A 12-year-old girl travels the globe with her parents' circus, having adventures and learning to appreciate the joys of being different. "My name is Violette Vermeer- Dutch father, French mother...citizen of the world! My house has a thousand rooms...one for every place we've passed through!" Her name is Violette, like the flower in the spring, like the seventh color of the rainbow. She lives with the Circus of the Moon, where her mother is the stuntwoman and her father is the insect tamer. At the end of the 19th-century, Violette is a curious, happy 12-year-old who is fascinated by the beauty of the world around her- music, painting, drawing, nature, and much more. She shares adventures with her friend Samir (a budding trapeze artist), her unusual animal friends, and her father's trained insects! This, the first of three books, takes place in Paris, where Violette has to balance her time between the freedom of the circus and her homework at school. But Paris is the city of beauty and art, and soon she will make an encounter with a very special person!

"Meet Violette, a curious 12-year-old girl who travels the world with the Cirque de la Lune--the Circus of the Moon, where her mother is the human cannonball and her father is the insect trainer"--Back cover.

"Originally published in Italy as Viola giramondo by Tunuâe."--Colophon.

NATIONAL BESTSELLER • WINNER OF THE MAN ASIAN LITERARY PRIZE • When sixty-nine-year-old So-nyo is separated from her husband among the crowds of the Seoul subway station, her family begins a desperate search to find her. Yet as long-held secrets and private sorrows begin to reveal themselves, they are forced to wonder: how well did they actually know the woman they called Mom? “A terrific novel that stayed with me long after I’d finished its final, haunting pages.” —Abraham Verghese, bestselling author of The Covenant of Water “A raw tribute to the mysteries of motherhood.” —The New York Times Book Review Told through the piercing voices and urgent perspectives of a daughter, son, husband, and mother, Please Look After Mom is at once an authentic picture of contemporary life in Korea and a universal story of family love. “A suspenseful, haunting, achingly lovely novel about the hidden lives, wishes, struggles and dreams of those we think we know best.” —The Seattle Times

Read Beth Hoffman's blogs and other content on the Penguin Community. Steel Magnolias meets The Help in this Southern debut novel sparkling with humor, heart, and feminine wisdom Twelve-year-old CeeCee Honeycutt is in trouble. For years, she has been the caretaker of her psychotic mother, Camille-the tiara-toting, lipstick-smeared laughingstock of an entire town-a woman trapped in her long-ago moment of glory as the 1951 Vidalia Onion Queen. But when Camille is hit by a truck and killed, CeeCee is left to fend for herself. To the rescue comes her previously unknown great-aunt, Tootie Caldwell. In her vintage Packard convertible, Tootie whisks CeeCee away to Savannah's perfumed world of prosperity and Southern eccentricity, a world that seems to be run entirely by women. From the exotic Miz Thelma Rae Goodpepper, who bathes in her backyard bathtub and uses garden slugs as her secret weapons, to Tootie's all-knowing housekeeper, Oletta Jones, to Violene Hobbs, who entertains a local police officer in her canary-yellow peignoir, the women of Gaston Street keep CeeCee entertained and enthralled for an entire summer. Laugh-out-loud funny and deeply touching, Beth Hoffman's sparkling debut is, as Kristin Hannah says, "packed full of Southern charm, strong women, wacky humor, and good old-fashioned heart." It is a novel that explores the indomitable strengths of female friendship and gives us the story of a young girl who loses one mother and finds many others. Watch a Video

Volcanoes are essential elements in the delicate global balance of elemental forces that govern both the dynamic evolution of the Earth and the nature of Life itself. Without volcanic activity, life as we know it would not exist on our planet. Although beautiful to behold, volcanoes are also potentially destructive, and understanding their nature is critical to prevent major loss of life in the future. Richly illustrated with over 300 original color photographs and diagrams the book is written in an informal manner, with minimum use of jargon, and relies heavily on first-person, eye-witness accounts of eruptive activity at both "red" (effusive) and "grey" (explosive) volcanoes to illustrate the full spectrum of volcanic processes and their products. Decades of teaching in university classrooms and fieldwork on active volcanoes throughout the world have provided the authors with unique experiences that they have distilled into a highly readable textbook of lasting value. Questions for Thought, Study, and Discussion, Suggestions for Further Reading, and a comprehensive list of source references make this work a major resource for further study of volcanology. Volcanoes maintains three core foci: Global perspectives explain volcanoes in terms of their tectonic positions on Earth and their roles in earth history Environmental perspectives describe the essential role of volcanism in the moderation of terrestrial climate and atmosphere Humanitarian perspectives discuss the major influences of volcanoes on human societies. This latter is especially important as resource scarcities and environmental issues loom over our world, and as increasing numbers of people are threatened by volcanic hazards Readership Volcanologists, advanced undergraduate, and graduate students in earth science and related degree courses, and volcano enthusiasts worldwide. A companion website is also available for this title at www.wiley.com/go/lockwood/volcanoes

Paul John Eakin's earlier work Fictions in Autobiography is a key text in autobiography studies. In it he proposed that the self that finds expression in autobiography is in fundamental ways a kind of fictive construct, a fiction articulated in a fiction. In this new book Eakin turns his attention to what he sees as the defining assumption of autobiography: that the story of the self does refer to a world of biographical and historical fact. Here he shows that people write autobiography not in some private realm of the autonomous self but rather in strenuous engagement with the pressures that life in culture entails. In so demonstrating, he offers fresh readings of autobiographies by Roland Barthes, Nathalie Sarraute, William Maxwell, Henry James, Ronald Fraser, Richard Rodriguez, Henry Adams, Patricia Hampl, John Updike, James McConkey, and Lillian Hellman. In the introduction Eakin makes a case for reopening the file on reference in autobiography, and in the first chapter he establishes the complexity of the referential aesthetic of the genre, the intricate interplay of fact and fiction in such texts. In subsequent chapters he explores some of the major contexts of reference in autobiography: the biographical, the social and cultural, the historical, and finally, underlying all the rest, the somatic and temporal dimensions of the lived experience of identity. In his discussion of contemporary theories of the self, Eakin draws especially on cultural anthropology and developmental psychology.

Cici dreams of being a novelist. Her favorite subject: people, especially adults. She’s been watching them and taking notes. Everybody has one special secret, Cici figures, and if you want to write about people, you need to understand what’s hiding inside them. But now she’s discovered something truly strange: an old man who disappears into the forest every Sunday with huge pots of paint in all sorts of colors. What is he up to? Why does he look so sad when he comes back? In a graphic novel interwoven with journal notes, scrapbook pieces, and doodles, Cici assembles clues about the odd and wonderful people she’s uncovered, even as she struggles to understand the mundane: her family and friends.