“The collection you hold in your hands is otherworldly, it is elegant, it is delicate. It is graceful, it is exquisite and ethereal. It is full of flowers and fairies and a piercing, thorny longing.” —from the introduction by Catherynne M. Valente A Mythopoeic Award finalist Songs for Ophelia gathers together eighty of Theodora Goss's otherworldly poems which lead the reader, as though under a spell, through the unfolding of the seasons and into the realm of pure magic. "Willows, dancing maidens, gypsies, mothers, lovers, daughters, magic animals, living waters, and transformations of all kinds abound in these gorgeous poems. With her formal prosody, her fairytale subjects, and her insights on love and loss and longing, Goss manages, Janus-like, to look back to the Victorians and inward at the heart of a modern woman with intelligence and grace." —Delia Sherman Cover art by Virginia Lee

"Previously published in the anthology Performed the here and now: an introduction to contemporary theater and performance edited by Chris Danowski ... and also in the independent literary journal CallReview (issue #2, 2004)"--T.p. verso.

#1 New York Times Bestseller The groundbreaking work that poses one of the most provocative questions of a generation: what is happening to the selves of adolescent girls? As a therapist, Mary Pipher was becoming frustrated with the growing problems among adolescent girls. Why were so many of them turning to therapy in the first place? Why had these lovely and promising human beings fallen prey to depression, eating disorders, suicide attempts, and crushingly low self-esteem? The answer hit a nerve with Pipher, with parents, and with the girls themselves. Crashing and burning in a “developmental Bermuda Triangle,” they were coming of age in a media-saturated culture preoccupied with unrealistic ideals of beauty and images of dehumanized sex, a culture rife with addictions and sexually transmitted diseases. They were losing their resiliency and optimism in a “girl-poisoning” culture that propagated values at odds with those necessary to survive. Told in the brave, fearless, and honest voices of the girls themselves who are emerging from the chaos of adolescence, Reviving Ophelia is a call to arms, offering important tactics, empathy, and strength, and urging a change where young hearts can flourish again, and rediscover and reengage their sense of self.

'Queer delight through and through' - Leah Johnson, author of You Should See Me in a Crown A teen girl navigates friendship drama, the end of high school, and discovering her queerness in Ophelia After All, the hilarious and heartfelt contemporary YA debut by Racquel Marie. Ophelia Rojas knows what she likes: her best friends, Cuban food, rose-gardening, and boys – way too many boys. Her friends and parents make fun of her endless stream of crushes, but Ophelia is a romantic at heart. She couldn’t change, even if she wanted to. So when she finds herself thinking more about cute, quiet Talia Sanchez than the loss of a perfect prom with her ex-boyfriend, seeds of doubt take root in Ophelia’s firm image of herself. Add to that the impending end of high school and the fracturing of her once-solid friend group, and things are spiraling a little out of control. But the course of love - and sexuality - never did run smooth. As her secrets begin to unravel, Ophelia must make a choice between clinging to the fantasy version of herself she’s always imagined or upending everyone’s expectations to rediscover who she really is, after all.

When Mary Adams sees Millais’ depiction of the tragic Ophelia, a whole new world opens up for her. Determined to find out more about the beautiful girl in the painting, she hears the story of Lizzie Siddal – a girl from a modest background, not unlike her own, who has found fame and fortune against the odds. Mary sets out to become a Pre-Raphaelite muse, too, and reinvents herself as Persephone Lavelle. But as she fights her way to become the new face of London’s glittering art scene, ‘Persephone’ ends up mingling with some of the city’s more nefarious types and is forced to make some impossible choices. Will Persephone be forced to betray those she loves, and even the person she once was, if she is to achieve her dreams?

After Robert Armin joined the Chamberlain's Men, singing in Shakespeare's dramas catapulted from 1.25 songs and 9.95 lines of singing per play to 3.44 songs and 29.75 lines of singing, a virtually unnoticed phenomenon. In addition, many of the songs became seemingly improvisatory—similar to Armin's personal style as an author and solo comedian. In order to study Armin's collaborative impact, this interdisciplinary book investigates the songs that have Renaissance music that could have been heard on Shakespeare's stage. They occur in some of Shakespeare's most famous plays, including Much Ado About Nothing, Twelfth Night, Hamlet, and The Tempest. In fact, Shakespeare's plays, as we have them, are not complete. They are missing the music that could have accompanied the plays’ songs. Significantly, Renaissance vocal music, far beyond just providing entertainment, was believed to alter the bodies and souls of both performers and auditors to agree with its characteristics, directly inciting passions from love to melancholy. By collaborating with early modern music editor and performing artist Lawrence Lipnik, Catherine Henze is able to provide new performance editions of seventeen songs, including spoken interruptions and cuts and rearrangement of the music to accommodate the dramatist's words. Next, Henze analyzes the complete songs, words and music, according to Renaissance literary and music primary sources, and applies the new information to interpretations of characters and scenes, frequently challenging commonly held literary assessments. The book is organized according to Armin's involvement with the plays, before, during, and after the comic actor joined Shakespeare's company. It offers readers the tools to interpret not only these songs, but also vocal music in dramas by other Renaissance playwrights. Moreover, Robert Armin and Shakespeare's Performed Songs, written with non-specialized terminology, provides a gateway to new areas of research and interpretation in an increasingly significant interdisciplinary field for all interested in Shakespeare and early modern drama.

Definitely, Maybe in Love is a modern take on Pride and Prejudice that proves true love is worth risking a little pride. Spring Honeycutt wants two things: to ace her thesis and save the environment. Easy, right? Uh. No. When her professor suggests with a few changes the thesis could be published, she’s willing to do whatever it takes to make that happen. Except––that means forming a partnership with the very hot, very privileged, very conceited Henry Knightly. He’s her polar opposite and pushes all her buttons. When she finds there's more to Henry than his old money and argyle sweaters...it’s hard not to like him––a lot. Suddenly, choosing between what she wants and needs puts Spring at odds with everything she believes in.

What goes on in human beings when they make or listen to music? What is it about music, what gives it such peculiar power over us, power delectable and beneficent for the most part, but also capable of uncontrollable and sometimes destructive force? Music has no concepts, it lacks images; it has no power of representation, it has no relation to the world. And yet it is evident in all of us–we tap our feet, we keep time, hum, sing, conduct music, mirror the melodic contours and feelings of what we hear in our movements and expressions. In this book, Oliver Sacks explores the power music wields over us–a power that sometimes we control and at other times don’t. He explores, in his inimitable fashion, how it can provide access to otherwise unreachable emotional states, how it can revivify neurological avenues that have been frozen, evoke memories of earlier, lost events or states or bring those with neurological disorders back to a time when the world was much richer. This is a book that explores, like no other, the myriad dimensions of our experience of and with music.

“It doesn't seem too hasty to exclaim, ‘Classic!’” —Booklist, starred review “An original voice, and an original vision: crystalline, precise, mordant and devastating.” —Ellen Kushner. A Mythopoeic Award finalist Mythic Delirim Books is proud to make World Fantasy Award and Locus Award winner Theodora Goss’s 2006 story collection In the Forest of Forgetting available in electronic format. With an introduction by Terri Windling, this book gathers seventeen tales from an author that Locus at the time dubbed “one of the more distinctive, graceful, and haunting new voices in fantasy.” Cover art by Virginia Lee.

(Easy Piano Personality). 15 easy to play piano arrangements from Denver Folk Rock Band, The Lumineers: Angela * Cleopatra * Donna * Flapper Girl * Flowers in Your Hair * Gale Song * Gloria * Ho Hey * It Wasn't Easy to Be Happy for You * Life in the City * Ophelia * Salt and the Sea * Sleep on the Floor * Stubborn Love * Submarines.