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Mudpuppy's Little Feminist Board Book Set is comprised of colorful illustrated portraits of real women who have made historical impact on the world. Illustrations by Lydia Ortiz and words by Emily Kleinman introduce children to these important people in history with images that are fun for youngsters and also realistic. The Board Book Set includes 4 mini board books (Pioneers, Artists, Leaders, and Activists.) - Size: 4 x 4 x 4" - Includes Artists: Maya Angelou, Lucille Ball, Frida Kahlo and Ella Fitzgerald - Includes Leaders: Cleopatra, Queen Elizabeth I, Indira Gandhi and Hillary Clinton - Includes Activists: Harriet Tubman, Rosa Parks, Gloria Steinem and Malala Yousafza - Includes Pioneers: Marie Curie, Sally Ride, Amelia Earhart and Billie Jean King
Vow of Thieves is the thrilling sequel to Dance of Thieves, set in the same world as Mary E. Pearson's New York Times-bestselling Remnant Chronicles. Kazi and Jase have survived, stronger and more in love than ever. Their new life now lies before them—the Ballengers will be outlaws no longer, Tor's Watch will be a kingdom, and Kazi and Jase will meet all challenges side by side, together at last. But an ominous warning mars their journey back, and they soon find themselves captured in a tangled web of deceit woven by their greatest enemies and unlikeliest allies, a place where betrayals run deeper and more deadly than either had thought possible, and where timeless ambitions threaten to destroy them both.
Equal parts swoonworthy romance and deeply affecting family drama, this debut novel about the boy next door turned super hot bad boy will have readers hooked from the very first kiss. After his father’s stroke, Max Holden isn't himself. As his long-time friend, Jillian Eldridge only wants to help, but she doesn't know how. When Max climbs through her window one night, Jill knows she shouldn't let him kiss her. But she can’t resist, and when they're caught in the act by her dad, Jill swears it'll never happen again. Because kissing Max Holden is a terrible idea. With a new baby sibling on the way, her parents fighting all the time, and her dream of culinary school suddenly up in the air, Jill starts spending more and more time with Max. And even though her father disapproves and Max still has a girlfriend, not kissing Max is easier said than done. Will Jill follow her heart, and allow their friendship to blossom into something more, or will she listen to her head and stop kissing Max Holden once and for all? Chosen by readers like you for Macmillan's young adult imprint Swoon Reads, Katy Upperman’s debut novel Kissing Max Holden skillfully navigates the tenuous territory of bad influences, good friends, and complicated families. Praise for Kissing Max Holden: "It's equal parts sweet and spicy." —Jessica Love, author of In Real Life “Wonderfully written and swoony.” —Miranda Kenneally, author of Catching Jordan “Sarah Dessen fans rejoice—you are going to love Kissing Max Holden!” —Lisa Schroeder, author of Chasing Brooklyn
Three intertwining voices span the twentieth century to tell the unknown story of the Jews in Ireland. A heartbreaking portrait of what it means to belong, and how storytelling can redeem us all. At the start of the twentieth century, a young girl and her family emigrate from Lithuania in search of a better life in America, only to land on the Emerald Isle instead. In 1958, a mute Jewish boy locked away in a mental institution outside of Dublin forms an unlikely friendship with a man consumed by the story of the love he lost nearly two decades earlier. And in present-day London, an Irish journalist is forced to confront her conflicting notions of identity and family when her Jewish boyfriend asks her to make a true leap of faith. These three arcs, which span generations and intertwine in revelatory ways, come together to tell the haunting story of Ireland’s all-but-forgotten Jewish community. Ruth Gilligan’s beautiful and heartbreaking Nine Folds Make a Paper Swan explores the question of just how far we will go to understand who we really are, and to feel at home in the world.
A Michael L. Printz Honor Book "This is East Texas, and there's lines. Lines you cross, lines you don't cross. That clear?" New London, Texas. 1937. Naomi Vargas and Wash Fuller know about the lines in East Texas as well as anyone. They know the signs that mark them. They know the people who enforce them. But sometimes the attraction between two people is so powerful it breaks through even the most entrenched color lines. And the consequences can be explosive. Ashley Hope Pérez takes the facts of the 1937 New London school explosion—the worst school disaster in American history—as a backdrop for a riveting novel about segregation, love, family, and the forces that destroy people. "[This] layered tale of color lines, love and struggle in an East Texas oil town is a pit-in-the-stomach family drama that goes down like it should, with pain and fascination, like a mix of sugary medicine and artisanal moonshine."—The New York Times Book Review "Pérez deftly weaves [an] unflinchingly intense narrative....A powerful, layered tale of forbidden love in times of unrelenting racism."―starred, Kirkus Reviews "This book presents a range of human nature, from kindness and love to acts of racial and sexual violence. The work resonates with fear, hope, love, and the importance of memory....Set against the backdrop of an actual historical event, Pérez...gives voice to many long-omitted facets of U.S. history."―starred, School Library Journal
"Brilliantly faceted and extremely funny. . . . While I was reading it, I was making a list of all the people I wanted to send it to, until I realized that I wanted to send it to everyone I know." — Ann Patchett “Improbably charming...will have you chortling and reading lines aloud.” — PEOPLE The internationally bestselling, compulsively readable novel—spiky, sharp, intriguingly dark, and tender—that combines the psychological insight of Sally Rooney with the sharp humor of Nina Stibbe and the emotional resonance of Eleanor Oliphant Is Completely Fine. Martha Friel just turned forty. Once, she worked at Vogue and planned to write a novel. Now, she creates internet content. She used to live in a pied-à-terre in Paris. Now she lives in a gated community in Oxford, the only person she knows without a PhD, a baby or both, in a house she hates but cannot bear to leave. But she must leave, now that her husband Patrick—the kind who cooks, throws her birthday parties, who loves her and has only ever wanted her to be happy—has just moved out. Because there’s something wrong with Martha, and has been for a long time. When she was seventeen, a little bomb went off in her brain and she was never the same. But countless doctors, endless therapy, every kind of drug later, she still doesn’t know what’s wrong, why she spends days unable to get out of bed or alienates both strangers and her loved ones with casually cruel remarks. And she has nowhere to go except her childhood home: a bohemian (dilapidated) townhouse in a romantic (rundown) part of London—to live with her mother, a minorly important sculptor (and major drinker) and her father, a famous poet (though unpublished) and try to survive without the devoted, potty-mouthed sister who made all the chaos bearable back then, and is now too busy or too fed up to deal with her. But maybe, by starting over, Martha will get to write a better ending for herself—and she’ll find out that she’s not quite finished after all.
This book breaks new ground in the social and cultural history of eighteenth-century music in Britain through the study of a hitherto neglected resource, the lists of subscribers that were attached to a wide variety of publications, including musical works. These lists shed considerable light on the nature of those who subscribed to music, including their social status, place of employment, residence, and musical interests. Through broad analysis of subscription data, the contributors reveal insights into social and economic changes during the period, and the types of music favoured by groups like music clubs, the aristocracy, the clergy, and by men and women. With chapters on female composers and listeners, music and the slave economy, musical patronage, the print trade, and nationality, this book provides innovative perspectives that enhance our understanding of music’s social spheres, the emergence of music publishing, and the potential of digital musicology research.
Self-published authors are coming to realise that a stable career is about a backlist of titles and keeping that backlist selling. But how do you do this? Invariably, advice given by other authors includes holding promotions and lowering the price of the first book in series, or even making it free. However, few people mention one of the most powerful ways to keep your backlist selling: the author mailing list. This is where Mailing Lists Unboxed comes in. It shows you: The different types of author mailing lists How to recruit people to sign up What to do with your list once you have one Attitudes about mailing lists, including those that stand in your way Warnings and precautions And much more This is not a book for beginners. If you know little about self-publishing, read Self-publishing Unboxed first.
Cultural history of Enlightenment encyclopaedias revealing Enlightenment debates concerning organisation and communication of knowledge.
The geography of the book is as old as the history of the book, though far less thoroughly explored. Yet research has increasingly pointed to the spatial dimensions of book history, to the transformation of texts as they are made and moved from place to place, from authors to readers and within different communities and cultures of reception. Widespread recognition of the significance of place, of the effects of movement over space and of the importance of location to the making and reception of print culture has been a feature of recent book history work, and draws in many instances upon studies within the history of science as well as geography. 'Geographies of the Book' explores the complex relationships between the making of books in certain geographical contexts, the movement of books (epistemologically as well as geographically) and the ways in which they are received.