Growing up the daughter of an Amazon queen who shuns her, Rain rebels against the ways of her tribe through her sister-like relationship with Io and her feelings for a boy from a tribe of wanderers.

In PICTURES OF CHILDHOOD, Alice Miller explores the connection between childhood and that creative anxiety which 'somehow permits us to come to grips with the demons of our past and give form to the chaos within and thereby master our anxiety.'Having realised in the early seventies a lifelong desire to paint, Dr Miller found an unfamiliar world emerging from her not the 'nice' world of her childhood, to which she had always testified, but one of fear, despair and loneliness. Meditating on her spontaneously executed watercolours- sixty-six of which are reproduced here in full colour- and their implications, Dr Miller offers a profound analysis of the roots of creativity in the authentic self's struggle for survival.

Bringing together the latest research and understanding on selective mutism, this edited book gives essential information on the various treatment and therapy options. Experts in the fields of speech and language therapy, psychology, music therapy education and communication offer a wide range of professional perspectives on the condition, while case studies from people with selective mutism, past sufferers and parents reveal the personal impact. The book also clarifies what support a person with selective mutism is likely to need at home, school and in social situations. This definitive volume on selective mutism will be key reading for professionals such as speech and language therapists, educational psychologists, child psychiatrists, child and adolescent mental health workers, teachers, SENCOs and anyone working with selective mutism in therapeutic and educational settings, as well as family members wanting a closer understanding of what selective mutism is and how they can help.

Steps Under Water is a novel drawn from Alicia Kozameh’s experiences as a political prisoner in Argentina during the “Dirty War” of the 1970s.

Quoting King Solomon's famous prayer to God at the Temple in Jerusalem, "Behold, the heaven of heavens cannot contain thee; how much less this house that I have builded," Alicia Suskin Ostriker posits a God who cannot be contained by dogma and doctrine. Troubled by the way the Bible has become identified in our culture with a monolithic authoritarianism, Ostriker focuses instead on the extraordinary variability of Biblical writing. For the Love of God is a provocative and inspiring re-interpretation of six essential Biblical texts: The Song of Songs, the Book of Ruth, Psalms, Ecclesiastes, Jonah, and Job. In prose that is personal and probing, analytically acute and compellingly readable, Ostriker sees these writings as "counter-texts," deviating from convention yet deepening and enriching the Bible, our images of God, and our own potential spiritual lives. Attempting to understand "some of the wildest, strangest, most splendid writing in Western tradition," she shows how the Bible embraces sexuality and skepticism, boundary crossing and challenges to authority, how it illuminates the human psyche and mirrors our own violent times, and how it asks us to make difficult choices in the quest for justice. For better or worse, our society is wedded to the Bible. But according to Talmud, "There is always another interpretation." Ostriker demonstrates that the Bible, unlike its reputation, offers a plenitude of surprises.

Alicia Suskin Ostriker's voice has long been acknowledged as a major force in American poetry. In No Heaven, her eleventh collection, she takes a hint from John Lennon's "Imagine" to wrestle with the world as it is: "no hell below us, / above us only sky." It is a world of cities, including New York, London, Jerusalem, and Berlin, where the poet can celebrate pickup basketball, peace marches, and the energy of graffiti. It is also a world of families, generations coming and going, of love, love affairs, and friendship. Then it is a world full of art and music, of Rembrandt and Bonnard, Mozart and Brahms. Finally, it is a world haunted by violence and war. No Heaven rises to a climax with elegies for Yitzhak Rabin, assassinated by an Israeli zealot, and for the poet's mother, whose death is experienced in the context of a post-9/11 impulse to destroy that seems to seduce whole nations. Yet Ostriker's ultimate stance is to "Try to praise the mutilated world," as the poet Adam Zagajewski has counseled. At times lyric, at times satiric, Ostriker steadfastly pursuesin No Heaven her poetics of ardor, a passion for the here and now that has chastened and consoled her many devoted readers.

This newest volume of poetry from Alicia Suskin Ostriker is her most ambitious to date, ranging from laments and celebrations for a flawed world to meditations on art and artists, to a powerful exploration of illness and healing.

In this selection of poems from thirty years of a distinguished writing career, we see the growth of a poet’s mind, heart, and spirit as Ostriker struggles to love “this wounded / World that we cannot heal, that is our bride.” Whether she probes the meaning of childhood, family, marriage, and motherhood, or art, history, politics, and God; whether she is celebrating sexuality or confronting mortality, the poet includes “whatever I can grasp of human experience within my art—the good and beautiful, the evil and chaotic. I tell my students that they must write what they are afraid to write; and I attempt to do so myself.”

This book by a major American poet is for poetry readers at all levels, academic and non-academic. It is a sequence of poems that will surprise and delight readers—in the voices of an old woman full of memories, a glamorous tulip, and an earthy dog who always has the last word.

Splendid view of elegant dresses, expertly rendered by noted theatrical designer, includes finely detailed illustrations of 32 complete costumes and three blouses, shown in color and black-and-white. Here are exquisitely embroidered, full-skirted dresses circa 1700, a high-waisted Empire dress (1820), a magnificent silk dress with an extended bustle and pleated overskirt (1880), more.

Re-Dressing the Canon examines the relationship between gender and performance in a series of essays which combine the critique of specific live performances with an astute theoretical analysis. Alisa Solomon discusses both canonical texts and contemporary productions in a lively jargon-free style. Among the dramatic texts considered are those of Aristophanes, Ibsen, Yiddish theatre, Mabou Mines, Deborah Warner, Shakespeare, Brecht, Split Britches, Ridiculous Theatre, and Tony Kushner. Bringing to bear theories of 'gender performativity' upon theatrical events, the author explores: * the 'double disguise' of cross-dressed boy-actresses * how gender relates to genre (particularly in Ibsens' realism) * how canonical theatre represented gender in ways which maintain traditional images of masculinity and femininity.

Re-Dressing the Canon examines the relationship between gender and performance in a series of essays which combine the critique of specific live performances with an astute theoretical analysis. Alisa Solomon discusses both canonical texts and contemporary productions in a lively jargon-free style. Among the dramatic texts considered are those of Aristophanes, Ibsen, Yiddish theatre, Mabou Mines, Deborah Warner, Shakespeare, Brecht, Split Britches, Ridiculous Theatre, and Tony Kushner. Bringing to bear theories of 'gender performativity' upon theatrical events, the author explores: * the 'double disguise' of cross-dressed boy-actresses * how gender relates to genre (particularly in Ibsens' realism) * how canonical theatre represented gender in ways which maintain traditional images of masculinity and femininity.

A devastating indictment of the “gifted child” myth The effort to produce “gifted” children through an exhausting regimen of early (and ever-earlier) training has grown into a troubling national phenomenon. With less free playtime and overwhelming pressure to achieve, the kids are the ones who suffer. Investigative journalist Alissa Quart knows the terrain firsthand, having herself negotiated the gifted-child label. With phenomenal research and sharp insight, she takes a damning look at the industry that profits from marketing educational products to enhance giftedness and questions the correlation between rigorous early enrichment and higher achievement. A thoughtful, sometimes critical look at the excessive ambition foisted upon children, Hothouse Kids is essential reading for parents, teachers, and anyone concerned about education.

Allan H. Meltzer’s critically acclaimed history of the Federal Reserve is the most ambitious, most intensive, and most revealing investigation of the subject ever conducted. Its first volume, published to widespread critical acclaim in 2003, spanned the period from the institution’s founding in 1913 to the restoration of its independence in 1951. This two-part second volume of the history chronicles the evolution and development of this institution from the Treasury–Federal Reserve accord in 1951 to the mid-1980s, when the great inflation ended. It reveals the inner workings of the Fed during a period of rapid and extensive change. An epilogue discusses the role of the Fed in resolving our current economic crisis and the needed reforms of the financial system. In rich detail, drawing on the Federal Reserve’s own documents, Meltzer traces the relation between its decisions and economic and monetary theory, its experience as an institution independent of politics, and its role in tempering inflation. He explains, for example, how the Federal Reserve’s independence was often compromised by the active policy-making roles of Congress, the Treasury Department, different presidents, and even White House staff, who often pressured the bank to take a short-term view of its responsibilities. With an eye on the present, Meltzer also offers solutions for improving the Federal Reserve, arguing that as a regulator of financial firms and lender of last resort, it should focus more attention on incentives for reform, medium-term consequences, and rule-like behavior for mitigating financial crises. Less attention should be paid, he contends, to command and control of the markets and the noise of quarterly data. At a time when the United States finds itself in an unprecedented financial crisis, Meltzer’s fascinating history will be the source of record for scholars and policy makers navigating an uncertain economic future.

Americans have died for the right to vote. Yet our democratic system guarantees no one, not even citizens, the opportunity to elect a government. Allan Lichtman calls attention to the founders' greatest error--leaving the franchise to the discretion of individual states--and explains why it has triggered an unending struggle over voting rights.--

At seventeen, Bobby Rydell was the face of American Bandstand -- the kid from Italian South Philly with the smoothest voice, the highest pompadour, and the sweetest smile. And there were those hits: "Wild One," "Volare," and "Forget Him," to name a few. He was far more than just a teen idol. Bobby's voice and boy next door charm earned him a spot singing, acting, and dancing with Ann-Margret in the film adaptation of the hit musical comedy, Bye Bye Birdie. His comedic talents made him a nighttime fixture during the golden age of TV variety shows, and his phrasing and musicianship led to dozens of headlining gigs in the casino showrooms of Las Vegas and Atlantic City. Frank Sinatra anointed him as his favorite pop singer of the early '60s. But early success took a toll on his life. Bobby Rydell's brutally honest street corner narrative evolved during an eighteen-month collaboration with Allan Slutsky, the award-winning author and producer of the widely acclaimed book and documentary film, Standing in the Shadows of Motown. Inspiring, gut-busting, and, at times, heartbreaking, Teen Idol On The Rocks gives you a front row seat to the turbulent, six decade journey of one of rock and roll's earliest, and most celebrated teen idols.