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When Noot is finally allowed to paint umbrellas like the other women and girls in her village, she secretly hopes that she might be chosen as this year's Umbrella Queen. Carefully, she creates serene flowers and butterflies exactly as she has seen her mother and grandmother do for years. But soon her imagination takes over, and Noot finds herself straying from the old patterns, to the dismay of her family, who depend on the traditionally painted umbrellas for their livelihood. Her parents tell her she must go back to the old designs and Noot obeys, knowing that the King is coming soon to name the one who has painted the most beautiful umbrella. After all, the King would never choose a queen who breaks from tradition . . . would he?
Clara finds an umbrella on the ground at the park and does a good deed by putting it on a bench. The umbrella says "thank you" and invites Clara to make a wish. So unfolds a magical chain of events featuring a new friend, an elephant, musical butterflies, and a naughty fox who learns his lesson. The artwork in this quirky piece of magical realism is packed with humor and character, and the surprising ending is both heart-warming and uplifting.
Queen in 3-D is an inside view of one of the greatest rock acts of all time told in his own pictures and words by founder member, songwriter and guitarist Brian May. Complimentary 3-D OWL viewer included.
"Certain things are better kept than said. . . . But certain things you have to find out now. . . ." On the tumultuous streets of Manila, where the earth is as brown as a tamarind leaf and the pungent smells of vinegar and mashed peppers fill the air, where seasons shift between scorching sun and torrential rain, eleven-year-old Gringo strives to make sense of his family and a world that is growing increasingly harsher before his young eyes. There is Gringo's older brother, Pipo, wise beyond his years, a flamboyant, defiant youth and the three-time winner of the sequined Miss Unibers contest; Daddy Groovie, whiling away his days with other hang-about men, out of work and wilting like a guava, clinging to the hope of someday joining his sister in Nuyork; Gringo's mother, Estrella, moving through their ramshackle home, holding her emotions tight as a fist, which she often clenches in anger after curfew covers the neighborhood in a burst of dark; and Ninang Rola, wise godmother of words, who confides in Gringo a shocking secret from the past--and sets the stage for the profound events to come, in which no one will remain untouched by the jagged pieces of a shattered dream. As Gringo learns; shame is passed down through generations, but so is the life-changing power of blood ties and enduring love. In this lush, richly poetic novel of grinding hardship and resilient triumph, of selfless sacrifice and searing revelation, Bino A. Realuyo brings the teeming world of 1970s Manila brilliantly to life. While mapping a young boy's awakening to adulthood in dazzling often unexpected ways, The Umbrella Country subtly works sweet magic.
Even the Queen of England has to get up and groomed to greet the day Get up, Elizabeth! It’s time for the future queen to get out of bed, scrub her face with almond paste, brush her teeth with soot, comb the tangles out of her unruly red hair, get dressed, and sit still while her ruff is sewn on and her sleeves are pinned. It’s rough rising and shining every day—for queens and kids alike.
A Kirkus Reviews Best Fiction Book of the Year An anthology featuring all-original tales of gaslamp fantasy from bestselling and award-winning authors including Gregory Maguire, author of Wicked. "Gaslamp Fantasy," or historical fantasy set in a magical version of the nineteenth century, has long been popular with readers and writers alike. A number of wonderful fantasy novels owe their inspiration to works by nineteenth-century writers ranging from Jane Austen, the Brontës, and George Meredith to Charles Dickens, Anthony Trollope, and William Morris. And, of course, the entire steampunk genre and subculture owes more than a little to literature inspired by this period. Queen Victoria's Book of Spells is an anthology for everyone who loves these works of neo-Victorian fiction, and wishes to explore the wide variety of ways that modern fantasists are using nineteenth-century settings, characters, and themes. These approaches stretch from steampunk fiction to the Austen-and-Trollope inspired works that some critics call Fantasy of Manners, all of which fit under the larger umbrella of Gaslamp Fantasy. The result is eighteen stories by experts from the fantasy, horror, mainstream, and young adult fields, including both bestselling writers and exciting new talents, who present a bewitching vision of a nineteenth century invested (or cursed!) with magic. Includes short stories by Delia Sherman, Jeffrey Ford, Genevieve Valentine, Maureen McHugh, Kathe Koja, Elizabeth Wein, Elizabeth Bear, James P. Blaylock, Kaaron Warren, Leanna Renee Hieber, Dale Bailey, Veronica Schanoes, Catherynne M. Valente, Ellen Kushner and Caroline Stevermer, Jane Yolen, Gregory Maguire, Tanith Lee, Theodora Goss. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
For the past 40 years, acclaimed graphic novelist Jaime Hernandez has been creating a Love and Rockets-adjacent world ― set in the heyday of 1960s and ’70s women’s wrestling and lucha libre! ― with an entirely separate cast of characters who have aged and evolved: the beautiful and brutal Bettie Rey, the I.F.W. Pacific Women’s Champion ― a.k.a. Golden Girl ― as well as former champions Pantera Negra, Miss Kitty Perez, and many more. As Hernandez puts it, “It’s my Love and Rockets world that’s not my Love and Rockets world.” This best-of book spotlights the women who are often ignored in pro wrestling in 125 full color illustrations: pin-ups, action shots, fake wrestling magazine covers, all presented in a large paperback format that echoes the lucha libre magazines of the 1960s. Hernandez also discusses the work in an interview with fellow cartoonist Katie Skelly. Despite having created one of the most expansive and remarkable casts of characters of any cartoonist who ever lived (under the umbrella of the ongoing L&R comic book series), acclaimed graphic novelist Jaime Hernandez ― Will Eisner Hall of Famer; Eisner, Harvey, Ignatz, and PEN Award winner; L.A. Times Book Prize winner; and on a very short list of contenders for the title of America’s Greatest Living Cartoonist ― has been privately amassing a body of work that no one else has ever seen for over 40 years. Until now.
Dubbed the "White Queen of Soul," singer Dusty Springfield became the first British soloist to break into the U.S. Top Ten music charts with her 1964 hit "I Only Want To Be With You"--a pop classic followed by many others, including "You Don't Have to Say You Love Me" and "Son of a Preacher Man." Today she is usually placed within the history of the Beatles-led "British Invasion" or seen as a devoted acolyte of Motown. In this penetrating look at her music and career, Annie J. Randall shows how Springfield's contributions transcend the narrow limits of those descriptions and how this middle-class former convent girl became perhaps the unlikeliest of artists to achieve soul credibility on both sides of the Atlantic. Randall reevaluates Springfield's place in sixties popular music through close investigation of her performances as well as interviews with her friends, peers, professional associates, and longtime fans. As the author notes, the singer's unique look--blonde beehive wigs and heavy black mascara--became iconic of the mid-sixties postmodern moment in which identity scrambling and camp pastiche were the norms in swinging London's pop culture. Randall places Springfield within this rich cultural context, focusing on the years from 1964 to 1968, when she recorded her biggest international hits and was a constant presence on British television. The book pays special attention to Springfield's close collaboration and friendship with American gospel singer Madeline Bell, the distinctive way Springfield combined US soul and European melodrama to achieve her own musical style and stage presence, and how her camp sensibility figured as a key element of her artistry.
Queen for a Day connects the logic of Venezuelan modernity with the production of a national femininity. In this ethnography, Marcia Ochoa considers how femininities are produced, performed, and consumed in the mass-media spectacles of international beauty pageants, on the runways of the Miss Venezuela contest, on the well-traveled Caracas avenue where transgender women (transformistas) project themselves into the urban imaginary, and on the bodies of both transformistas and beauty pageant contestants (misses). Placing transformistas and misses in the same analytic frame enables Ochoa to delve deeply into complex questions of media and spectacle, gender and sexuality, race and class, and self-fashioning and identity in Venezuela. Beauty pageants play an outsized role in Venezuela. The country has won more international beauty contests than any other. The femininity performed by Venezuelan women in high-profile, widely viewed pageants defines a kind of national femininity. Ochoa argues that as transformistas and misses work to achieve the bodies, clothing and makeup styles, and postures and gestures of this national femininity, they come to embody Venezuelan modernity.
It's a busy year for the Queen - she has lots of important events to attend. Meanwhile, a little girl is wondering what knickers Her Majesty will choose to wear on a school visit! Will they be her 'at home' knickers - adorned with corgis - or her 'garden party' knickers, or perhaps her woolly Balmoral ones...? Both children and adults will love this very special and endearing insight into a child's imagination, from the best-selling author-illustrator of Father Christmas Needs A Wee and Jesus' Christmas Party. Recently, the Queen visited a nursery in Norfolk and enjoyed a display based on the book: "...just to make it special, there was one element that was not quite so traditional: pants. These were not just any pants, either. They were the Queen's Knickers, and at Dersingham Infant and Nursery School, in Norfolk, they were put on special display in honour of their royal visitor" ~ Valentine Low, The Times