Mothers often cling to single moments, small gestures, and specific memories in order to grasp all that happens in the first blurry year of a baby's life. In The Blue Jay's Dance, writer Louise Erdrich has assembled a photo album of snapshots such as these: the days and images that collectively define the passion, ambivalence, yearnings, and satisfactions of carrying, birthing, and nurturing a baby. "Any sublime effort has its dark moments," says Erdrich, referring to a rather bleak snapshot of mother isolation. "Perhaps, if anything, the meaning in this book for others may be this: Here is a job in which it is not unusual to be, at the same instant, wildly joyous and profoundly stressed." The Blue Jay's Dance is a fresh and masterful book that avoids all the sticky clichés while still managing to articulate the depths of mother-baby love.

Renowned artist M.C. Escher is not a surrealist drawing us into his dream world, but an architect of perfectly impossible worlds who presents the structurally unthinkable as though it were a law of nature. Weird, beautiful, finely detailed illusions.

"A deeply spiritual book...She honors what is tough, smart and untamed in women. She venerates the female soul."
—The Washington Post Book World
Within every woman there lives a powerful force, filled with good instincts, passionate creativity, and ageless knowing. She is the Wild Woman, who represents the instinctual nature of women. But she is an endangered species. For though the gifts of wildish nature belong to us at birth, society's attempt to "civilize" us into rigid roles has muffled the deep, life-giving messages of our own souls. In Women Who Run with the Wolves, Dr. Estés unfolds rich intercultural myths, fairy tales, folk tales, and stories, many from her own traditions, in order to help women reconnect with the fierce, healthy, visionary attributes of this instinctual nature. Through the stories and commentaries in this remarkable book, we retrieve, examine, love, and understand the Wild Woman, and hold her against our deep psyches as one who is both magic and medicine. Dr. Estés has created a new lexicon for describing the female psyche. Fertile and life-giving, it is a psychology of women in the truest sense, a knowing of the soul.
"The work of Clarissa Pinkola Estés, rooted in old and deep family rites and in archetypal psychology, recognizes that the soul is not lost, but has been put to sleep....This volume reminds us that we are nature for all our sophistication, that we are still wild, and the recovery of that vitality will itself set us right in the world."
—Thomas Moore
Author of Care of the Soul

Jane is neither the youngest nor the oldest, and so she calls herself the middle Moffat. And she's always in the middle of all the fun, whether it's a fast and furious card game with the oldest inhabitant of Cranbury, or playing the old pump organ and blowing out moths instead of music, or losing her head in the middle of the school play. Being a Moffat is exciting and full of laughs whatever age you are!

Who else but a member of the Moffat family could, during kindergarten recess, accidentally hitch a ride out of town on a boxcar? Or wind up trapped in the breadbox outside the delicatessen store? Or kindly offer to escort the Salvation Army man to his destination—only to accidentally bump him out of his own horse-drawn wagon? The Moffats is a paradigm of old-fashioned family fun. Four children and a hard-working widowed mother live together on New Dollar Street in the village of Cranbury. Their seemingly quiet lives are studded with almost daily unexpected adventures, with droll results.

This charming book has been making readers smile for over half a century. It reflects a gentler era, when the jolly chief of police had time to sit on the curb to hear a little girl's "crimes" and a little boy's escapade on a train was not cause for media panic, just a simple redirecting by the agreeable engineer. Eleanor Estes, author of the Newbery Honor book The Hundred Dresses, and Caldecott medalist Louis Slobodkin (Many Moons) make a lovely team in this story of benign humor and sweet times. (Ages 8 to 12) —Emilie Coulter

"I was born twice: first, as a baby girl, on a remarkably smogless Detroit day in January of 1960; and then again, as a teenage boy, in an emergency room near Petoskey, Michigan, in August of 1974." And so begins Middlesex, the mesmerizing saga of a near-mythic Greek American family and the "roller-coaster ride of a single gene through time." The odd but utterly believable story of Cal Stephanides, and how this 41-year-old hermaphrodite was raised as Calliope, is at the tender heart of this long-awaited second novel from Jeffrey Eugenides, whose elegant and haunting 1993 debut, The Virgin Suicides, remains one of the finest first novels of recent memory.

Eugenides weaves together a kaleidoscopic narrative spanning 80 years of a stained family history, from a fateful incestuous union in a small town in early 1920s Asia Minor to Prohibition-era Detroit; from the early days of Ford Motors to the heated 1967 race riots; from the tony suburbs of Grosse Pointe and a confusing, aching adolescent love story to modern-day Berlin. Eugenides's command of the narrative is astonishing. He balances Cal/Callie's shifting voices convincingly, spinning this strange and often unsettling story with intelligence, insight, and generous amounts of humor:

Emotions, in my experience aren't covered by single words. I don't believe in "sadness," "joy," or "regret." … I'd like to have at my disposal complicated hybrid emotions, Germanic traincar constructions like, say, "the happiness that attends disaster." Or: "the disappointment of sleeping with one's fantasy." ... I'd like to have a word for "the sadness inspired by failing restaurants" as well as for "the excitement of getting a room with a minibar." I've never had the right words to describe my life, and now that I've entered my story, I need them more than ever.

When you get to the end of this splendorous book, when you suddenly realize that after hundreds of pages you have only a few more left to turn over, you'll experience a quick pang of regret knowing that your time with Cal is coming to a close, and you may even resist finishing it—putting it aside for an hour or two, or maybe overnight—just so that this wondrous, magical novel might never end. —Brad Thomas Parsons

In the tradition of Bright Lights, Big City and The Secret History comes a compelling, highly-acclaimed debut novel of youth and innocence. On the elm-lined streets of a middle-class American city, the lives of a group of teenaged boys are forever changed by their obsession with five mysteriously doomed sisters.

Girls Will Be Boys is a collection of reports by women about men in rock. With pieces on Bon Jovi, Blur, Oasis, The Charlatans, The Manic Street Preachers, Motorhead, and Happy Mondays, rap lyrics, and house music, as well as Courtney Love, Sinead O’Connor, Bjork, and the riot grrls, Girls Will Be Boys provides some of the most insightful and cutting-edge contributions to rock’s literary tradition.

Although it's billed as "the first great 19th-century novel of the 21st century," The Crimson Petal and the White is anything but Victorian. The story of a well-read London prostitute named Sugar, who spends her free hours composing a violent, pornographic screed against men, Michel Faber's dazzling second novel dares to go where George Eliot's The Mill on the Floss and the works of Charles Dickens could not. We learn about the positions and orifices that Sugar and her clients favor, about her lingering skin condition, and about the suspect ingredients of her prophylactic douches. Still, Sugar believes she can make a better life for herself. When she is taken up by a wealthy man, the perfumer William Rackham, her wings are clipped, and she must balance financial security against the obvious servitude of her position. The physical risks and hardships of Sugar's life (and the even harder "honest" life she would have led as a factory worker) contrast—yet not entirely—with the medical mistreatment of her benefactor's wife, Agnes, and beautifully underscore Faber's emphasis on class and sexual politics. In theme and treatment, this is a novel that Virginia Woolf might have written, had she been born 70 years later. The language, however, is Faber's own—brisk and elastic—and, after an awkward opening, the plethora of detail he offers (costume, food, manners, cheap stage performances, the London streets) slides effortlessly into his forward-moving sentences. When Agnes goes mad, for instance, "she sings on and on, while the house is discreetly dusted all around her and, in the concealed and subterranean kitchen, a naked duck, limp and faintly steaming, spreads its pimpled legs on a draining board." Despite its 800-plus pages, The Crimson Petal and the White turns out to be a quick read, since it is truly impossible to put down. —Regina Marler

by Ian Falconer. Primary Level

Olivia, like many young pigs, experiences life very intensely. She is utterly obsessed with having her mother make her a red soccer shirt (even though the team color is green), until, of course, she discovers that her favorite toy, her very best toy, is missing, at which point she becomes utterly obsessed with finding it. She looks under the rug, the sofa, and the cat. She shouts accusingly at both her younger brother Ian and her baby brother William, who responds with an unsatisfactory "Wooshee gaga." That night (a dark and stormy one), she hears a horrible sound emanating from behind a closed door, and, in a dramatic scene illuminated by her flaming candelabra and showcased in a fold-out spread, she sees the family dog Perry chewing her favorite toy to bits. As devastating as this is to a passionate young pig, "even Olivia couldn't stay mad forever." She sews up her dismembered toy and falls asleep that very night cozied up with both it and the toy-wrecking Perry. The New Yorker cartoonist and Caldecott Honor artist Ian Falconer (Olivia, 2001) fills his pages with delightful visual stunts, such as the time-lapse drawings of Olivia waiting and waiting and waiting for her mom to sew her soccer shirt and the exaggeratedly scary shadow the toy-eating dog casts on the wall. Olivia fans will rejoice to see their favorite pig being her usual extreme self. (Ages 4 to 8) —Karin Snelson

Learning to count to 10 is no chore when accompanied by Olivia, piglet superstar of Ian Falconer's Caldecott Honor Book, Olivia, and Olivia Saves the Circus. Preschoolers will giggle to see reminders of Olivia's mischief in this simple counting book: "one ball, two bows, three pots of paint"... on up to "ten Olivias," pictured in various familiar poses: trying on pantyhose, standing on her head, earnestly jumping rope, sunbathing, etc. Each sturdy page of this small, square board book provides a backdrop of white on which our black and white porcine heroine struts, with occasional red accessories. Early learners will also enjoy Olivia's Opposites. (Baby to preschool) —Emilie Coulter

Book Description:
Everyone's favorite Caldecott Honor-winning porcine diva is back and with fanfare! There are going to be fireworks tonight, and Olivia can hardly wait to hear the band. But when she finds out that there isn't going to be a band, she can't understand why not. How can there be fireworks without a band?! And so Olivia sets to putting a band together herself... all by herself. Using pots, pans, her brother's toys, and even her father's suspenders, Olivia forms a band spectacular enough to startle any audience. Lavishly brought to life in Ian Falconer's signature style, and introducing an eye-catching shade of blue, here is Olivia doing what Olivia does best—making noise

Exclusive Art from Ian Falconer's Olivia Forms a Band

Why wasn't this picture included in the book? Here's a look inside the creation of a blockbuster picture book.

There were 60 images selected for Olivia Forms a Band out of over 70 pieces of art submitted by Olivia creator Ian Falconer. Sixty images may sound like a lot, but many pages are filled with multiple depictions of our porcine heroine. For instance, when you look at the page where Olivia is removing Daddy's suspenders, this page has nine separate drawings. On the other hand, the glorious fireworks scenes are all composed of one piece of art per page.

For this particular image of Olivia provided exclusively for Amazon.com customers, Falconer didn't feel like this artwork captured Olivia's true character. However, many people in-house at Simon & Schuster loved the picture and thought it was typical of a 5-year-old playing with her mother's lipstick. While there's a lot to love in this picture, Ian Falconer after all is the man behind Olivia. He knows better than anyone what makes something up to "Olivia standards." Sometimes that is as simple as being able to know which image works best for a particular moment in the book. In this instance Falconer felt the drawings that were used in the final book served the scene better, and with that this one was left on the cutting room floor.

All About Olivia

Teatro Olivia
Olivia... and the Missing Toy
Olivia Saves the Circus
Olivia

When it comes time to tell the class what she did on her vacation, Olivia isn't at all nervous. In fact, she remembers it quite clearly—she went to the circus, you see. "But when we got there, all the circus people were out sick with ear infections." What are the odds? But the show must go on! Fortunately, Olivia jumps right in to help out—riding elephants, posing as the Tattooed Lady (she draws on the pictures with a marker), taming lions, walking tightropes, juggling, clowning around, and more. In a marvelous fold-out, four-panel spread, our porcine heroine even reigns supreme as the Queen of the Trampoline. "And that's how I saved the circus. And now I am famous." Olivia looks proud. Her teacher looks mad. Ian Falconer shines in this dryly hilarious sequel to his 2001 Caldecott Honor Book Olivia. The charcoal and gouache illustrations perfectly capture Olivia's earnest expressions. Be prepared to be charmed anew! (Ages 4 to 8) —Karin Snelson