"Marisol the Parasol" is a short whimsical tale told in rhyme and intended for young readers, as well as for adults to read-aloud to children. It is based in Paris and tells the story of the troubled romance between a sun umbrella (Marisol, a parasol) and a rain umbrella ("parapluie" in French), named Louie; and how their love comes to triumph in the end. Beyond the clear and straightforward attempt to entertain, the author and illustrator believe young English speaking listeners and readers may acquire from this little book some curiosity or insight about French and, by extension, foreign languages in general. (A glossary addresses the French words as well as a few in English which may not be familiar to young readers.) David "Ollie" Oliver's colorful, charming, and thoughtful illustrations evoke a little of the culture, look and style of the City of Paris in times somewhat earlier than our own. Under the surface of this tale, more serious questions and issues - such as the nature of work and of differences - might possibly provoke discussion which children, families, or teachers might find useful (not obligatory!)

Marisol's Parasol is a charming bilingual "girl power" "Cinderella" story that will inspire girls and young women around the globe. Although there is no prince to sweep "Marisol" away to happiness, Marisol finds happiness through her own skill and talent. Although there are some common story elements to Cinderella, the reader will find many refreshing contrasts to the traditional tale. The story's ending relays the message that helping out a neighbor just a little bit can change the entire course of someone's life. The book is written with English text on the left hand pages and offers a word to word translation into Spanish on the right hand side. Beautiful illustrations by Ruth Palmer further enhance the charm of the story. As a bonus, thoughtful questions for discussion are offered at the end of the book for use as a teaching tool for both educators and parents. Readers will find the story charming and inspiring!

When Janie Fitzhugh returns to Muddy Gap, Wyoming, eight years after her divorce to work at a new resort, sparks fly between her and her ex-husband, while her new boss partners with a spoiled little daddy's girl to get his dream ranch.

Compilation of poetry for the everyday. A journey through the imagination. Give your fantasies wings and let the soar. Written for people who love poetry, but do not want to be bogged down with hidden deeper meanings. Written by a wife, mother and poetist.

Explores the ways American poetry engages with visual art, music, fiction, spirituality, and performance art Many people think of poetry as a hermetic art, as though poets wrote only about themselves or as if the subject of poetry were finally only poetry—its forms and traditions. Indeed much of what constitutes poetry in the lyric tradition depends on a stringently controlled point of view and aims for a timeless, intransitive utterance. Stephen Fredman’s study proposes a different perspective. American Poetry as Transactional Art explores a salient quality of much avant-garde American poetry that has so far lacked sustained treatment: namely, its role as a transactional art. Specifically Fredman describes this role as the ways it consistently engages in conversation, talk, correspondence, going beyond the scope of its own subjects and forms—its existential interactions with the outside world. Poetry operating in this vein draws together images, ideas, practices, rituals, and verbal techniques from around the globe, and across time—not to equate them, but to establish dialogue, to invite as many guests as possible to the World Party, which Robert Duncan has called the “symposium of the whole.” Fredman invites new readers into contemporary poetry by providing lucid and nuanced analyses of specific poems and specific interchanges between poets and their surroundings. He explores such topics as poetry’s transactions with spiritual traditions and practices over the course of the twentieth century; the impact of World War II on the poetry of Charles Olson and George Oppen; exchanges between poetry and other art forms including sculpture, performance art, and ambient music; the battle between poetry and prose in the early work of Paul Auster and in Lyn Hejinian’s My Life. The epilogue looks briefly at another crucial transactional occasion: teaching American poetry in the classroom in a way that demonstrates that it is at the center of the arts and at the heart of American culture.

First published in 1976, this beautiful, interactive collaboration is a unique work of book art in which Marisol’s monumental pop-art sculptures face the blocks of Creeley’s prose poems. The new introduction by Creeley scholar Stephen Fredman describes how the poet’s autobiographical prose poetry arose in conversation with images of Marisol’s equally autobiographical sculptures. In addition to the introduction, this edition features an appendix of newly discovered material, much of it found in Creeley’s own copy of the original edition of Presences. These include postcards and letters from Marisol, designer William Katz (who brought the poet and artist together), Mexican poet Octavio Paz, and several university professors. The material in the appendix allows the editor to reveal the genesis of Presences as a collaborative work of art involving three creators: artist, designer, and poet.