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Lori Van Kirk Schue is an award winning fine and graphic artist and author of many children's and art resource books, including the best selling Art Works for Kids. She is an expert in art curriculum development and a professional illustrator. Her books are always dedicated to her family for their constant inspiration and support. Moon Glow and Hyacinth is a story about accepting who you are, inside and out. A caterpillar who wishes she could swim and a tadpole who wants wings so she can fly? How absurd! Moon Glow and Hyacinth try to achieve what they most admire in each other. But in the end, each must accept the harsh truth that sometimes you have to embrace your limitations. They learn that instead of wishing you are like someone else, discovering the magic that makes you unique and using your imagination can make your dreams come true. Children often find fault with the way they speak or look, or with their abilities. Looking to others as ideal may lead to self doubt or low self esteem. Learning to appreciate others while accepting who we are inside and out is not always easy. But using our imaginations can suddenly open a world of new ideas that lead to self confidence. Developing a strong vocabulary and engaging in the arts are wonderful ways to express ourselves. This See Say Create book combines literature and art activities to help develop a whole minded, creative approach to learning. Read the story, learn new vocabulary from the supplied list of definitions, and have fun creating. the art projects were developed especially for Moon Glow and Hyacinth by Artlingz, Inc., an online creativity warehouse of fun and educational art activities for everyone. This is a See Say Create™ book for budding readers and artists. For more See Say Create books by Lori Van Kirk Schue that combine stories and art, look for Peapod, Dot and Charlie. Have more fun doing art. Visit www. artlingz. com.
A story about accepting who you are inside and out.
Las Vegas feline sleuth Midnight Louie witnesses the appearance of a corpse in the pools around the Oasis Hotel, a dead man with ties to both boyfriends of his redheaded, high-heeled human companion, Temple Barr.
When twelve-year-old Hyacinth Star is struck by lightning, her spirit animal, a great white wolf named Dreamcatcher, pays her a visit. It seems she can communicate with animals, and the lightning has also sparked her inner magical powers-if only she can learn how to use them. When bounty hunters arrive seeking the wolves, Hyacinth flees to join Dreamcatcher's pack. To survive, they must reach the Mystic Forest, where a powerful shaman named Joyful Savannah offers a safe haven. But the journey will take them through the Seven Devils Mountains, where they will face man-eating ogres, a legion of goblins, and other terrors. Even worse, an evil witch named Priscilla rules the territory. Only time will tell whether Hyacinth can control her powers, lead her pack to safety, and become a true shaman. In this fantasy novel, a girl who discovers she has the power to speak with animals, along with other magical gifts, sets out on a quest to become the shaman she is meant to be.
The Heart of Hyacinth, originally published in 1903, tells the coming-of-age story of Hyacinth Lorrimer, a child of white parents who was raised from infancy in Japan by a Japanese foster mother and assumed to be Eurasian. A crisis occurs when, 18 years after her birth, her American father returns to Japan to reclaim her just as Hyacinth has become engaged to a Japanese aristocrat, and she forcefully asserts her Japanese ties only to find that her prospective father-in-law will not tolerate a white wife for his son. Onoto Watanna creates in her protagonist a young white woman who not only claims a Japanese identity but shifts between her Japaneseness and her whiteness as expediency dictates. In this novel Watanna is on the cutting edge of what we now call race theory, using that theory—of racial constructions and fluidity—in the service of an avant-garde feminism.
This luminous story of an alleged 36th Vermeer painting begins in the present day and traces the ownership back to World War II, Amsterdam, and to the work's inspiration.
This book argues that, due to political and ideological shifts in the last decades of the nineteenth century-a time when the class system in England was in a state of flux-a new depiction of social class was possible in the English novel. Late-century writers such as Gissing, James, Hardy and Wells question the middle-class Victorian views of class that had dominated the novel for decades. By disrupting traditional novelistic conventions, these writers reveal the ideology of the historical moment in which those conventions obtained, thereby questioning the 'naturalness' of class assumed by earlier, middle-class Victorian writers. The book contextualizes novels by these writers within their historical moment with reference to relevant maps, journalism, artwork or photography, and specific historical events. It illuminates the relationship between fiction and history in late nineteenth- and early twentieth-century fiction, and especially the relationship between changing depictions of class and the development of realism. Examining the nineteenth-century English novel through the lens of social class allows the twenty-first century critic and student not only to understand the issues at stake in much Victorian fiction, but also to recognize powerful present-day vestiges of this social class system.