A beautifully illustrated edition of Poet Laureate Joy Harjo’s poem “Washing My Mother’s Body,” which offers a way through grief when the loss appears unbearable.As I wash my mother’s face, I tell herhow beautiful she is, how brave, how her beauty and braverylive on in her grandchildren. Her face is relaxed, peaceful.Her earth memory body has not left yet,but when I see her the next day, embalmed and in the casketin the funeral home, it will be gone.Where does it go?Through lyrical prose and evocative watercolor illustrations by award-winning Muscogee artist Dana Tiger, Washing My Mother’s Body explores the complexity of a daughter’s grief as she reflects on the joys and sorrows of her mother’s life. She lays her mother to rest in the landscape of her memory, honoring the hands that raised her, the body that protected her, and the legs that carried her mother through adversity.Moving, comforting, and deeply emotional, Washing My Mother’s Body is a tender look at mother-daughter relationships, the complexity of grieving the loss of a parent, and the enduring love of those left behind.

Lyrics and never-before-seen poetry and sketches from the iconic vocalist of Florence and the Machine Songs can be incredibly prophetic, like subconscious warnings or messages to myself, but I often don't know what I'm trying to say till years later. Or a prediction comes true and I couldn't do anything to stop it, so it seems like a kind of useless magic.

The origins and evolution of Irish American identity, from colonial times through the twentieth century   As millions of Irish immigrants and their descendants created community in the United States over the centuries, they neither remained Irish nor simply became American. Instead, they created a culture and defined an identity that was unique to their circumstances, a new people that they would continually Irish Americans.   Historian Timothy J. Meagher traces the Irish American experience from the first Irishman to step ashore at Roanoke in 1585 to John F. Kennedy’s election as president in 1960. As he chronicles how Irish American culture evolved, Meagher looks at how various groups adapted and thrived—Protestants and Catholics, immigrants and American born, those located in different geographic corners of the country. He describes how Irish Americans made a living, where they worshiped, and when they married, and how Irish American politicians found particular success, from ward bosses on the streets of New York, Boston, and Chicago to the presidency.   In this sweeping history, Meagher reveals how the Irish American identity was forged, how it has transformed, and how it has held lasting influence on American culture.

A wickedly clever satire uses comic inversions to offer telling insights into the nature of man and society. Nominated as one of America’s best-loved novels by PBS’s The Great American Read. Gulliver's Travels describes the four voyages of Lemuel Gulliver, a ship's surgeon. In Lilliput he discovers a world in miniature; towering over the people and their city, he is able to view their society from the viewpoint of a god. However, in Brobdingnag, a land of giants, tiny Gulliver himself comes under observation, exhibited as a curiosity at markets and fairs. In Laputa, a flying island, he encounters a society of speculators and projectors who have lost all grip on everyday reality; while they plan and calculate, their country lies in ruins. Gulliver's final voyage takes him to the land of the Houyhnhnms, gentle horses whom he quickly comes to admire - in contrast to the Yahoos, filthy bestial creatures who bear a disturbing resemblance to humans. This text, based on the first edition of 1726, reproduces all the original illustrations and includes an introduction by Robert Demaria, Jr, which discusses the ways Gulliver's Travels has been interpreted since its first publication. Jonathan Swift (1667-1745) was born in Dublin. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

Ten years ago, they joined the CIA. Six years ago, he left the game. Five years ago, they fell in love. One year ago, she ran out into the cold with absolutely no intention of ever coming back. And two minutes ago, they woke up, bloody and bruised and handcuffed together in the dark. They don’t know where they are. They don’t know how they got there. And they have absolutely no idea who is after them or what this nameless, faceless villain wants. The only thing that’s clear is that, after ten years of covers and chemistry, secrets and lies, these two rival spies have been sucked into their greatest mission yet, and now they’re going to have to team up to stay alive. (If they don’t kill each other first.)

Part myth retelling, part character study, this sharp, visceral debut poetry collection reimagines Helen of Troy from Homer’s Iliad as a disgruntled housewife in 1990s Tennessee.In the hills of Sparta, Tennessee, during the early nineties, Helen decides to break free from the life that stifles marriage, motherhood, the monotonous duties of a Southern housewife. But leaving isn’t the same thing as staying gone… Rooted in a lush natural landscape, this stunning poetry collection explores Helen’s isolation and rebellion as her expansive personality clashes with the social rigidity of her small town. In richly layered poems with settings that range from football games to Chuck E. Cheese to the bathroom of a Motel 6, Helen enters adulthood as a disaffected homemaker grasping for agency. She marries the wrong man, gives birth to a child she is not ready to parent, and embarks on an affair that throws her life into chaos. But she never surrenders ownership of her story or her choices, insisting to the “if you never owned a bone-sharp biography… / i don’t want to hear it. i want you silent. / i want you listening to me.” Blurring the line between mythology and modernity, Helen of Troy, 1993 is an unforgettable collection that shows the Homeric Helen like she’s never been seen before.

A powerful memoir that illuminates how we can push against the history of pathologizing those with chronic illness and trauma by fostering queer forms of intimacyThe forms of intimacy and care that we’ve been sold are woefully inadequate and problematic. In a world that treats those who are sick and traumatized as problems in need of a cure, nonbinary writer, artist, educator, and Instagram creator Margeaux Feldman offers a different story.Trauma, which all too often manifests as chronic illness, tells us that there is something deeply wrong with the world we live in. A world that promotes individualism, fractures us from community through violence and systemic oppression, and leaves us traumatized. That is what we need to cure.While unveiling their own lived experiences caregiving for their sick father, losing their mother, surviving sexual abuse, and grappling with their own chronic illness, Feldman provides roadmaps for embracing queer modes of care, or “hysterical intimacies,” that reject the notion that those who have been labeled sick are broken. Feldman looks at the lengthy history of branding girls, women, and femmes–and their desires–as sick, from the treatment of hysterics by Jean-Martin Charcot and Sigmund Freud in the 19th and 20th centuries. What emerges is a valiant call for rethinking the ways we seek healing.This compelling blend of theory, personal narrative, and cultural criticism offers a path forward for reimagining the shapes and forms that intimacy, care, and interdependence can take.

In thirteenth-century Ireland, a woman with power is a woman to be feared. When a young Alice Kyteler sees her mother wither under the constraints of family responsibilities, she vows that she will not suffer the same fate. When she discovers she has a flair for making money, she soon builds a flourishing trade. But as her wealth and stature grow, so too do the rumours about her private life. By the time she has moved on to her fourth husband, a blaze of local gossip and resentment culminates in an accusation that could prove fatal. Inspired by the first recorded person in Ireland to have been condemned as a witch, Bright I Burn gives voice to a woman lost to history, who dared to carve her own space in a man's world.

The Bear and the Nightingale meets Weyward in this enchanting, deeply compelling debut about love and power, autonomy and consent. Once upon a time, on the edge between meadow and forest, there was a lonely child with only his older sister for company. In exchange for being left in peace, his sister made him a playmate-Daye, a girl woven from flowers and words. And for the first time, this boy, Rory, had a friend. Rory couldn't be happier, until he learns that Daye is a short-lived creature. At the end of each season, she must be woven back together or fall gruesomely apart. And every time Daye falls apart might be her last. As Rory and Daye grow older and the line between friendship and romance begins to blur, Rory becomes desperate to break this cycle of bloom and decay. But the farther Rory pushes his research and experiments to lengthen Daye's existence, the more Daye begins to wonder just how much control she really has over her own life. As a loose reimagining of the story of Blodeuwedd from Welsh mythology, Honeysuckle is an entrancing, inventive, and unsettling debut.

The long-awaited essay collection from one of the most influential voices in disability activism that detonates a bomb in our collective understanding of care and illness, showing us that sickness is a fact of life.In the wake of the 2014 Ferguson riots, and sick with a chronic condition that rendered them housebound, Johanna Hedva turned to the page to How do you throw a brick through the window of a bank if you can’t get out of bed? It was not long before this essay, “Sick Woman Theory”, became a seminal work on disability, because in reframing illness as not just a biological experience but a social one, Hedva argues that under capitalism—a system that limits our worth to the productivity of our bodies—we must reach for the revolutionary act of caring for ourselves and others.How to Tell When We Will Die expands upon Hedva’s paradigm-shifting perspective in a series of slyly subversive and razor-sharp essays that range from the theoretical to the personal—from Deborah Levy and Susan Sontag to wrestling, kink, mysticism, death, and the color yellow. Drawing from their experiences with America’s byzantine healthcare system, and considering archetypes they call The Psychotic Woman, The Freak, and The Hag in Charge, Hedva offers a bracing indictment of the politics that exploit sickness—relying on and fueling ableism—to the detriment of us all.With the insight of Anne Boyer’s The Undying and Leslie Jamison’s The Empathy Exams, and the wit of Samantha Irby, Hedva’s debut collection upends our collective understanding of disability. In their radical reimagining of a world where care and pain are symbiotic, and our bodies are allowed to live free and well, Hedva implores us to remember that illness is neither an inconvenience or inevitability, but an enlivening and elemental part of being alive.