Even though Brett moves away from her signature detailed-border style with this book I still found that the artwork tells of the couple’s journey across the ocean very effectively. Poems like Lear’s “The Owl and the Pussycat” do not focus on specific tropes or use culture-specific language, so they are the perfect literary medium to pair with an experimental style, which Brett does in this instance by choosing to place the Owl and the Pussycat in a decidedly South American setting. I was initially drawn to Jan Brett’s artwork for it’s Ukrainian and Eastern European flavour, but I love the fact that she explores other cultures for different books.
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As a child, Laura described things for her blind sister Mary and now she described her experiences for Almanzo back home (she also asked him to keep the letters in case she wanted to use any descriptions from them in future writings-she was a columnist at this time, and "West From Home" even includes one of the pieces she wrote about the culinary delights of the Exposition, recipes and all!). Though perhaps some of the descriptions of her train ride west could have been more descriptive, I really loved the letters from San Francisco. Spoilers below for those who haven't read the Little House Books: Though you need not have read the Little House books to enjoy this book, it certainly enhances the enjoyment. This is the collection of those letters and it proves a quick, delightful read for fans of Laura, San Francisco, worlds fairs, or travelogues from times gone by. What a happy discovery, indeed, when I realized that Laura herself visited the PPIE when she visited her daughter in SF *and* wrote about her experience to her husband, Manly, who stayed home in Mansfield to oversee the farm. And I'm fascinated with 1910s San Francisco and its Panama-Pacific International Exposition of 1915 (world's fair). “Sister Hills” chronicles the history of Israel’s settlements from the eve of the Yom Kippur War through the present, a political fable constructed around the tale of two mothers who strike a terrible bargain to save a child. “Free Fruit for Young Widows” is a small, sharp study in evil, lovingly told by a father to a son. In the outlandishly dark “Camp Sundown” vigilante justice is undertaken by a group of geriatric campers in a bucolic summer enclave. The title story, inspired by Raymond Carver’s masterpiece, is a provocative portrait of two marriages in which the Holocaust is played out as a devastating parlor game. These eight new stories from the celebrated novelist and short-story writer Nathan Englander display a gifted young author grappling with the great questions of modern life, with a command of language and the imagination that place Englander at the very forefront of contemporary American fiction. Until she gets an anonymous text: She didn’t jump. And clouded as she is by her guilt and grief, it is the one she forces herself to believe. At least that’s the story Grace Hall tells Kate. And for Kate.Īn academic overachiever despondent over getting caught cheating has jumped to her death. By then it’s already too late for Amelia. But Kate’s stress over leaving work quickly turns to panic when she arrives at the school and finds it surrounded by police officers, fire trucks, and an ambulance. Amelia has been suspended, effective immediately, and Kate must come get her daughter-now. Kate's in the middle of the biggest meeting of her career when she gets the telephone call from Grace Hall, her daughter’s exclusive private school in Park Slope, Brooklyn. The stunning debut novel from Kimberly McCreight in which a single mother reconstructs her teenaged daughter Amelia’s tragic death, sifting through her emails, texts, and social media to piece together the shocking truth about the last days of her life. And like Gone Girl, it should be hailed as one of the best books of the year.” - Entertainment Weekly “Like Gone Girl, Reconstructing Amelia seamlessly marries a crime story with a relationship drama. |