![]() ![]() A white woman from a place where there were only white Christians. I was unhappy because even though Stella was nice, she was still a white woman. We were on a first-name basis, Stella and I, but I was unhappy that she held that job. ![]() If you were a regular at the library she’d bake you a cake on your birthday and save the books you loved under the front desk. She treated the people who came in there like her siblings and she treated the children like her own. Keaton had was the Ninety-third Street branch. One year after that her brother, Horton, took ill, and after three months he died spitting up blood, in her arms. ![]() Keaton had her tragedies he invited her to live with him. Her only living relative had been an older brother who was stationed in San Diego with the navy for ten years. Her husband had a fatal heart attack in ’34 and her two children died in a fire the year after that. “There was a small public library on Ninety-third and Hooper. ![]()
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![]() ![]() The younger generation discovers secrets that have been hidden from them in matters of both magic and love by Sally, their fiercely protective mother. Jet is not the only one in danger-the curse is already at work.Ī frantic attempt to save a young man’s life spurs three generations of the Owens women, and one long-lost brother, to use their unusual gifts to break the curse as they travel from Paris to London to the English countryside where their ancestor Maria Owens first practiced the Unnamed Art. The novel begins in a library, the best place for a story to be conjured, when beloved aunt Jet Owens hears the deathwatch beetle and knows she has only seven days to live. “Hoffman certainly knows how to enchant” ( The New York Times Book Review) in this breathtaking conclusion to the Practical Magic series-a spellbinding and bewitching novel that asks how far will you go to change your fate?įor over three-hundred years a curse has kept the Owens family from love-but all of that is about to change. ![]() ![]() Writing from the third-person perspective, Nebres employs accessible prose that emphasizes the physical repetition necessary in ballet: “Charlotte travels straight into/ the wide-open joy of Christmas./ Toe, ball, heel./ Toe, ball, heel./ Toe, ball, heel.” Marley contributes warm, fine-lined digital spreads, filled with light and rendered in a seasonal palette of muted jewel tones. ![]() In this rhythmic narrative, Charlotte Nebres, the first Black dancer cast as Marie in the New York City Ballet’s production of Balanchine’s The Nutcracker, recounts her history learning ballet, her time auditioning for and then performing in The Nutcracker in 2019, and her family’s Christmas traditions. ![]() ![]() Parker Looks Up follows Parker, along with her baby sister and her mother, and her best friend Gia and Gia's mother, as they walk the halls of a museum, seeing paintings of everyone and everything from George Washington Carver to Frida Kahlo, exotic flowers to graceful ballerinas. ![]() ![]() Inspired by this visit, Parker, and her mother, Jessica Curry, tell the story of a young girl and her family, whose trip to a museum becomes an extraordinary moment, in a moving picture book. When a nearby museum-goer snapped a photo of a mesmerized Parker, it became an internet sensation. She saw a queen-one with dynamic self-assurance, regality, beauty, and truth who captured this young girl's imagination. When Parker Curry came face-to-face with Amy Sherald's transcendent portrait of First Lady Michelle Obama at the National Portrait Gallery, she didn't just see the First Lady of the United States. A New York Times bestseller! A visit to Washington, DC's National Portrait Gallery forever alters Parker Curry's young life when she views First Lady Michelle Obama's portrait. ![]() |