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Long ago lived a little red-haired lady who was a witch. A good witch. This Halloween, her broom is stuck in the repair shop. Her daughter hurries out to buy her a new one on Halloween evening, but it has problems too! The daughter quickly fixed the problem using new and old technology and the traditional moon flight is saved! Age 3 and up.
An account of the English rock band Hawkwind shows them to be one of the most innovative and culturally significant bands of the 1970s. Fifty years on from when it first formed, the English rock band Hawkwind continues to inspire devotion from fans around the world. Its influence reaches across the spectrum of alternative music, from psychedelia, prog, and punk, through industrial, electronica, and stoner rock. Hawkwind has been variously, if erroneously, positioned as the heir to both Pink Floyd and the Velvet Underground, and as Britain's answer to the Grateful Dead and Krautrock. It has defined a genre—space rock—while operating on a frequency that's uniquely its own. Hawkwind offered a form of radical escapism and an alternative account of a strange new world for a generation of young people growing up on a planet that seemed to be teetering on the brink of destruction, under threat from economic meltdown, industrial unrest, and political polarization. While other commentators confidently asserted that the countercultural experiment of the 1960s was over, Hawkwind took the underground to the provinces and beyond. In Days of the Underground, Joe Banks repositions Hawkwind as one of the most innovative and culturally significant bands of the 1970s. It's not an easy task. As with many bands of this era, a lazy narrative has built up around Hawkwind that doesn't do justice to the breadth of its ambition and achievements. Banks gives the lie to the popular perception of Hawkwind as one long lysergic soap opera; with Days of the Underground, he shows us just how revolutionary Hawkwind was.
"In the Fall of 2010 I gave an assignment in my Appalachian Literature class at Berea College, telling my students to write their own version of "Where I'm From" poem based on the writing prompt and poem by George Ella Lyon, one of the preeminent Appalachian poets. I was so impressed by the results of the assignment that I felt the poems needed to be preserved in a bound document. Thus, this little book. These students completely captured the complexities of this region and their poems contain all the joys and sorrows of living in Appalachia. I am proud that they were my students and I am very proud that together we produced this record of contemporary Appalachian Life" -- Silas House
Performance artist Linda Montano, curious about the influence childhood experience has on adult work, invited other performance artists to consider how early events associated with sex, food, money/fame, or death/ritual resurfaced in their later work. The result is an original and compelling talking performance that documents the production of art in an important and often misunderstood community. Among the more than 100 artists Montano interviewed from 1979 to 1989 were John Cage, Suzanne Lacy, Faith Ringgold, Dick Higgins, Annie Sprinkle, Allan Kaprow, Meredith Monk, Eric Bogosian, Adrian Piper, Karen Finley, and Kim Jones. Her discussions with them focused on the relationship between art and life, history and memory, the individual and society, and the potential for individual and social change. The interviews highlight complex issues in performance art, including the role of identity in performer-audience relationships and art as an exploration of everyday conventions rather than a demonstration of virtuosity.
“This is a fresh take on the American road story, filled with people and ideas we rarely get to see onstage…It offers two seriously rich roles for women, each with important things worth singing about…Miss You Like Hell is a powerful example of what musicals do best: explore the unprotected border where individual needs and social issues intermix.” —Jesse Green, New York Times A troubled teenager and her estranged mother—an undocumented Mexican immigrant on the verge of deportation—embark on a road trip and strive to mend their frayed relationship along the way. Combined with the musical talent of Erin McKeown, Hudes artfully crafts a story of the barriers and the bonds of family, while also addressing the complexities of immigration in today’s America.
"With her unparalleled gifts for truth and magic, Linda Hogan reinforces my faith in reading, writing, living." —Barbara Kingsolver Raised in a remote seaside village, Thomas Witka Just marries Ruth, his beloved since infancy. But an ill-fated decision to fight in Vietnam changes his life forever: cut off from his Native American community, he fathers a child with another woman. When he returns home a hero, he finds his tribe in conflict over the decision to hunt a whale, both a symbol of spirituality and rebirth and a means of survival. In the end, he reconciles his two existences, only to see tragedy befall the son he left behind.
In revolutionary Paris, a disaffected Victorian wife becomes enraptured by her husband’s mistress—a “brilliantly entertaining” historical fiction novel that was “far ahead of its time” (Guardian). “One of the great under-read British novelists of the 20th century . . . my favorite of her novels.” —Sarah Waters, author of Fingersmith Sophia Willoughby, a young Englishwoman from an aristocratic family and a person of strong opinions and even stronger will, has packed her cheating husband off to Paris. He can have his tawdry mistress. She intends to devote herself to the serious business of raising her two children in proper Tory fashion. Then tragedy strikes: the children die, and Sophia, in despair, finds her way to Paris, arriving just in time for the revolution of 1848. Before long she has formed the unlikeliest of close relations with Minna, her husband’s sometime mistress, whose dramatic recitations, based on her hair-raising childhood in czarist Russia, electrify audiences in drawing rooms and on the street alike. Minna, “magnanimous and unscrupulous, fickle, ardent, and interfering,” leads Sophia on a wild adventure through bohemian and revolutionary Paris, in a story that reaches an unforgettable conclusion amidst the bullets, bloodshed, and hope of the barricades. Sylvia Townsend Warner was one of the most original and inventive of twentieth-century English novelists. At once an adventure story, a love story, and a novel of ideas, Summer Will Show is a brilliant reimagining of the possibilities of historical fiction.
This is the story of how we could have gone to space. Maybe how we should have gone to space. This is the story of the Ministry of Space: The black budget that financed the move into space. The deaths of the test pilots taken from the surviving Spitfire flyers of the Battle of Britain. And in 2000, the end of the Golden Age, as America and Russia begin moving into space. The secret revealed, and the destruction of a man who sacrificed himself for the Ministry of Space. Plus, a sketchbook section by Chris Weston and an all-new appendix by Warren Ellis revealing the facts behind the fiction!
NATIONAL JEWISH BOOK AWARD WINNER A SYDNEY TAYLOR MIDDLE GRADE HONOR BOOK Like Ruta Sepetys for middle grade, Anne Blankman pens a poignant and timeless story of friendship that twines together moments in underexplored history. On a spring morning, neighbors Valentina Kaplan and Oksana Savchenko wake up to an angry red sky. A reactor at the nuclear power plant where their fathers work--Chernobyl--has exploded. Before they know it, the two girls, who've always been enemies, find themselves on a train bound for Leningrad to stay with Valentina's estranged grandmother, Rita Grigorievna. In their new lives in Leningrad, they begin to learn what it means to trust another person. Oksana must face the lies her parents told her all her life. Valentina must keep her grandmother's secret, one that could put all their lives in danger. And both of them discover something they've wished for: a best friend. But how far would you go to save your best friend's life? Would you risk your own? Told in alternating perspectives among three girls--Valentina and Oksana in 1986 and Rifka in 1941--this story shows that hatred, intolerance, and oppression are no match for the power of true friendship.