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"Diane Seuss writes with the intensity of a soothsayer." —Laura Kasischke For, having imagined your body one way I found it to be another way, it was yielding, but only as the Destroying Angel mushroom yields, its softness allied with its poison, and your legs were not petals or tendrils as I'd believed, but brazen, the deviant tentacles beneath the underskirt of a secret queen —from "Oh four-legged girl, it's either you or the ossuary" In Diane Seuss's Four-Legged Girl, her audacious, hothouse language swerves into pain and rapture, as she recounts a life lived at the edges of containment. Ghostly, sexy, and plaintive, these poems skip to the tune of a jump rope, fill a wishing well with desire and other trinkets, and they remember past lush lives in New York City, in rural Michigan, and in love. In the final poem, she sings of the four-legged girl, the body made strange to itself and to others. This collection establishes Seuss's poetic voice, as rich and emotional as any in contemporary poetry.
For readers who loved Pug Hill-a charming romantic comedy debut novel about matchmaking and a millionaire mutt. Romance is for the dogs... Tom O'Brien is close to making partner at the hottest law firm in San Francisco, provided his newest client doesn't foul things up. Brutus Stoddard is rich and spoiled, craves attention, and drools. The fact that he's a dog doesn't help matters. Brutus has inherited a multimillion-dollar estate from his late owner, as well as a pretty guardian named Madeline Cartwright, professional chef and the eccentric old man's surrogate granddaughter. Tom finds her-and her culinary creations- irresistible. If Tom is to get that promotion, he has to maintain the terms of the will. That means keeping both Brutus and Maddy happy. He's trying his hardest to keep the arrangement professional, but with two clients this adorable, Tom's suddenly craving a different kind of partnership altogether.
Finalist for the National Book Critics Circle Award Finalist for the Los Angeles Times Book Prize Diane Seuss’s brilliant follow-up to Four-Legged Girl, a finalist for the Pulitzer Prize for Poetry Still life with stack of bills phone cord cig butt and freezer-burned Dreamsicle Still life with Easter Bunny twenty caged minks and rusty meat grinder Still life with whiskey wooden leg two potpies and a dead parakeet Still life with pork rinds pickled peppers and the Book of Revelation Still life with feeding tube oxygen half-eaten raspberry Zinger Still life with convenience store pecking order shotgun blast to the face —from “American Still Lives” Still Life with Two Dead Peacocks and a Girl takes its title from Rembrandt’s painting, a dark emblem of femininity, violence, and the viewer’s own troubled gaze. In Diane Seuss’s new collection, the notion of the still life is shattered and Rembrandt’s painting is presented across the book in pieces—details that hide more than they reveal until they’re assembled into a whole. With invention and irreverence, these poems escape gilded frames and overturn traditional representations of gender, class, and luxury. Instead, Seuss invites in the alienated, the washed-up, the ugly, and the freakish—the overlooked many of us who might more often stand in a Walmart parking lot than before the canvases of Pollock, O’Keeffe, and Rothko. Rendered with precision and profound empathy, this extraordinary gallery of lives in shards shows us that “our memories are local, acute, and unrelenting.”
An illuminating look at the story behind the success of one of the best dressage riders in the world. German Olympian Isabell Werth has six Olympic gold medals and scores of championship titles to her name—there are few her equal on paper. But an equestrian’s success is wholly dependent on the relationship she has with her athletic partner―her horse―and Werth’s astounding accomplishments would not have been possible without her unique approach to working with the animals she’s loved since childhood. Even as a little girl, growing up on a farm on the Lower Rhine, it was clear that Werth possessed an extraordinary gift for empathizing with horses and foreseeing how they were likely to react in certain situations. This insight gave her a special ability as a rider and trainer. Here, Werth collaborates with accomplished sports journalist Evi Simeoni―someone who has witnessed and written about her career from the very beginning―to tell her life story. Readers will get the inside scoop when it comes to Werth’s accomplishments―and her failures, too. They’ll hear her personal thoughts regarding some of the biggest controversies to rock the dressage world: Rollkur and Totilas. Perhaps most importantly, they’ll learn about each of the sensitive and talented horses that has impacted Werth’s life, including Gigolo, Satchmo, and Bella Rose. There is a meme that is popular in the riding community that says, “Two legs move our body, four legs move our soul.” It is this sentiment that Werth feels perhaps best defines her.
The “extraordinary and wonderful” award-winning play in a new edition featuring an additional poem, production photos, and an introduction by Jesmyn Ward (The New York Times). From its inception in California in 1974 to its Broadway revival in 2022, the Obie Award–winning for colored girls who have considered suicide/when the rainbow is enuf has excited, inspired, and transformed audiences all over the country. Passionate and fearless, Shange’s words reveal what it meant to be a woman of color in the 20th century—and they continue to ring true in the 21st. First published in 1975, it was praised by The New Yorker for “encompassing . . . every feeling and experience a woman has ever had”. This new edition celebrates the play’s enduring legacy with introductions by Jesmyn Ward and Broadway director Camille A. Brown. It also features a poem not previously included in the text, and a selection of photos capturing the play’s evolution and reinvention.
In Lynch’s fourth collection, we carefully navigate the fine line between terror and beauty as we face palpable trauma, heartbreak, and wild astonishment through the raw and personal poems. The genuine, delicate voice works to examine who we are, after everything.
Eight-year-old Margaret Pokiak has set her sights on learning to read, even though it means leaving her village in the high Arctic. Faced with unceasing pressure, her father finally agrees to let her make the five-day journey to attend school, but he warns Margaret of the terrors of residential schools. At school Margaret soon encounters the Raven, a black-cloaked nun with a hooked nose and bony fingers that resemble claws. She immediately dislikes the strong-willed young Margaret. Intending to humiliate her, the heartless Raven gives gray stockings to all the girls — all except Margaret, who gets red ones. In an instant Margaret is the laughingstock of the entire school. In the face of such cruelty, Margaret refuses to be intimidated and bravely gets rid of the stockings. Although a sympathetic nun stands up for Margaret, in the end it is this brave young girl who gives the Raven a lesson in the power of human dignity. Complemented by archival photos from Margaret Pokiak-Fenton’s collection and striking artworks from Liz Amini-Holmes, this inspiring first-person account of a plucky girl’s determination to confront her tormentor will linger with young readers.
A New York Times, USA Today, Wall Street Journal, and Amazon Charts Bestseller! For fans of Hidden Figures, comes the incredible true story of the women heroes who were exposed to radium in factories across the U.S. in the early 20th century, and their brave and groundbreaking battle to strengthen workers' rights, even as the fatal poison claimed their own lives... In the dark years of the First World War, radium makes gleaming headlines across the nation as the fresh face of beauty, and wonder drug of the medical community. From body lotion to tonic water, the popular new element shines bright. Meanwhile, hundreds of girls toil amidst the glowing dust of the radium-dial factories. The glittering chemical covers their bodies from head to toe; they light up the night like industrious fireflies. With such a coveted job, these "shining girls" are the luckiest alive — until they begin to fall mysteriously ill. And, until they begin to come forward. As the women start to speak out on the corruption, the factories that once offered golden opportunities ignore all claims of the gruesome side effects. And as the fatal poison of the radium takes hold, the brave shining girls find themselves embroiled in one of the biggest scandals of America's early 20th century, and in a groundbreaking battle for workers' rights that will echo for centuries to come. A timely story of corporate greed and the brave figures that stood up to fight for their lives, these women and their voices will shine for years to come. Written with a sparkling voice and breakneck pace, The Radium Girls fully illuminates the inspiring young women exposed to the "wonder" substance of radium, and their awe-inspiring strength in the face of almost impossible circumstances. Their courage and tenacity led to life-changing regulations, research into nuclear bombing, and ultimately saved hundreds of thousands of lives...
This cultural history of the travelling freak show in America chronicles the rise and fall of the industry as attitudes about disability evolved. From 1840 until 1940, hundreds of freak shows crisscrossed the United States, from the smallest towns to the largest cities, exhibiting their casts of dwarfs, giants, Siamese twins, bearded ladies, savages, snake charmers, fire eaters, and other oddities. By today’s standards such displays would be considered cruel and exploitative—the pornography of disability. Yet for one hundred years the freak show was widely accepted as one of America’s most popular forms of entertainment. Robert Bogdan’s fascinating social history brings to life the world of the freak show and explores the culture that nurtured and, later, abandoned it. In uncovering this neglected chapter of show business, he describes in detail the flimflam artistry behind the shows, the promoters and the audiences, and the gradual evolution of public opinion from awe to embarrassment. Freaks were not born, Bogdan reveals; they were manufactured by the amusement world, usually with the active participation of the freaks themselves. Many of the "human curiosities" found fame and fortune, until the ascent of professional medicine transformed them from marvels into pathological specimens.