Jaqueline Woodson weaves a fascinating portrait of a thoughtful young girl’s coming of age in a world turned upside down.
Evie Thomas is not who she used to be. Once she had a best friend, a happy home and a loving grandmother living nearby. Once her name was Toswiah.
Now, everything is different. Her family has been forced to move to a new place and change their identities. But that’s not all that has changed. Her once lively father has become depressed and quiet. Her mother leaves teaching behind and clings to a new-found religion. Her only sister is making secret plans to leave. And Evie, struggling to find her way in a new city where kids aren’t friendly and the terrain is as unfamiliar as her name, wonders who she is.
Jaqueline Woodson weaves a fascinating portrait of a thoughtful young girl’s coming of age in a world turned upside down.
Award-winning author, Elizabeth Partridge has taken the life of this songwriting genius and woven in his lyrics, and other rich materials to create a touching and highly entertaining portrait of a true talent.
Before Springsteen and before Dylan, there was Woody Guthrie. With “This Machine Kills Fascists,” scrawled across his guitar in big black letters, Woody Guthrie brilliantly captured in song the experience of twentieth-century America. Whether he sang about union organizers, migrant workers, or war, Woody took his inspiration from the plight of the people around him as well as from his own tragic childhood.
From the late 1920s to the 1950s, Guthrie wrote the words to more than three thousand songs, including “This Land Is Your Land,” a song many call America’s unofficial national anthem. With a remarkable ability to turn any experience into a song almost instantaneously, Woody Guthrie spoke out for people of all colors and races, setting an example for generations of musicians to come. But Woody didn’t have the chance to find everything he was looking for. He was ravaged by Huntington’s disease, just like his mother, and died in a mental institution at the age of fifty-five.
Naomi Shihab Nye has been writing about being Arab-American, about Jerusalem, about the West Bank, about family all her life. These new and collected poems of the Middle East — sixty in all — appear together here for the first time.
Fowzi, who beats everyone at dominoes; Ibtisam, who wanted to be a doctor; Abu Mahmoud, who knows every eggplant and peach in his West Bank garden; mysterious Uncle Mohammed, who moved to the mountain; a girl in a red sweater dangling a book bag; children in velvet dresses who haunt the candy bowl at the party; Baba Kamalyari, age 71; Mr. Dajani and his swans; Sitti Khadra, who never lost her peace inside.
Maybe they have something to tell us.
Naomi Shihab Nye has been writing about being Arab-American, about Jerusalem, about the West Bank, about family all her life. These new and collected poems of the Middle East — sixty in all — appear together here for the first time.
Spending time partying on the moon and riding around in his “upcar,” Titus is an average teen of the future, complete with a computer chip implant — the “Feed” — that lets corporate marketers and government agencies broadcast directly into his brain. Then Titus meets Violet, and an anti-Feed hacker shuts down their Feeds for a short time; but when Violet’s Feed is seriously damaged, she begins spouting some radical ideas.
Spending time partying on the moon and riding around in his “upcar,” Titus is an average teen of the future, complete with a computer chip implant — the “Feed” — that lets corporate marketers and government agencies broadcast directly into his brain. Then Titus meets Violet, and an anti-Feed hacker shuts down their Feeds for a short time; but when Violet’s Feed is seriously damaged, she begins spouting some radical ideas.
Escape from the Alacrán Estate is no guarantee of freedom because Matt is marked by his difference in ways he doesn’t even suspect. Around every turn in this vivid, futuristic adventure is a new, heart-stopping surprise.
At his coming-of-age party, Matteo Alacrán asks El Patrón’s bodyguard, “How old am I? … I know I don’t have a birthday like humans, but I was born.”
“You were harvested,” Tam Lin reminds him. “You were grown in that poor cow for nine months and then you were cut out of her.”
To most people around him, Matt is not a boy, but a beast. But for El Patrón, lord of a country called Opium–a strip of poppy field lying between the U.S. and what was once called Mexico–Matt is a guarantee of eternal life. El Patrón loves Matt as he loves himself, for Matt is himself. They share identical DNA.
As Matt struggles to understand his existence, he is threatened by a sinister, grasping cast of characters, including El Patrón’s power-hungry family. He is surrounded by a dangerous army of bodyguards and by the mindless slaves of Opium, brain-deadened ‘eejits’ who toil in the poppy fields.
Escape from the Alacrán Estate is no guarantee of freedom because Matt is marked by his difference in ways he doesn’t even suspect. Around every turn in this vivid, futuristic adventure is a new, heart-stopping surprise.
Ellen Bryant Voigt now examines more intimately the ordeals and exaltations of everyday life. Nature, both fierce and benign, infuses this collection, furthering “an art at once ravishing and stern and deeply human” (American Academy of Arts and Letters).
Following her Stringent and much-acclaimed Kyrie, finalist for the National Book Critics Circle Award, Ellen Bryant Voigt now examines more intimately the ordeals and exaltations of everyday life. Nature, both fierce and benign, infuses this collection, furthering “an art at once ravishing and stern and deeply human” (American Academy of Arts and Letters).
Alberto Ríos explains the world not through reason but magic. This is magical realism at its shimmering best.
Alberto Ríos explains the world not through reason but magic. These poems—set in a town that straddles Mexico and Arizona—are lyric adventures, crossing two and three boundaries as easily as one, between cultures, between languages, between senses. Drawing upon fable, parable, and family legend, Ríos utilizes the intense and supple imagination of childhood to find and preserve history beyond facts: plastic lemons turning into baseballs, a grandmother’s long hair reaching up to save her life, the painted faith jumpers leaping to the earth and crowd below. This is magical realism at its shimmering best.
From poems that erupt out of history and childhood to those that embody the nurturing of a new generation of children and the transformative power of marital love, Sharon Olds takes risks, writing boldly of physical, emotional, and spiritual sensations that are seldom the stuff of poetry.
From Sharon Olds—a stunning new collection of poems that project a fresh spirit, a startling energy of language and counterpoint, and a moving, elegiac tone shot through with humor.
From poems that erupt out of history and childhood to those that embody the nurturing of a new generation of children and the transformative power of marital love, Sharon Olds takes risks, writing boldly of physical, emotional, and spiritual sensations that are seldom the stuff of poetry.
These are poems that strike for the heart, as Sharon Olds captures our imagination with unexpected wordplay, sprung rhythms, and the disquieting revelations of ordinary life. Writing at the peak of her powers, this greatly admired poet gives us her finest collection.
Mullen’s parodies reconceive the African American’s relation to the English language and Anglophone writing, through textual reproduction, recombining the genetic structure of texts from the Shakespearean sonnet and the fairy tale to airline safety instructions and unsolicited mail.
Harryette Mullen’s fifth poetry collection, Sleeping with the Dictionary, is the abecedarian offspring of her collaboration with two of the poet’s most seductive writing partners, Roget’s Thesaurus and The American Heritage Dictionary. In her ménage à trois with these faithful companions, the poet is aware that while Roget seems obsessed with categories and hierarchies, the American Heritage, whatever its faults, was compiled with the assistance of a democratic usage panel that included black poets Langston Hughes and Arna Bontemps, as well as feminist author and editor Gloria Steinem. With its arbitrary yet determinant alphabetical arrangement, its gleeful pursuit of the ludic pleasure of word games (acrostic, anagram, homophone, parody, pun), as well as its reflections on the politics of language and dialect, Mullen’s work is serious play. A number of the poems are inspired or influenced by a technique of the international literary avant-garde group Oulipo, a dictionary game called S+7 or N+7. This method of textual transformation–which is used to compose nonsensical travesties reminiscent of Lewis Carroll’s “Jabberwocky”–also creates a kind of automatic poetic discourse.
Mullen’s parodies reconceive the African American’s relation to the English language and Anglophone writing, through textual reproduction, recombining the genetic structure of texts from the Shakespearean sonnet and the fairy tale to airline safety instructions and unsolicited mail. The poet admits to being “licked all over by the English tongue,” and the title of this book may remind readers that an intimate partner who also gives language lessons is called, euphemistically, a “pillow dictionary.”
