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Louis's sister, Emily, is blind. She’s also in the marching band, sculpts, and has the biggest bedroom in the house to accommodate her Braille machine. Everyone thinks her accomplishments are extraordinary, and most think that she can do no wrong. The single person who doesn't feel awe–or pity–for her is Louis, who wishes people would just stop comparing them. He wants his own life. Only a family tragedy can begin to bridge the widening gap between brother and sister. Part of the Gemma Open Door Series, originally designed for new readers, these books confirm the truth that a story doesn't have to be big to change ?the world. <i>The Transcriber</i> is specifically created for young adult readers.
The Tiger's Back
What do you do when Fate shows up in your rose bed with three-inch canines and retractable claws Robert–not Bob!–Stevenson wakes up one morning in his Vermont home to find a Bengal tiger sitting in his rose garden. Is the tiger real? Or has the illness that has invaded every other part of Robert's body finally and quite literally gone to his head? Real or imaginary, there is no dismounting once you get on the tiger's back.
The Possibility of Lions
Suddenly driven from their African home by a war in Biafra, the McCall family washes up in a small town in the San Joaquin Valley. The locals assume they must be glad to be back in the "civilized world." But life in America is lonely, desolate and dull, and the children and their  fragile mother hope that one day they will return to the life they left behind. Their father, a hardened oil man, knows better: war has destroyed any home they may have had. As the truth begins to sink in, mother and children gravitate toward another refugee from war-torn Africa and his dream. Anatole imagines an African animal park on the dry plains surrounding their California town and offers hope that these two worlds can be brought together in one place.
The Playgroup
Sarah Holloway is a frustrated painter, sketching on the backs of shopping lists and sharing her studio with a washer and dryer. Abandoned by her mother, she has tried to hide her childhood wounds by healing others through art therapy. During her daughter’s first two years, she has faked her way through motherhood with the help of women in her neighborhood playgroup. She hopes she has gotten the hang of it when she learns she is expecting another child. Then, a routine test reveals a mysterious mass in her unborn baby's abdomen. The sonogram awakens an old fear that her children have inherited her damage—and uncovers a secret that could end her marriage.
American Lion
Set in the rugged western United States, <i>American Lion</i> presents true stories of the majestic North American cougar told by people who experienced the mountain lion up close. From the Rock Creek Canyon battle of the killer lion and shepherd dog to the invisible guest in the hay loft, these encounters are terrifying, heartwarming and at all times as thrilling as the native cats themselves.
Airport
On any given day, in any given city, countless people are arriving and departing…to visit grandma, to close a business deal, to hook up with a lover, to climb a mountain. Intrepid traveler Luis is trapped in flight delay and has many hours to see and hear and sense his fellow passengers. As he grows more invisible, the kinetic world around him takes on a life of its own. Where can all these people be going? Where in the world do we belong? Part of the prestigious Open Door Series, originally designed for adult literacy in Ireland, these books confirm the truth that a story doesn't have to be big to change our world. Airport is part of the US launch of Open Door books written by North American authors.        
Widows Unveiled
Somber black crepe gowns, long black veils, a strand of Whitby jet beads or a bracelet braided from a loved one’s hair, black-edged handkerchiefs—these were just some of the trappings of late nineteenth- and early twentieth-century mourning. Middle- and upper-class Americans of this era were expected to follow strict etiquette guidelines in all aspects of their lives, including—perhaps especially—following a loved one’s death. Sustained by advice writers, newspapers, and the retail and manufacturing industries, mourning culture was prevalent in daily urban life. Prescriptive guidelines were most extreme for the widow, who was expected to mourn her lost husband for at least two years, including one in seclusion from society. Filled with nuanced requirements for how to live and what belongings to live with, these customs would have been difficult, if not impossible, for most women to follow—especially those suddenly impoverished by their widowhood. Widows Unveiled illuminates American mourning practices between the Civil War and World War I through an investigation of the textual, material, and visual culture of New York widowhood.Illustrated with images of period costumes, jewelry, accessories, drawings, and photographs, Widows Unveiled analyzes mourning etiquette and its accouterments, interprets the abundant negative stereotypes of widows in visual culture, and explains the slow, uneven demise of mourning practices in the twentieth century. Author Rebecca McNamara demonstrates that material mourning was far more complex and confusing than is generally acknowledged and that its purpose went beyond superficial consumption: indeed, the black-crepe-enrobed and -veiled woman, as she navigated a society critical of and even hostile to widows, was both demonstrating an ideal feminine role—loyal, doting wife—and signifying a continued independent presence in polite society.
Feminist Art Manifestos
A unique anthology of 35 feminist art manifestos by contemporary women artists from around the world (1969-2013) introduced by Katy Deepwell. These feminist art manifestos written at different moments over the last forty years explore the potential of women's cultural production as visual artists. Manifestos occupy a specific place in the visual arts, as a means to communicate radical ideas. These texts outline a critique of patriarchy and utopian hopes for the future. Includes manifestos by: Mierle Laderman Ukeles, Agnes Denes, Michele Wallace, Nancy Spero, Monica Sjoo and Anne Berg, Rita Mae Brown, VALIE EXPORT, Klonaris/ Thomadaki, Carolee Schneemann, Ulrike Rosenbach, Ewa Partum, Women Artists of Pakistan, Chila Burman, VNS Matrix, Violetta Liagatchev, Old Boys Network, Senga Nengudi, Dora Garcia, Subrosa, Orlan, Factory of Found Clothes, FAAB, Mette Ingvartsen, Xabier Arakistain, Yes Association!, Arahmaiani, Guerrilla Girls, Julie Perini, Elizabeth M. Stephens and Annie M. Sprinkie, Lucia Tkacova and Anetta Mona Chisa, Silvia Ziranek, and Martine Syms.
On Curating: Interviews with Ten International Curators
On Curating, Carolee Thea's second volume of interviews with ten of today's leading curators, explores the intellectual convictions and personal visions that lay the groundwork for the most prestigious and influential exhibitions in the world today. Among the aesthetic and theoretical issues raised are the relationship between artist and curator, globalism, post-colonialism, capitalism, the future of cultural tourism and the biennial as spectacle or utopian ideal. As Thea notes in her introduction, «the biennial or mega-exhibition–a laboratory for experimentation, investigation and aesthetic liberation–is where the curators' experience and knowledge are tested. As they negotiate venues for artistic expression, intellectual critiques and humanistic concerns in their own societies and others, they are challenged by the certainties and uncertainties of a constantly evolving future.» Thea's interviewees are Joseph Backstein, Carolyn Christov-Bakargiev, Okwui Enwezor, Charles Esche, Massimiliano Gioni, RoseLee Goldberg, Mary Jane Jacob, Pi Li, Virginia Perez-Ratton and Rirkrit Tiravanija. On Curating also includes 50 color illustrations of relevant works by (among others) Kutlug Ataman, Tamy Ben-Tor, John Bock, Cao Fei, Olafur Eliasson, Isaac Julien, Francois & Philippe Parreno, Yvonne Rainer, Michael Rakowitz, Doris Salcedo, Allan Sekula, Yinka Shonibare and Francesca Woodman.Carolee Thea is a curator, critic, art historian and independent scholar. Her first book, Foci: Interviews with Ten International Curators was published in 2001. She is contributing editor at ArtAsiaPacific and Sculpture magazine and was the English editor of Atlántica 45. Her articles, reviews and interviews have been published in many arts journals, among them Parkett, Artforum.com, The New Art Examiner, Modern Painters, Artnet.com, ZSijue 21 Beijing, Heresies, Tema Celeste, Parachute and ArtNews.