The Bookweaver’s Daughter is an #OwnVoices YA fantasy—a tale of magic, Indian lore, and radical female friendship, written by debut author, Malavika Kannan, when she was 17 year old. Malavika is an Indian-American novelist, feminist writer, and political activist raised in the suburbs of Central Florida and currently a freshman at Stanford University. In the ancient Indian kingdom of Kasmira, stories don’t begin with “once upon a time.” Instead, Kasmiris start a woman’s story with those who came before her: her parents, grandparents, ancestors. For fourteen-year-old Reya Kandhari, her story always starts the same: with the fabled line of Bookweavers, tracing centuries back to the lost Yogis—the mythical guardians of Kasmiri culture who created the world itself. As a result, Reya’s entire life has been shaped by words. Words of mystique and mythology. Words of magic that allow her father, the Bookweaver, to bring his stories to life. Words of power that make him the target of tyrants who will stop at nothing to destroy magic in Kasmira. Living in disguise as a peasant in the fields, Reya’s sole focus is protecting the Bookweaver’s secret. But when her father is taken, Reya must flee deep into the jungle, alone with her best friend Nina and one ancient book. Grappling with Reya’s newfound magic, the two girls find themselves in the center of a war of liberation where magic reigns unchecked, and destiny takes a dark turn. As the stakes get higher, Reya realizes that her father’s legacy contains more power than she ever imagined. For Reya Kandhari is more than just a fugitive—she is a symbol of revolution. And that makes her a threat. In a tale of magic, Indian lore, and radical female friendship, Reya must pass the final test: the Bookweaver’s daughter must weave her own destiny. The fate of Kasmira depends on it.

Ten-year-old Lizzy loves her pioneer life. Her father is a farmer and her mother a weaver, and she and her sisters enjoy a life of hard work that is also filled with simple pleasures. Lizzy longs to grow up to be a weaver like her mother, but every autumn Lizzy gets sick. Neither the local doctor nor the midwife is sure what is wrong with Lizzy, let alone how to cure her. As soon as the first frost comes, Lizzy gets better. And this winter also brings some distraction in the form of rich neighbors—the fine Miss Sarah Beaumont and her handsome stepson are visiting from Charleston. Lizzy, though, is worried about next fall—can she survive this illness one more time?

Now available in a fully-revised and updated second edition, A History of Modern Latin America offers a comprehensive and accessible introduction to the rich cultural and political history of this vibrant region from the onset of independence to the present day. Includes coverage of the recent opening of diplomatic relations between the U.S. and Cuba as well as a new chapter exploring economic growth and environmental sustainability Balances accounts of the lives of prominent figures with those of ordinary people from a diverse array of social, racial, and ethnic backgrounds Features first-hand accounts, documents, and excerpts from fiction interspersed throughout the narrative to provide tangible examples of historical ideas Examines gender and its influence on political and economic change and the important role of popular culture, including music, art, sports, and movies, in the formation of Latin American cultural identity Includes all-new study questions and topics for discussion at the end of each chapter, plus comprehensive updates to the suggested readings

#1 NEW YORK TIMES, WALL STREET JOURNAL, AND BOSTON GLOBE BESTSELLER • One of the most acclaimed books of our time: an unforgettable memoir about a young woman who, kept out of school, leaves her survivalist family and goes on to earn a PhD from Cambridge University “Extraordinary . . . an act of courage and self-invention.”—The New York Times NAMED ONE OF THE TEN BEST BOOKS OF THE YEAR BY THE NEW YORK TIMES BOOK REVIEW • ONE OF PRESIDENT BARACK OBAMA’S FAVORITE BOOKS OF THE YEAR • BILL GATES’S HOLIDAY READING LIST • FINALIST: National Book Critics Circle’s Award In Autobiography and John Leonard Prize For Best First Book • PEN/Jean Stein Book Award • Los Angeles Times Book Prize Born to survivalists in the mountains of Idaho, Tara Westover was seventeen the first time she set foot in a classroom. Her family was so isolated from mainstream society that there was no one to ensure the children received an education, and no one to intervene when one of Tara’s older brothers became violent. When another brother got himself into college, Tara decided to try a new kind of life. Her quest for knowledge transformed her, taking her over oceans and across continents, to Harvard and to Cambridge University. Only then would she wonder if she’d traveled too far, if there was still a way home. “Beautiful and propulsive . . . Despite the singularity of [Westover’s] childhood, the questions her book poses are universal: How much of ourselves should we give to those we love? And how much must we betray them to grow up?”—Vogue NAMED ONE OF THE BEST BOOKS OF THE YEAR BY The Washington Post • O: The Oprah Magazine • Time • NPR • Good Morning America • San Francisco Chronicle • The Guardian • The Economist • Financial Times • Newsday • New York Post • theSkimm • Refinery29 • Bloomberg • Self • Real Simple • Town & Country • Bustle • Paste • Publishers Weekly • Library Journal • LibraryReads • Book Riot • Pamela Paul, KQED • New York Public Library

Book one of the New York Times bestselling All Souls series, from the author of The Black Bird Oracle. “A wonderfully imaginative grown-up fantasy with all the magic of Harry Potter and Twilight” (People). Look for the hit series “A Discovery of Witches,” now streaming on AMC+, Sundance Now, and Shudder! Deborah Harkness’s sparkling debut, A Discovery of Witches, has brought her into the spotlight and galvanized fans around the world. In this tale of passion and obsession, Diana Bishop, a young scholar and a descendant of witches, discovers a long-lost and enchanted alchemical manuscript, Ashmole 782, deep in Oxford's Bodleian Library. Its reappearance summons a fantastical underworld, which she navigates with her leading man, vampire geneticist Matthew Clairmont. Harkness has created a universe to rival those of Anne Rice, Diana Gabaldon, and Elizabeth Kostova, and she adds a scholar's depth to this riveting tale of magic and suspense. The story continues in book two, Shadow of Night, book three, The Book of Life, and the fourth in the series, Time’s Convert.

"In 1865, Goldie O'Neill was nine years of age when she trekked across the unclaimed American West with her family to form their own Irish catholic Colony. Their new community had dreams of self-governance and prosperity far removed from the anti-Irish sentiment and prejudice of the ruling classes. They soon learned about the extremes of the American West and the ongoing Indian war. A year after their arrival, Goldie blames herself for her sister's disappearance. She forms an unlikely friendship with a Lakota Indian boy who promises to help with her life-long quest to find her sister. In the intervening years, as their community flourishes and a new prejudice surfaces, her sister's disappearance ebbs away for everyone except Goldie. 1937, Lucy O'Neill was adopted by her aunt, Goldie O'Neill. When she learns that her father, Lorcan O'Neill, has returned to the small town in the Midwest after a thirty-year absence, she returns to meet him. Aware of the silence that surrounds his name and the reluctance of her family to reveal the real story, Lucy delves into the past to find a story far removed from the account her aunt had told her." -- amazon.com

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

LaRee has spent her life educating from a young girl teaching a primary class through teaching her 7 children at home as well as teaching classes on herbs, oils, homeopathy, and more. Thisbook is her memoir. This book is my memoir- a memoir that for several years now, I have known I would write one day. But let's set the record straight right here. Part, but only part, of the impetus for writing my memoir at this time, is the publishing of our daughter's book, Educated. I want to tell the story of my life as I really lived it and not in the dramatically fictionalized way others, based on my daughter's book, are telling it for me. I want my grandchildren to know who their grandmother is and was, I want to be a force for good in their lives. Also, I feel a compelling desire to shine a light on homeschooling, herbal medicine, and the living og a conservative and Christian way of life.

This transnational and transcultural study intimately investigates the theatre making practices of Indigenous women playwrights from Australia, Aotearoa, and Turtle Island. It offers a new perspective in Performance Studies employing an Indigenous standpoint, specifically an Indigenous woman’s standpoint to privilege the practices and knowledges of Maori, First Nations, and Aboriginal women playwrights. Written in the style of ethnographic narrative the author affords the reader a ringside seat in providing personal insights on the process of negotiating access to rehearsals in each specific cultural context, detailed descriptions of each rehearsal location, and describing the visceral experiences of observing Indigenous theatre makers from inside the rehearsal room. The Indigenous scholar and theatre maker draws on Rehearsal Studies as an approach to documenting the day-to-day working practices of Indigenous theatre makers and considers an Indigenous Standpoint as a valid framework for investigating contemporary Indigenous theatre practices in a colonised context.