Autobiography of deaf and blind woman, and activist, Helen Keller.

Supreme Court Justice Sonia Sotomayor tells her own story for young readers for the very first time! As the first Latina Supreme Court Justice, Sonia Sotomayor has inspired young people around the world to reach for their dreams. But what inspired her? For young Sonia, the answer was books! They were her mirrors, her maps, her friends, and her teachers. They helped her to connect with her family in New York and in Puerto Rico, to deal with her diabetes diagnosis, to cope with her father's death, to uncover the secrets of the world, and to dream of a future for herself in which anything was possible. In Turning Pages, Justice Sotomayor shares that love of books with a new generation of readers, and inspires them to read and puzzle and dream for themselves. Accompanied by Lulu Delacre's vibrant art, this story of the Justice's life shows readers that the world is full of promise and possibility--all they need to do is turn the page. Praise for Turning Pages: * "A sincere and insightful autobiography that also demonstrates the power of the written word. A winning addition to libraries that serve young readers." --School Library Journal, starred review "A personal and appealing book made to inspire." --Booklist "A thoughtful introduction to both the power of reading and an inspiring role model." --Kirkus Reviews "This book would be great as a read-aloud for class discussions of the Supreme Court, or United States government, or of important people in public service. It would also be good for independent reading by students interested in biographies or political figures." --School Library Connection

From the 8-time All Star and 3-time Cy Young Award-winning pitcher, a bold, no-holds-barred memoir of his career, from his hardscrabble upbringing in the Dominican Republic to becoming one of the greatest pitchers of all time

This anthology features work by and about queer, trans, and gender nonconforming Latinx communities, including immigrants and social dissidents who reflect on and write about diaspora and migratory movements while navigating geographical and embodied spaces in the United States.

El libro que tiene ahora en sus manos posee contenidos y caraterísticas únicas: encierra historias narradas por estudiantes de secundaria como parte de un proyecto de su clase de español. Habría que buscar a 100 estudiantes latinos quienes, a pesar de los enormes problemas de los jóvenes de hoy, alcanzaron la meta de graduarse de “high school” y quedar fuera de las terribles estadísticas de deserción entre los hispanos. Este libro logra adentrarse en la página del diario vivir de un adolescente, quizá su hermano, su primo, su vecino, su hijo, y se convertirá seguramente en una gran fuente de inspiración para toda la población latina.

El Dios del cielo y la tierra no es una deidad mezquina y avara que nos haga pasar hambre de misericordia y mendigar migajas de gracia. &É l es generoso. &É l no deja de dar, y en el momento que pensamos que ya no puede tener m&á s para nosotros, amontona todav&í a m&á s. &É l form&ó toda la creaci&ó n para nosotros, sus hijos e hijas. Nos colma de perd&ó n y vida en su Hijo, Jes&ú s, quien es el amor encarnado. Todo lo que somos y todo lo que tenemos proviene de &É l. M&á s a&ú n, el Esp&í ritu nos usa como sus manos y sus pies para cuidar a quienes nos rodean, a la vez que ellos nos cuidan a nosotros. Unidos a nuestro Padre por la fe, y a nuestro pr&ó jimo por el amor, vivimos en la libertad que viene de Jes&ú s, cuya copa de salvaci&ó n desborda hacia nuestras vidas.

Memoir uncovers truth about effects of ghost story and family dynamic in Argentine Childhood The transition from childhood to adulthood is difficult no matter what the circumstances. When more stress is added from societal and familial pressures, that transition is even shorter and harsher. The Shadow of the Baron by American-Argentinian author Laura Lavayén is a memoir of her childhood in Argentina, living on the land of a deceased landholder. The Baron was a fanatic and kept repeating that, if Germany lost the war, he would commit suicide. He did. The Baron starved to death after destroying all his belongings brought from Germany. The only things left, very close to Laura's home, were a pine tree – also brought from Germany – and his grave surrounded by an iron railing. Soon after the Baron's death, people said that his spirit wandered in the area. It is in this environment that the memoir begins, before quickly moving into the difficult childhood that fills the book. Lavayén’s memories of her older half-sister, Caty, a mentally handicapped girl who died very young, her gaucho father who was a storyteller and she loved dearly, and stories of scarcity and lack of understanding, mainly from her mother who never agreed with her behavior, flavor much of the text. The old ranch where the family lived was in the outskirts of beautiful Bariloche. Not far from the place where she used to play with her brothers and sisters, they found broken remains from the former inhabitants in the area, or so they thought. Later on, they learned that they had belonged to the German Baron Ludwig von Bulow. His spirit wandering in the area was a recurring nightmare for Laura… ------------------------------------------ La Sombra del Barón El primer volumen de sus memorias narra su infancia en la estancia donde vivía con su familia y donde trabajaba su padre, cerca a Bariloche. La propiedad pertenecía a un barón alemán, Ludwig von Bulow, quien había dicho que se suicidaría si Alemania perdía la guerra, y así hizo, se dejó morir de hambre. La Sombra del Barón contiene el secreto para que la vida de Laura se haya desarrollado como lo hizo. El libro presenta recuerdos de su media hermana mayor Caty, quien murió muy joven, su padre, un gaucho por excelencia, quien era un gran narrador de historias y a quien ella amaba especialmente, e historias de carencias y falta de compresión, principalmente por parte de su madre, quien nunca entendió el comportamiento de su hija. El día que ella mira hacia la tumba que tanto la atemorizaba junto a sus hermanos, pues se decía que el fantasma del barón rondaba la estancia, y no sintió miedo ni del barón, ella se marchó… todo se desencadenó cuando se enteró de un secreto que su familia guardaba, lo que la hace entender que su padre tenía razón cuando decía que «No es a los muertos a quien hay que tenerles miedo, sino a los vivos». Esta realidad la hacer perder el miedo a que el espíritu del Barón pudiera aparecérsele y la empuja a dejar la casa de sus padres… siendo aún una adolescente.

I took two years of Latin at Grinnell (Iowa) High School and two years of French at Cornell College, but I never really committed to using these languages. However, when I spent three years in Mozambique I had an opportunity to pursue the Portuguese language in an everyday situation. When I returned to the U.S., I studied the spoken and written form of the language with a Brazilian speaking partner and developed a useful fluency. I then decided to use the basics of Portuguese in the study of Spanish. I had a number of Spanish speaking partners, did some work assignments in Tehuacan, Mexico and earned an M.A. from the University of Leon. Using some creativity, I was able to read, write and converse in Spanish as often as I wished in my places of residence in Iowa and Texas. I have written this book of bilingual essays called “Gringoismos” which is a presentation of personal experiences in the Hispanic culture as well as some take-offs on Spanish writings.

Incorporating recent narrative theory and original historical documents, such as the voluminous correspondence of Domingo del Monte (1804-1853), Williams offers insights into the pattern of female development through an exploration of the representation of the female slave in the five novels. In addition, she provides the first exhaustive analysis of Gertrudis Gomez de Avellaneda's Sab and the first detailed treatment of the intertextual echoes in these other literary texts: Juan Francisco Manzano's Autobiografia, Amnselmo Suarez y Romero's Francisco, Antonio Zambrana's El negro Francisco, Martin Morua Delgado's Sofia, and Cirilo Villaverde's Cecilia Valdes.

This is the authorized, posthumous autobiography of the Queen of Salsa's extraordinary--and until now, largely private--life.