Faces In The Street

Includes the open Faces in the Street by Henry Lawson

She struggled to get women the vote. Her son was Australia's most famous writer. They drove each other crazy. Meticulously researched big Aussie historical novel that takes the lid off the world of Louisa Lawson and Henry Lawson and their circle of radical friends: revolution, poverty, love affairs, madness, drunkenness, sedition, terrorism, passionate hopes, and friendships with some of Australia's most remarkable people. Much historical info here is not in their biographies. Good stuff - experientially, politically, anecdotally, stylistically, narratively, romantically, alcoholically. What more can one say? -- Douglas Houston, PhD, co-editor of the Oxford 'Good Fiction Guide'.

How Many Faces Do You Have? is a poem sequence that interrogates intimacy, each poem a face the poet discovers, a reflection revealed in response to inner questioning. In a voice of quiet sonority, these lyrics journey from a high-school gym dance to a moonlit beach polka. They linger over sushi in Montreal and an airline meal at 40,000 feet on a flight. They touch joy and pain and celebrate the vicissitudes of love that goes “into the tangled heartland / where there is no trail,” as a gift of being. A face is such a strange thing. Obsessed with distortion, Modigliani loved elongated faces like Tamara’s at a distance, a flattened oval, two black jewels. He painted with a dagger in his teeth, they say, to see the face within the face — grave, cold-eyed as Nefertiti, Queen of Egypt, whom I’ve always loved for her name alone.

Amazing, your face. Amazing. Whatever we feel-whether happy or sad, excited or wishful, proud or lonely-our faces mirror our emotions. In this contemporary yet timeless collection, sixteen evocative poems are brought to life in diverse and detailed faces that reveal the universal feelings we all share. Girls and boys, women and men invite us to experience their world, understand their lives, and find the connections that bring us together. Poet Lee Bennett Hopkins gathers these insightful works from an impressive array of authors, including Joseph Bruchac, Rebecca Kai Dotlich, Nikki Grimes, Pat Mora, Carole Boston Weatherford, Janet S. Wong, Jane Yolen, and more. Glowing illustrations created by Chris Soentpiet infuse the verses with atmosphere and exquisite settings. Readers of all ages will want to feast their eyes on these captivating poems and pictures again and again.

Speculative essays that probe the mythology of the face by the author of The Old Drift

The New York Times-bestselling collection of poems from celebrated poet Mary Oliver In A Thousand Mornings, Mary Oliver returns to the imagery that has come to define her life’s work, transporting us to the marshland and coastline of her beloved home, Provincetown, Massachusetts. Whether studying the leaves of a tree or mourning her treasured dog Percy, Oliver is open to the teachings contained in the smallest of moments and explores with startling clarity, humor, and kindness the mysteries of our daily experience.

Illustrated in full color. Whose face is that on the cover? That's right--it's red-hot Elmo! Toddlers will learn to link facial expressions to emotions as they take a close-up look at some of the funniest, fuzziest monster faces on Sesame Street! Zoe has yummy lollipop--look how happy she is! Elmo has a sad face--he's just dropped his ice cream cone. Poor Elmo! Can you make a "sorry Elmo" face?

Electric Literature 25 Best Novels of 2014 Largehearted Boy Favorite Novels of 2014 "An extraordinary new literary talent."--The Daily Telegraph "In part a portrait of the artist as a young woman, this deceptively modest-seeming, astonishingly inventive novel creates an extraordinary intimacy, a sensibility so alive it quietly takes over all your senses, quivering through your nerve endings, opening your eyes and heart. Youth, from unruly student years to early motherhood and a loving marriage--and then, in the book's second half, wilder and something else altogether, the fearless, half-mad imagination of youth, I might as well call it—has rarely been so freshly, charmingly, and unforgettably portrayed. Valeria Luiselli is a masterful, entirely original writer."--Francisco Goldman In Mexico City, a young mother is writing a novel of her days as a translator living in New York. In Harlem, a translator is desperate to publish the works of Gilberto Owen, an obscure Mexican poet. And in Philadelphia, Gilberto Owen recalls his friendship with Lorca, and the young woman he saw in the windows of passing trains. Valeria Luiselli's debut signals the arrival of a major international writer and an unexpected and necessary voice in contemporary fiction. "Luiselli's haunting debut novel, about a young mother living in Mexico City who writes a novel looking back on her time spent working as a translator of obscure works at a small independent press in Harlem, erodes the concrete borders of everyday life with a beautiful, melancholy contemplation of disappearance. . . . Luiselli plays with the idea of time and identity with grace and intuition." —Publishers Weekly

The literary tradition of persona, of writing poems in voices or from perspectives other than the poet's own, is ancient in origin and contemporary in practice. The embodiment of different voices is a moment of true empathy, as the author moves beyond his or her own margins to fully inhabit the character, personality, and mindset of another human being. While there are a great number of poems written in persona, there are no current anthologies that collect and celebrate the diverse writers who work in this mode today. Stacey Lynn Brown and Oliver de la Paz have selected a superb collection of approximately two hundred persona poems. These poems embody characters from popular culture, history, the Bible, literature, mythology, and their diversity is reflective of the wide range of authors working in this genre. The anthology also contains brief explanatory notes written by the poets to help historicize and contextualize their characters and personae.

In the middle years of the Great Depression, Erskine Caldwell and photographer Margaret Bourke-White spent eighteen months traveling across the back roads of the Deep South--from South Carolina to Arkansas--to document the living conditions of the sharecropper. Their collaboration resulted in You Have Seen Their Faces, a graphic portrayal of America's desperately poor rural underclass. First published in 1937, it is a classic comparable to Jacob Riis's How the Other Half Lives, and James Agee and Walker Evans's Let Us Now Praise Famous Men, which it preceded by more than three years. Caldwell lets the poor speak for themselves. Supported by his commentary, they tell how the tenant system exploited whites and blacks alike and fostered animosity between them. Bourke-White, who sometimes waited hours for the right moment, captures her subjects in the shacks where they lived, the depleted fields where they plowed, and the churches where they worshipped.