(Nancy Pearl)

    Until his wife's death, not even his children -- Diana's nieces and nephews -- have known about Diana and her lifetime companion Constance. But now David seeks to bridge over those years and recapture the closeness of childhood, to become part of Diana's life, to have her be a major part of his.For the independent, irascible Diana, the overtures from her brother are an unwelcome intrusion. Retired from her medical practice, she spends her days fully occupied with Constance, for whom memory is increasingly a sometime thing.David, growing ever more fond of the enchanting Constance, struggles to win her trust... and Diana is inexorably drawn into the events and drama of David's family life.In Memory Board the incomparable Jane Rule gives us her tenderest, most poignant, most humor-filled novel... and brings to us altogether fresh insights into living and loving and the nature of commitment.

    Her account of growing up as the hearing daughter of deaf Jewish parents in the Bronx and Brooklyn during the 1930s and1940s reveals the challenges deaf people faced during the Depression and afterward.Inside her family’s apartment, Sidransky knew a warm, secure place. She recalls her earliest memories of seeing words fall from her parents’ hands. She remembers her father entertaining the family endlessly with his stories, and her mother’s story of tying a red ribbon to herself and her infant daughter to know when she needed anything in the night.Outside the apartment, the cacophonous hearing world greeted Sidransky’s family with stark stares of curiosity as though they were “freaks.” Always upbeat, her proud father still found it hard to earn a living. When Sidransky started school, she was placed in a class for special needs children until the principal realized that she could hear and speak.Sidransky portrays her family with deep affection and honesty, and her frank account provides a living narrative of the Deaf experience in pre- and post-World War II America. In Silence has become an invaluable chronicle of a special time and place that will affect all who read it for years to come.

    This novel, in the words of its title character, is set in "the hermetic world of the old-fashioned black bourgeoisie--a group largely unknown to other Americans, which has carried on with cautious pomp for years in eastern cities and suburbs, using its considerable funds to attempt poignant imitations of high society, acting with genuine gallantry in the struggle for civil rights, and finally producing a generation of children educated in newly integrated schools and impatient to escape the outworn rituals of their parents."

    Distanced from her heritage, Amparo is nevertheless spellbound by the histories of her grandmother, aunt, and mother. Listening to the ancestral music, Amparo learns to hear its strains woven throughout her life.

    "The Arkansas Testament," one of the book's long poems, is a powerful confrontation of changing allegiances. The poem's crisis is the taking on of an extra history, one that challenges unquestioning devotion.

    magazine). This endearing novel chronicles the growth of the young Allegra in pre-World War II Brooklyn as she learns about sex, death, bigotry, family limitations, and what it means to be young and female and independent.Marketing Plans for Allegra Maud Goldman: • Advance review copies to booksellers • Twenty-fifth anniversary press kit • Strong media pushEdith Konecky is the author of a second novel, A Place at the Table, as well as short fiction and poetry.

    Latino/Latina Studies. SILENT DANCING combines poetry and prose to form an innovative and deeply personal narrative that explores Judith Ortiz Cofer's memories of her childhood spent between Puerto Rico and New Jersey. Winner of the 1991 PEN/Martha Albrand Special Citation for Nonfiction. "This book is a treasure, a secret door opening onto memories locked away long ago"--San Francisco Chronicle.

    It follows the adolescent plans and dreams of Li as she struggles for independence against the traditional values of her family home, marriage and the lure of the city and all it can offer.

    I am grateful for Bebe Moore Campbell and for such a Sweet Summer." --Maya Angelou"Mature insight, as well as a deft gift for language, gives this memoir its poignant, honest shape." --Chicago Tribune"An uplifting reflection on family love." --San Francisco Examiner-Chronicle"A remarkable achievement." --Philadelphia Inquirer"Poignant...a beautiful tribute." --Newsday"Campbell is a master." --Entertainment Weekly"Touching....[A] candid account and loving tribute to a special man." --New York Daily News

    Juliana Spahr has lived in many places, including Chillicothe (Ohio), Buffalo (New York), Honolulu (Hawaii), and Brooklyn (New York). She has absorbed, participated in, and been transformed by the politics and ecologies of each. This book is about that process. THE TRANSFORMATION "tells a barely truthful story of the years 1997-2001," a story of flora and fauna, of continents, islands, academies, connective tissue, military and linguistic operations, and of that ever-present "we," to name only a few. At once exhilarating, challenging, and humbling, THE TRANSFORMATION is a hefty book in its honesty and scope, a must-read.

    

    All the stories are set in India, but the people in them seem somehow displaced within their own society—a society in transition but a transition that does not come fast enough to help them. Appachana manages to capture the pervasive humor, poignancy, and self-delusion of the lives of the people she observes, but she does so without seeming to pass judgments on them. She focuses on unexpected moments, as if catching her characters off guard, lovingly exposing the fragile surfaces of respectability and convention that are so much a part of every society, but particularly strong in India, with its caste system, gender privileges, and omnipresent bureaucracies.All life seems to be prescribed; these characters bravely or cautiously confront the rules and regulations or finally give in to them resignedly—any small triumphs they achieve are never clear-cut. One of the most unusual aspects of many of the stories is the way in which they are informed by but never ruled by the author's feminism. She never lectures her readers but lets us see for ourselves: a bride caught in a hopeless marriage where she has given up all rights to any life of her own, a hapless college student who is confined to campus for minor infractions just at the time when she had an appointment for an abortion, a young girl who keeps the dark secret of her sister's rape, a woman executive and a digruntled male clerk both trapped in the intricate bureaucracy of their business firm and the roles they must play to survive there. By turns warm, gullible, arrogant and bigoted, all of these characters live their lives amid contradictions and double standards, superstitions and impossible dreams. Appachana's vision is unique, her writing superb. Readers will thank her for allowing them to enter territory that is at once distant and exotic but also familiar and recognizable.

    Fisher, one of the most admired writers of our time, embraces age as St. Francis welcomed Brother Pain. With a saint to guide us, she writes in her Foreword, perhaps we can accept in a loving way "the inevitable visits of a possibly nagging harpy like Sister Age" But in the stories, it is the human strength in the unavoidable encounter with the end of life that Mrs. Fisher dramatizes so powerfully. Other themes -- the importance of witnessing death, the marvelous resilience of the old, the passing of vanity -- are all explored with insight, sympathy and, often, a sly wit.

    It is the story of Laura, an idealistic woman, who travels to Mexico from Arizona at the age of twenty-two to assist the Obregón Revolution. This casebook on "Flowering Judas" addresses Porter's ambivalence surrounding her roles as woman and artist and also attests to the profound influence of Mexico upon her work. Readers of this early tale will not be surprised to learn that although Porter was a practicing feminist in her life and her work, she actually eschewed the feminist label.Virginia Spencer Carr brings her own sharply focused biographer's eye to the introduction, further illuminating the story and the superb critical essays that it provokes. The casebook includes the authoritative text of the story itself, Porter's own statement regarding the genesis of this highly acclaimed work, an important interview, a collection of significant essays on "Flowering Judas" and the historical, cultural, and personal milieu from which the tale evolved, a bibliography, and a chronology of Porter's life and work.