A 2022 Coretta Scott King Book Award Honoree! This luminous, defining picture book biography illustrated by Caldecott Honoree Christian Robinson, tells the remarkable and inspiring story of acclaimed singer Nina Simone and her bold, defiant, and exultant legacy. Cover may vary. Born Eunice Kathleen Waymon in small town North Carolina, Nina Simone was a musical child. She sang before she talked and learned to play piano at a very young age. With the support of her family and community, she received music lessons that introduced her to classical composers like Bach who remained with her and influenced her music throughout her life. She loved the way his music began softly and then tumbled to thunder, like her mother's preaching, and in much the same way as her career. During her first performances under the name of Nina Simone her voice was rich and sweet but as the Civil Rights Movement gained steam, Nina's voice soon became a thunderous roar as she raised her voice in powerful protest in the fight against racial inequality and discrimination.

Lots of little, everyday frustrations make Nina mad, and she is very good at expressing her feelings.

A book of imagination for the little Nina in all of us. Make a little mess, collect some little snowflakes, and draw the things a little bird might say in this book that asks its owner to make his or her mark on every page. Keith Haring presented Nina’s Book of Little Things to a friend’s daughter on her seventh birthday. Now everybody can enjoy this classic book, back in print in a stylish new edition, featuring a back-page pocket for extra items and a band to keep everything safely stowed.

Nina Campbell is one of the world’s most respected and influential interior designers. Her current projects include a large residence on mainland China, a private house for a member of the Jordanian royal family in Amman, a town house in New York, and a country house hotel overlooking Cheltenham race course, and it is this broad range of commissions that makes Nina uniquely qualified to guide the home decorator. Nina Campbell Interiors focuses on introducing all-important detail into the home, whether in the form of texture, color, lighting, art, flowers, or other finishing touches. This book features the private homes of Nina’s clients, ranging from a city pied-a-terre to a large family home, from a chic apartment to a country bolt-hole, a vast home in Shanghai and a New York brownstone, all designed and decorated to suit a range of lifestyles, but all reflecting Nina’s infallible eye for detail.

"Breezy, sophisticated, hilarious, rude and aching with sweetness: Love, Nina might be the most charming book I've ever read." -- Maria Semple, author of Where'd You Go, Bernadette In 1982, 20-year-old Nina Stibbe moved to London to work as a nanny to two opinionated and lively young boys. In frequent letters home to her sister, Nina described her trials and triumphs: there's a cat nobody likes, suppertime visits from a famous local playwright, a mysteriously unpaid milk bill, and repeated misadventures parking the family car. Dinner table discussions cover the gamut, from the greats of English literature, to swearing in German, to sexually transmitted diseases. There's no end to what Nina can learn from these boys (rude words) and their broad-minded mother (the who's who of literary London). A charming, hilarious, sweetly inspiring celebration of bad food and good company, Love, Nina makes a young woman's adventures in a new world come alive.

Near the end of Nabokov's Lolita, Humbert makes an honest admission: "[A]nd it struck me…that I simply did not know a thing about my darling's mind." That line sums up the isolate game of memorializing a deceased loved one, which is the basic tension in Nina's Memento Mori, an elegy to Mathias Freese's lost wife. The profound responsibility of answering the question "Who was Nina?" is left to the lone memoirist: I can say or write anything I want about her…There is much writerly power in that. I am the executor of her probate in all things now. She is mine now in ways she could not be when alive. I am the steward of her memory. Freese ends up analyzing himself, putting the "me" in "memento" and the "i" in "mori," thanks to ever-giving Nina posthumously providing a therapeutic mirror or "Rosebud," which Freese appropriates from Citizen Kane. But Freese mourns more over the burden of existence than over its loss. Appropriately, for Kane is not about the symbolic sled as much as it's about the cumulative snow that buries it.