"First published in the United States by G.P. Putnam's Sons, under the title Alice Roosevelt Longworth"--T.p. verso.

Rosa’s Einstein is a Latinx retelling of the Brothers Grimm’s Snow-White and Rose-Red, reevaluating border, identity, and immigration narratives through the unlikely amalgamation of physics and fairy tale. In this full-length poetry collection, the girls of Rosa’s Einstein embark on a quest to discover what is real and what is possible in the realms of imagination, spurred on by scientific curiosity and emotional resilience. Following a structural narrative arc inspired by the archetypal hero’s journey, sisters Rosa and Nieve descend into the desert borderlands of New Mexico to find resolution and healing through a bold and fearless examination of the past, meeting ghostly helpers and hinderers along the way. These metaphorical spirits take the shape of circus performers, scientists, and Lieserl, the lost daughter Albert Einstein gave away. Poet Jennifer Givhan reimagines the life of Lieserl, weaving her search for her scientist father with Rosa and Nieve’s own search for theirs. Using details both from Einstein’s known life and from quantum physics, Givhan imagines Lieserl in a circus-like landscape of childhood trauma and survival, guided by Rosa and Nieve.

Alice is a product of love has no bounds. Her white father was the heir to the throne, but he fell in love at first sight with a beautiful black woman in an unusual place and during unusual times. The love relationship between her parents was so strong that traditions, culture, race, and death couldnt break it. Theirs was a love relationship made outside the four corners of this world. However, two of the only three people in the world who truly loved Alice died. Alice was going to change traditions that had lived with people for over hundreds of years, and these people didnt want change. So this made Alice grow in a world that those closest to her constantly planned betrayals, manipulations, and schemes against her. Her only living true love would be caught in the web of her adversary, but unknowingly, every of their evil plans moved her one step toward the fulfillment of her destiny.

2017 Christian Book Award Finalist Thirty captivating profiles of Christians who risked everything to rescue their Jewish neighbors from Nazi terror during the Holocaust. My Brother's Keeper unfolds powerful stories of Christians from across denominations who gave everything they had to save the Jewish people from the evils of the Holocaust. This unlikely group of believers, later honored by the nation of Israel as "The Righteous Among the Nations," includes ordinary teenage girls, pastors, priests, a German army officer, a former Italian fascist, an international spy, and even a princess. In one gripping profile after another, these extraordinary historical accounts offer stories of steadfast believers who together helped thousands of Jewish individuals and families to safety. Many of these everyday heroes perished alongside the very people they were trying to protect. There is no doubt that all of their stories showcase the best of humanity -- even in the face of unthinkable evil.

This is the first book-length study of Tennyson's record of publication in Victorian periodicals. Despite Tennyson's supposed hostility to periodicals, Ledbetter shows that he made a career-long habit of contributing to them and in the process revealed not only his willingness to promote his career but also his status as a highly valued commodity. Tennyson published more than sixty poems in serial publications, from his debut as a Cambridge prize-winning poet with "Timbuctoo" in the Cambridge Chronicle and Journal to his last public composition as Poet Laureate with "The Death of the Duke of Clarence and Avondale" in The Nineteenth Century. In addition, poems such as "The Charge of the Light Brigade" were shaped by his reading of newspapers. Ledbetter explores the ironies and tensions created by Tennyson's attitudes toward publishing in Victorian periodicals and the undeniable benefits to his career. She situates the poet in an interdependent commodity relationship with periodicals, viewing his individual poems as textual modules embedded in a page of meaning inscribed by the periodical's history, the poet's relationship with the periodical's readers, an image sharing the page whether or not related to the poem, and cultural contexts that create new meanings for Tennyson's work. Her book enriches not only our understanding of Tennyson's relationship to periodical culture but the textual implications of a poem's relationship with other texts on a periodical page and the meanings available to specific groups of readers targeted by individual periodicals.