A beautifully told comprehensive history of the Houghton family of Virginia during World War Two.

For fans of The Book with No Pictures and Press Here, this hilarious interactive picture book lets kids in on the joke. “A brilliantly playful book that experiments with the physical boundaries of the book as an object, encouraging interaction and imagination.” —Oliver Jeffers, bestselling illustrator of The Day the Crayons Quit See what happens when flipping the page of this gleeful picture book gets you—SPLAT!—a pie in the face, followed by—SQUISH!—an insect sandwich, and—SPLASH!—a deluge of water balloons. Bright colors and appealing visual gags add up to a perfect mess—no cleanup necessary.

“Brings transparency, honesty, humor, and hope to spouses and family members caring for loved ones with cancer . . . a must-read.” —Shelly Beach, Christy Award-winning author of Ambushed By Grace: Help & Hope on the Caregiving Journey Initially, after David’s diagnosis, I would cringe when I read books or articles by cancer survivors who stated that cancer had been a gift in their lives. How could all that David endured be viewed as a gift? The invasive surgery, the weeks of chemotherapy and radiation: a gift? Yet, after the cancer, David would often reach for my hand and say, “If it is cancer that is responsible for our new relationship, then it was all worth it.” And I’d reluctantly agree that cancer had been a gift in our lives. We’d both seen the other alternative: patients and survivors who had become bitter and angry, and neither one of us wanted to become that. After Mary Potter Kenyon’s husband, David, was diagnosed with cancer in the summer of 2006, she would serve as his companion during Wednesday chemotherapy treatments, Mary began journaling about their experience as a couple and parents of young children as they navigated the labyrinth of cancer. It soon dawned on her that between working and raising a large family, the two had somehow lost touch with each other over the years—and that things were about to change. Chemo-Therapist: How Cancer Cured a Marriage is a moving and inspiring testimonial of a relationship renewed by the shared experience of a life-threatening illness.

FINALIST FOR THE 2017 NATIONAL BOOK AWARD FOR FICTION Named a Best Book of 2017 by NPR, Entertainment Weekly, the Los Angeles Times, BuzzFeed, Bustle, and Electric Literature “There was a time I would have called Lisa Ko’s novel beautifully written, ambitious, and moving, and all of that is true, but it’s more than that now: if you want to understand a forgotten and essential part of the world we live in, The Leavers is required reading.” —Ann Patchett, author of Commonwealth Lisa Ko’s powerful debut, The Leavers, is the winner of the 2016 PEN/Bellwether Prize for Fiction, awarded by Barbara Kingsolver for a novel that addresses issues of social justice. One morning, Deming Guo’s mother, Polly, an undocumented Chinese immigrant, goes to her job at a nail salon—and never comes home. No one can find any trace of her. With his mother gone, eleven-year-old Deming is left mystified and bereft. Eventually adopted by a pair of well-meaning white professors, Deming is moved from the Bronx to a small town upstate and renamed Daniel Wilkinson. But far from all he’s ever known, Daniel struggles to reconcile his adoptive parents’ desire that he assimilate with his memories of his mother and the community he left behind. Told from the perspective of both Daniel—as he grows into a directionless young man—and Polly, Ko’s novel gives us one of fiction’s most singular mothers. Loving and selfish, determined and frightened, Polly is forced to make one heartwrenching choice after another. Set in New York and China, The Leavers is a vivid examination of borders and belonging. It’s a moving story of how a boy comes into his own when everything he loves is taken away, and how a mother learns to live with the mistakes of the past.

Love is sweeter the second time around. . . . Act One: Girl Leaves Boy Lindsay West may have the face of a Hollywood starlet, but the demanding life of a teen celebrity never suited her. So nearly twenty years ago, she left her hit TV show and returned to her hometown of Belle Coeur, Missouri. Now Lindsay takes a role in a new play at a regional theater, unaware that she’ll be sharing the stage with her former cast mate, one-time heartthrob Noah Patrick. Act Two: Boy Tries to Win Back Girl Noah Patrick took the gig at the Belle Coeur Theater hoping it would help revive his stalled career–but it was his heart that got the jumpstart. Playing opposite the beautiful and enigmatic Lindsay, he begins to understand that fame is fickle and fortune is fleeting but true love lasts. Growing up together on the set of the show that made them both stars, Noah didn’t give Lindsay much thought. But now she has grown into someone impossible to forget. Act Three: Anyone’s Guess Fighting off man-eating bears, Lindsay’s quirky family, and a pretty serious case of pneumonia, Noah will do whatever it takes to prove that this former bad boy has turned into a man Lindsay can love . . . before the curtain falls!

Drawing on the latest scholarship, this comprehensive, lavishly illustrated survey tells the story of the evolution of American furniture from the 17th century to the present. Not viewed in isolation, furniture is placed in its broader cultural, historic, and aesthetic context. The focus is not only on the urban masterpieces of 18th century William and Mary, Queen Anne, Chippendale, and Federal styles but also on the work of numerous rural cabinetmakers. Special chapters explore Windsor chairs, Shaker, and Pennsylvania German furniture which do not follow the mainstream style progression. Picturesque and anti-classical explain Victorian furniture including Rococo, Renaissance, and Eastlake. Mission and Arts and Crafts furniture introduce the 20th century. Another chapter identifies the eclectic revivals such as Early American that dominated the mass market throughout much of the 20th century. After World War II American designers created many of the Mid-Century Modern icons that are much sought after by collectors today. The rise of studio furniture and furniture as art which include some of the most creative and imaginative furniture produced in the 20th and 21st centuries caps the review of four centuries of American furniture. A final chapter advises on how to evaluate the authenticity of both traditional and modern furniture and how to preserve it for posterity. With over 800 photos including 24 pages of color, this fully illustrated text is the authoritative reference work.

‘I read it in a gulp. I seem to know this girl.’ Helen Garner In the 1980s in the Melbourne suburb of Fawkner, Josie’s father is drinking himself to an ugly and appalling death. Josie’s mother is a factory machinist, bringing home piecework to keep the family afloat. And Josie is surviving, or not—self-destructive sex, excessive alcohol, drugs, brutalised friendships. But her internal monologue—intense, immediate and raw—reveals a heartbreaking portrait of an intelligent young woman desperately looking for a way to make sense of her life, grappling with her feelings of repulsion and love for her father and her longing to be loved. First published in 1998, Losing It is a vivid and visceral account of 1980s working-class Melbourne and a coming-of-age story that is both familiar and unique, shocking and intimate. The first time you slept with him properly his dad was in Turkey his mum gave you the double bed chocolate-brown velvet bedhead with night-lights in it and a radio, a big furry bedspread and a fake tapestry of lions and tigers on the wall, she even laid out a nightie for you, you didn’t wear it but you crumpled it up to make it look like you did and you woke to a soft touch on your forehead in the morning her gold tooth glinting smiling at you with a boiled egg and a cup of bitter coffee. Moira Burke is a Melbourne writer. Losing It is her first novel. ‘Losing It was never a classic but probably deserves to be...Moira Burke creates an arresting sense of place, startling in its familiarity and strangeness, and is a master of cadence. Her prose has a raw poetic rhythm, the power to constantly surprise and drag you into its flow. To lose Losing It would have been a cultural crime.’ Sydney Morning Herald ‘Stark, poetic, truthful, compassionate; self-knowledge comes at a breathtaking pace.’ Carmel Bird ‘Addictive, powerful and raw, Losing It lays bare the unflinching realities for a teenager trapped in a spiral of self-destruction. Who does not see some of herself in Josie, a heroine for our uncertain times?’ Rebecca Starford ‘We should be glad that Moira Burke’s Losing It has received a new lease on life...Long before Eimear McBride had the creative spark to appropriate James Joyce and produce her interior monologue masterpiece The Lesser Bohemians, set in London’s dank bedsits and late night bars, it turns out Burke was doing something remarkably similar with Melbourne’s sleazy St Kilda clubs and rowdy Coburg Italian family homes. How could we have missed her?’ Australian