"Follow the adventures of the real-life Martin family told through conversations between writer Sara and her wise, slightly impatient, black Labrador, Nell. Full of warmth and often laugh-out-loud funny; come along as the Martin's navigate a year of fantastic escapades with the odd scone thrown in of course"--

Escape to the world of wise and witty Labrador Nell through her conversations with Sara. You won’t want to leave Anyone who owns a dog, loves animals, or would like some sensible advice from a worldly-wise Labrador will love Nell Is handsome German Shepherd Charlie really a secret agent and why is there a Pomeranian in Nell’s handbag?

Dunn transcribes nine informal interviews she recorded with young women she happened to be near and around in the year 1964. They are friends across the class system, from factory worker Kathy to socialite Suna, with a particular eye to women marking themselves out creatively and against the odds. Dunn describes these women as sharing more than a common time and age; they've "severed themselves from some of the conventional forms of living and thinking."

Just the Funny Parts is a juicy and scathingly funny insider look at how pop culture gets made. For more than thirty years, writer, producer and director Nell Scovell worked behind the scenes of iconic TV shows, including The Simpsons, Late Night with David Letterman, Murphy Brown,NCIS,The Muppets, and Sabrina, the Teenage Witch, which she created and executive produced. In 2009, Scovell gave up her behind-the-scenes status when the David Letterman sex scandal broke. Only the second woman ever to write for his show, Scovell used the moment to publicly call out the lack of gender diversity in late-night TV writers’ rooms. “One of the boys” came out hard for “all of the girls.” Her criticisms fueled a cultural debate. Two years later, Scovell was collaborating with Sheryl Sandberg on speeches and later on Lean In, which resulted in a worldwide movement. Now Scovell is opening up with this fun, honest, and often shocking account. Scovell knows what it’s like to put words in the mouths of President Barack Obama, Mark Harmon, Candice Bergen, Bob Newhart, Conan O’Brien, Alyssa Milano, and Kermit the Frog, among many others. Through her eyes, you’ll sit in the Simpson writers’ room… stand on the Oscar red carpet… pin a tail on Miss Piggy…bond with Star Trek’s Leonard Nimoy… and experience a Stephen King-like encounter with Stephen King. Just the Funny Parts is a fast-paced account of a nerdy girl from New England who fought her way to the top of the highly-competitive, male-dominated entertainment field. The book delivers invaluable insights into the creative process and tricks for navigating a difficult workplace. It's part memoir, part how-to, and part survival story. Or, as Scovell puts it, “It’s like Unbroken, but funnier and with slightly less torture.”

With the insights she has gleaned from her close and subtle observation of parent-teacher conferences, renowned Harvard University professor Sara Lawrence-Lightfoot has written a wise, useful book about the ways in which parents and teachers can make the most of their essential conversation—the dialogue between the most vital people in a child’s life. “The essential conversation” is the crucial exchange that occurs between parents and teachers—a dialogue that takes place more than one hundred million times a year across our country and is both mirror of and metaphor for the larger cultural forces that define family-school relationships and shape the development of our children. Participating in this twice-yearly ritual, so friendly and benign in its apparent goals, parents and teachers are often wracked with anxiety. In a meeting marked by decorum and politeness, they frequently exhibit wariness and assume defensive postures. Even though the conversation appears to be focused on the student, adults may find themselves playing out their own childhood histories, insecurities, and fears. Through vivid portraits and parables, Sara Lawrence-Lightfoot captures the dynamics of this complex, intense relationship from the perspective of both parents and teachers. She also identifies new principles and practices for improving family-school relationships. In a voice that combines the passion of a mother, the skepticism of a social scientist, and the keen understanding of one of our nation’s most admired educators, Lawrence-Lightfoot offers penetrating analysis and an urgent call to arms for all those who want to act in the best interests of their children. For parents and teachers who seek productive dialogues and collaborative alliances in support of the learning and growth of their children, this book will offer valuable insights, incisive lessons, and deft guidance on how to communicate more effectively. In The Essential Conversation, Sara Lawrence-Lightfoot brings scholarship, warmth, and wisdom to an immensely important cultural subject—the way we raise our children.

Amina Mazid is twenty-four when she moves from Bangladesh to Rochester, New York, for love. A hundred years ago, Amina would have been called a mail-order bride. But this is the twenty-first century: she is wooed by—and woos—George Stillman online. For Amina, George offers a chance for a new life for her and her parents, as well as a different kind of happiness than she might find back home. For George, Amina is a woman who doesn't play games. But each of them is hiding something: someone from the past they thought they could leave behind. It is only when Amina returns to Bangladesh that she and George find out if their secrets will tear them apart, or if they can build a future together.

"Moving Modernism reenacts the simultaneous eruption of three spectacular revolutions, the development of pictorial abstraction, the first modern dance, and the birth of cinema, which together changed the artistic landscape of early-twentieth-century Europe and the future of modern art. Rather than a book about dancing pictures or about pictures of dancing, however, this study follows the chronology of the historical avant-garde to show how dance and pictures were engaged in a kindred exploration of the limits of art and perception that required the process of abstraction. Recovering performances, working methods, and circles of aesthetic influence and reception for avant-garde dance pioneers and experimental filmmakers from the turn of the century to the interwar period, Moving Modernism challenges to modernism's medium-specific frameworks by demonstrating the significant role played by the arts of motion in the historical avant-garde's development of abstraction: from the turn-of-the-century dancer Loïe Fuller who awakened in symbolist artists the possibility of prolonged or suspended vision; to cubo-futurist and neo-symbolist artists who reached pure abstraction in tandem with the radical dance theory and performance of Valentine de Saint-Point; Sophie Taeuber's hybrid Dadaism between art and dance; to Akarova, a prolific choreographer linked to Belgian constructivism, whose pioneers called her dance "music architecture," "living geometry," and "pure plastics"; and finally to the dancing images of early cinematic abstraction from Edison and the Lumières to Hans Richter, Fernand Léger and Germaine Dulac. Each chapter reveals abstraction's emergence not only as a formal strategy but as an apparatus of creation, perception, and reception deployed across artistic media toward shared modernist goals. Focusing on abstraction's productive rather than reproductive value, Andrew argues that abstraction can be worked like a muscle, a medium through which habits of reception and perception are broken and art's viewers engaged by the kinaesthetic sensation to move and be moved"--