita, her mother’s Tory-conventional background. A House Full of Daughters takes us through seven generations of women. In the nineteenth-century slums of Malaga, the salons of fin-de-siècle Washington DC, an English boarding school during the Second World War, Chelsea in the 1960s, these women emerge for Juliet as people in their own right, but also as part of who she is and where she has come from
Winner of the Pulitizer Prize and National Book Critics Award Circle Award. An authoritative and brilliant exploration of the art, life, and world of an American master. Willem de Kooning is one of the most important artists of the twentieth century, a true “painter’s painter” whose protean work continues to inspire many artists. In the thirties and forties, along with Arshile Gorky and Jackson Pollock, he became a key figure in the revolutionary American movement of abstract expressionism. Of all the painters in that group, he worked the longest and was the most prolific, creating powerful, startling images well into the 1980s. The first major biography of de Kooning captures both the life and work of this complex, romantic figure in American culture. Ten years in the making, and based on previously unseen letters and documents as well as on hundreds of interviews, this is a fresh, richly detailed, and masterful portrait. The young de Kooning overcame an unstable, impoverished, and often violent early family life to enter the Academie in Rotterdam, where he learned both classic art and guild techniques. Arriving in New York as a stowaway from Holland in 1926, he underwent a long struggle to become a painter and an American, developing a passionate friendship with his fellow immigrant Arshile Gorky, who was both a mentor and an inspiration. During the Depression, de Kooning emerged as a central figure in the bohemian world of downtown New York, surviving by doing commercial work and painting murals for the WPA. His first show at the Egan Gallery in 1948 was a revelation. Soon, the critics Harold Rosenberg and Thomas Hess were championing his work, and de Kooning took his place as the charismatic leader of the New York school—just as American art began to dominate the international scene. Dashingly handsome and treated like a movie star on the streets of downtown New York, de Kooning had a tumultuous marriage to Elaine de Kooning, herself a fascinating character of the period. At the height of his fame, he spent his days painting powerful abstractions and intense, disturbing pictures of the female figure—and his nights living on the edge, drinking, womanizing, and talking at the Cedar bar with such friends as Franz Kline and Frank O’Hara. By the 1960s, exhausted by the feverish art world, he retreated to the Springs on Long Island, where he painted an extraordinary series of lush pastorals. In the 1980s, as he slowly declined into what was almost certainly Alzheimer’s, he created a vast body of haunting and ethereal late work.
This tale of a young woman's not-so-sentimental education is the story of fifteen-year-old Lolenka, who encounters an exiled radical named Veretitsyn and begins to question her education and life. Under his influence, Lolenka breaks with tradition and embarks upon a new life as a translator and an artist, but a chance meeting with Veretitsyn years later leads to a sobering reappraisal of her mentor's convictions.
American high schools have never been under more pressure to reform: student populations are more diverse than ever, resources are limited, and teachers are expected to teach to high standards for all students. While many reformers look for change at the state or district level, the authors here argue that the most local contexts—schools, departments, and communities—matter the most to how well teachers perform in the classroom and how satisfied they are professionally. Their findings—based on one of the most extensive research projects ever done on secondary teaching—show that departmental cultures play a crucial role in classroom settings and expectations. In the same school, for example, social studies teachers described their students as "apathetic and unwilling to work," while English teachers described the same students as "bright, interesting, and energetic." With wide-ranging implications for educational practice and policy, this unprecedented look into teacher communities is essential reading for educators, administrators, and all those concerned with U. S. High Schools.
