Search results for ""author herrera"

An overdue evaluation of the life and work of a prolific and significant contemporary artist Cuban-born artist Carmen Herrera (b. 1915) has painted for more than seven decades, though it is only in recent years that acclaim for her work has catapulted the artist to international prominence. This handsome volume offers the first sustained examination of her early career from 1948–78, which spans the art worlds of Havana, Paris, and New York. Essays consider the artist’s early studies in Cuba, her involvement with the Salon des Réalités Nouvelles in post-war Paris, and her groundbreaking New York output, as well as situate her work in the context of a broader Latin American avant-garde art. An essay by Dana Miller considers Herrera’s New York work of the 1950s through the 1970s, when Herrera was arriving at and perfecting her signature style of hard edge abstraction. Personal family photographs from Herrera’s archive enrich the narrative, and a chronology addressing the entirety of her life and career features additional documentary images. Over 80 works are illustrated as color plates, making this book the most extensive representation of Herrera’s work to date.Distributed for the Whitney Museum of American ArtExhibition Schedule:Whitney Museum of American Art (09/16/16–01/02/17)Wexner Center for the Arts (02/04/17–04/16/17)

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Inspired by the strong and full-of-fire Carolina Herrera woman, Wes Gordon partners with Elizaveta Porodina on painterly images merging bold colors and timeless beauty in a cinematic style. The sophistication and modern femininity of the American fashion house Carolina Herrera is captured in this evocative and vividly hued volume photographed by Elizaveta Porodina. A collaborative series of images, first created in 2020 and all taken over Zoom, feature Porodina s signature blurred, painterly style an effect achieved through complex lighting techniques and equipment to capture the brand s Resort and Spring 2022 collections in a dreamy, otherworldly light. Inspired by dance and the work of fashion illustrator Antonio Lopez, this mesmerizing tome is flooded with photography of models and dancers in motion to reflect the vibrant energy and optimism of the clothing. Ethereal beauties wear ball gown skirts in graphic rose prints from Resort, a striped black and white strapless dress from Spring, and bold, jewel-toned voluminous outfits in shades of pink and red, along with close-ups of jewelry, leather goods, and eyewear.

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Recoge las ponencias, comunicaciones y conferencias del Simposio del mismo título, celebrado en Camargo (Cantabria) en julio de 1992, enmarcado dentro de un amplio conjunto de actos conmemorativos de la figura de Juan de Herrera y en el que participaron más de veinticinco especialistas.

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Oregon Reads Aloud is a collection of twenty-five read-aloud stories for children, written and illustrated by Oregon authors and illustrators. The twenty-five stories in Oregon Reads Aloud are a celebration of all things Oregon, including a great food cart feud, the dance of the Chapman Swifts, the creation of Oregon’s mountain ranges, and a legendary African American cowboy at the Pendleton Round-up. The book is a tribute to twenty-five years of SMART (Start Making a Reader Today) Reading work empowering Oregon children for reading and learning success. Oregon Reads Aloud proudly features the state’s rich trove of talent within the children’s literary community. The contributing authors and artists are: Dale Basye, Estela Bernal, Carmen Bernier-Grand, Kate Berube, Suan Blackaby, Susan Boase, Addie Boswell, Cathy Camper, Curtis Chen, Nancy Coffelt, Carolyn Conahan, Judy Cox, Mark Fearing, Carolyn Garcia, Elizabeth Goss, Kim Griswell, Barbara Herkert, Robin Herrera, Debbie Hocking, David Hohn, Barb Kerley, Robin Kerr, Amber Keyser, Eric Kimmel, Bart King, Jane Kirkpatrick, Gesine Kratzner, Mike Lawrence, Trudy Ludwig, Damien Macalino, Helena Macalino, Abigail Marble, Natalie Metzger, Lisa Munroff, Wendy Myers, Gina Ochsner, Brian Parker, Valarie Pearce, Dawn Prochovnic, Doug Roy, Elizabeth Rusch, Linda Dalal Sawaya, Heidi Schulz, Stephanie Shaw, Cathy Stever, Sonja Thomas, Katy Towell, Zoey Abbot Wagner, and Johanna Wright.

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El presente libro recoge y destila toda la experiencia práctica teórica que fue necesaria para producir lo que supuso un giro copernicano en la forma de atacar los problemas estructurales: la teoría plástica. También es fruto de una amplia experiencia docente. Trata tanto la teoría elástica como la plástica y lo hace de la forma más general examinando la naturaleza de las ecuaciones básicas: las de equilibrio, de compatibilidad y del material. El manejo consciente de éstas, a las que suma la ecuación del trabajo virtual, es constante en todo el libro; gracias a esto la exposición adquiere un grado inusual de concisión y claridad.Se explica también la característica esencial de cualquier estructura hiperestática: la capacidad para experimentar esfuerzos de auto-solicitación en ausencia de cargas. Esta propiedad, que para las estructuras porticadas se deduce directamente de la ecuación fundamental de equilibrio a flexión, permite imaginar cualquier sistema de momentos flectores en equ

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Encuadernación: RústicaH.J.W. Thunnissen (1890-1978) fue un arquitecto-ingeniero holandés que, desde los inicios de su carrera profesional, optó por una arquitectura abovedada. Desde 1942 hasta su publicación en 1950 trabaja intensamente en la redacción y en el dibujo de las láminas de su gran obra sobre la construcción y el empleo de las bóvedas en la arquitectura.La mayor parte del libro está dedicada a la historia de las bóvedas, pero no es un libro de historia. Es un libro escrito por un arquitecto que cree firmemente que la construcción abovedada debe formar parte de la arquitectura. El estudio de los grandes monumentos del pasado es el camino para alcanzar el verdadero objetivo que es la maestría en el arte de abovedarEl libro comienza con el estudio de la geometría, de las posibles formas y los problemas constructivos que suponen. En la parte histórica explica con claridad la evolución del arte de abovedar en las distintas épocas. Finalmente, estudia las "bóvedas actu

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Obra completa compuesta por 2 volúmenes.Colección: Teoría e historia de las construcciones.

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En 1962 , se publicó la primera edición del léxico de la construcción del Instituto Eduardo Torroja de la Construcción y del Cemento. En su prólogo, Alvaro García Meseguer reconocía lo ambicioso de la obra y se lamentaba de que no estuviese completa ni a su entera satisfacción. Aún así, decidieron dar por terminado el trabajo, que no obstante, reconocía al final del prólogo que debería completarse y perfeccionarse. Han transcurrido casi cincuenta años desde su publicación, y aunque hoy existen diccionarios técnicos generales, y de la construcción en particular, de diferentes autores y editoriales, ninguno ha conseguido superar la amplitud del léxico del instituto.

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Los siete capítulos de este libro exponen, sin formalización matemática, distintos aspectos de la teoría de estructuras. La presentación es aproximadamente cronológica y, en cierto sentido, constituye un esquema histórico del tema. No obstante, el objetivo no es investigar el pasado, sino iluminar la actividad del técnico de estructuras de hoy día, y mostrar cómo el conocimiento científico puede aplicarse de forma creativa en el proyecto de las estructuras.

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El libro de Hormigonería de Fernando Cassinello, que fue catedrático de la Escuela de Arquitectura de Madrid, es un clásico. Escrito en los años setenta ha sido desde entonces un manual de referencia sobre las aplicaciones del hormigón armado en la edificación. A pesar del tiempo transcurrido las observaciones y comentarios sobre la ejecución, puesta en obra y, sobre todo, sobre las posibilidades plásticas del hormigón armado, tienen hoy plena vigencia. El libro contiene fotografias de numerosas construcciones notables, puentes y edificios, en proceso de ejecución. En definitiva, la reedición pone a disposición de arquitectos e ingenieros un libro útil y sugerente.

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Encuadernación: Rústica Descripción: 275 p. il. 15x11 cm

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Casa del Herrero—House of the Blacksmith—stands today as one of the most fully developed and intact examples of Spanish Colonial Revival architecture. It was designed and built between 1922 and 1925 as a second house for George Fox Steedman, a St. Louis industrialist. Thought principally to be the work of George Washington Smith, the architect, Steedman himself generated many ideas during the initial design phase that were both a blessing and curse to Smith. Steedman’s vision prevailed, and throughout the decade following the house’s initial completion, he continued to rework both house and garden, engaging the architects Lutah Maria Riggs, Edwards, Plunkett & Howell, and Floyd Brewster, and garden designers Francis T. Underhill and Lockwood de Forest, Jr. The result today is the most magnificent of the California Spanish Colonial Revival-style houses now standing.

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Voted a Best Poetry Book of the Year by Library JournalIncluded in Publishers Weekly's Top 10 Poetry Books of the YearOne of LitHub's most Anticipated Books of the Year!A State of the Union from the nation’s first Latino Poet Laureate. Trenchant, compassionate, and filled with hope."Many poets since the 1960s have dreamed of a new hybrid art, part oral, part written, part English, part something else: an art grounded in ethnic identity, fueled by collective pride, yet irreducibly individual too. Many poets have tried to create such an art: Herrera is one of the first to succeed."—New York Times"Herrera has the unusual capacity to write convincing political poems that are as personally felt as poems can be."—NPR"Juan Felipe Herrera's magnificent new poems in Every Day We Get More Illegal testify to the deepest parts of the American dream—the streets and parking lots, the stores and restaurants and futures that belong to all—from the times when hope was bright, more like an intimate song than any anthem stirring the blood."—Naomi Shihab Nye, The New York Times Magazine"From Basho to Mandela, Every Day We Get More Illegal takes us on an international tour for a lesson in the history of resistance from a poet who declares, 'I had to learn . . . to take care of myself . . . the courage to listen to my self.' You hold in your hands evidence of who we really are."—Jericho Brown, author of The Tradition"These poems talk directly to America, to migrant people, and to working people. Herrera has created a chorus to remind us we are alive and beautiful and powerful."—José Olivarez, Author of Citizen Illegal"The poet comes to his country with a book of songs, and asks: America, are you listening? We better listen. There is wisdom in this book, there is a choral voice that teaches us 'to gain, pebble by pebble, seashell by seashell, the courage.' The courage to find more grace, to find flames."—Ilya Kaminsky, author of Deaf RepublicIn this collection of poems, written during and immediately after two years on the road as United States Poet Laureate, Juan Felipe Herrera reports back on his travels through contemporary America. Poems written in the heat of witness, and later, in quiet moments of reflection, coalesce into an urgent, trenchant, and yet hope-filled portrait. The struggle and pain of those pushed to the edges, the shootings and assaults and injustices of our streets, the lethal border game that separates and divides, and then: a shift of register, a leap for peace and a view onto the possibility of unity.Every Day We Get More Illegal is a jolt to the conscience—filled with the multiple powers of the many voices and many textures of every day in America."Former Poet Laureate Juan Felipe Herrera should also be Laureate of our Millennium—a messenger who nimbly traverses the transcendental liminalities of the United States . . ."—Carmen Gimenez Smith, author of Be Recorder

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In Cartographic Memory, Juan Herrera maps 1960s Chicano movement activism in the Latinx neighborhood of Fruitvale in Oakland, California, showing how activists there constructed a politics forged through productions of space. From Chicano-inspired street murals to the architecture of restaurants and shops, Herrera shows how Fruitvale’s communities and spaces serve as a palpable, living record of movement politics and achievements. Drawing on oral histories with Chicano activists, ethnography, and archival research, Herrera analyzes how activism has shaped Fruitvale. Herrera examines the ongoing nature of activism through nonprofit organizations and urban redevelopment projects like the Fruitvale Transit Village that root movements in place. Revealing that the social justice activism in Fruitvale fights for a space that does not yet exist, Herrera brings to life contentious politics about the nature of Chicanismo, Latinidad, and belonging while foregrounding the lasting social and material legacies of movements so often relegated to the past.

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In Cartographic Memory, Juan Herrera maps 1960s Chicano movement activism in the Latinx neighborhood of Fruitvale in Oakland, California, showing how activists there constructed a politics forged through productions of space. From Chicano-inspired street murals to the architecture of restaurants and shops, Herrera shows how Fruitvale’s communities and spaces serve as a palpable, living record of movement politics and achievements. Drawing on oral histories with Chicano activists, ethnography, and archival research, Herrera analyzes how activism has shaped Fruitvale. Herrera examines the ongoing nature of activism through nonprofit organizations and urban redevelopment projects like the Fruitvale Transit Village that root movements in place. Revealing that the social justice activism in Fruitvale fights for a space that does not yet exist, Herrera brings to life contentious politics about the nature of Chicanismo, Latinidad, and belonging while foregrounding the lasting social and material legacies of movements so often relegated to the past.

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Ten-year-old Star Mackie lives in a trailer park with her flaky mom and her melancholy older sister, Winter, whom Star idolizes. Moving to a new town has made it difficult for Star to make friends, when her classmates tease her because of where she lives and because of her layered blue hair. But when Star starts a poetry club, she develops a love of Emily Dickinson and, through Dickinson’s poetry, learns some important lessons about herself and comes to terms with her hopes for the future. With an unforgettable voice with a lot of heart, Hope Is a Ferris Wheel is the story of a young girl who learns to accept her family and herself while trying to make sense of the world around her.Praise for Hope is a Ferris WheelSTARRED REVIEW "Herrera’s first novel is quite accomplished, with plenty of heart and humor, especially apparent in the spelling assignments Star has to complete but refuses to turn in, as she uses them as a sort of journal. Star is a unique, determined, and loving child making the best of a bad situation; readers cannot help but root for her." --School Library Journal, starred review "Well-constructed, thought-provoking and appealing, this first effort bodes well for the author’s future." --Kirkus Reviews "In her debut, Herrera has created a delightful narrator with a memorable voice and surrounded her with a unique supporting cast. Got fans of Joan Bauer in your neck of the woods? Send them this way." --Booklist "A tender and truthful novel that addresses stereotypes without promising easy answers or cookie-cutter closure." --Publishers Weekly "First-time author Herrera, telling the story from Star’s point of view, gives readers a front-row seat to all the embarrassment and angst of Star’s jumbled life—and all of the triumphs. Here’s hoping we hear more from this author." --The Horn Book Magazine "Star’s contemplation, through poetic metaphors and real-life relationships, of what really matters in her life is compelling. Additionally, the poetry angle offers food for thought for those just coming to understand the power and purpose of metaphor, and Star’s vocabulary assignments, occasionally interspersed between chapters, provide inspiration and entertainment for word-lovers." --Bulletin of the Center for Children’s Books

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The Books We Love in 2016 - The New Yorker Best Poetry Collections of 2015 - The Washington Post Best Books 2015: Poetry - Library Journal Best Books of 2015 - NPR Books 16 Best Poetry Books of 2015 - BuzzFeed Books Juan Felipe Herrera, the first Latino Poet Laureate of the United States and son of Mexican immigrants, grew up in the migrant fields of California. Exuberant and socially engaged, reflective and healing, this collection of new work from the nation's first Latino Poet Laureate is brimming with the wide-open vision and hard-won wisdom of a poet whose life and creative arc have spanned chasms of culture in an endless crossing, dreaming and back again. "[This year] Juan Felipe Herrera's Notes on the Assemblage has been a ladder of hope ..."--Ada Limon, The New Yorker "Juan Felipe Herrera's family has gone from migrant worker to poet laureate of the United States in one generation. One generation. I am an adamant objector to the Horatio Alger myth of pulling oneself up by the bootstraps, but Herrera's story is one of epic American proportions. The heads carved into my own Mount Rushmas would be Cesar Chavez, Dolores Huerta, Frida Kahlo, El Chapulin Colorado, Selena, and Juan Felipe Herrera. Notes from the Assemblage further carves out Herrera's place in American letters."--David Tomas Martinez "At home with field workers, wage slaves, the homeless, little children, old folks, artists, traditionalists, the avant-garde, students, scholars and prisoners, the bilingual Juan Felipe Herrera is the real thing: a populist treasure. He will fulfill his appointment as U.S. Poet Laureate with the same high energy, savvy, passion, compassion, commitment and playfulness that his art and life's have always embodied. Bravo! Bravo!"--Al Young "While reporters can give you the what, when, and where of a war, a poet with the enormous gifts of Juan Herrera can give you its soul."--Ishmael Reed "I am proud that Juan Felipe Herrera has been appointed U.S. Poet Laureate, bringing his truthful, beautiful voice to all of us universally. As the first Chicano Laureate, he will empower all diverse cultures."--Janice Mirikitani "Herrera is ...a sometimes hermetic, wildly inventive, always unpredictable poet, whose work commands attention for its style alone . ..Many poets since the 1960s have dreamed of a new hybrid art, part oral, part written, part English, part something else: an art grounded in ethnic identity, fueled by collective pride, yet irreducibly individual too. Many poets have tried to create such an art: Herrera is one of the first to succeed."--The New York Times "Herrera has the unusual capacity to write convincing political poems that are as personally felt as poems can be."--National Public Radio

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A hybrid collection of texts written and performed on the road, from Mexico City to San Francisco, from Central America to central California, illustrated throughout with photos and artwork. Rants, manifestos, newspaper cutups, street theater, anti-lectures, love poems, and riffs tell the story of what it's like to live outlaw and brown in the United States. Juan Felipe Herrera is a professor of creative writing at the University of California, Riverside. The author of twenty-one books, he is also a community arts leader and a dynamic performer and actor. He is the son of Mexican immigrants and grew up in the migrant fields of California.

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*HONORABLE MENTION for the 2022 International Latino Book Awards, Juan Felipe Herrera Best Poetry Book Award - One Author - English*American Quasar is a visual-textual collaboration between poet David Campos and artist Maceo Montoya. What began as an exploration of the precipice of violence evolved into an excavation of self, a deep meditation on how country, family, and trauma affect the ability to love. The images and words build a poetic space where the body is understood in both physical and celestial terms, giving a spiritual dimension to the collection's larger claim that the political is personal.

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A USBBY Outstanding International Books Honor Book Nicholas Herrera started life as a mischievous, dyslexic boy, born into one of the old Spanish families of New Mexico. Bad teachers and poor schooling helped him to lose himself in drugs, drinking, riding motorcycles and driving fast cars. A near-death experience, a wonderful mother and a fascination with making art saved him. Today Nicholas Herrera is one of the most noted Santeros -- artists who create images of saints and other religious figures -- in the U.S. The text, as told to Elisa Amado, tells Nicholas's story through his art and expounds the hard-earned wisdom that his experience has brought him. Herrera's life, his political views about drugs, his sense of social justice, and his support for oppressed people will speak directly to young readers, especially those who might feel that life has nothing to offer them due to their economic circumstances or their class or ethnic backgrounds.

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Just for the Holidays... by Adriana Herrera She's snowed in at Christmas... with a man she must resist!

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The characters that populate Yuri Herrera's first collection of stories inhabit imagined futures that reveal the strangeness and instability of the present. Drawing on science fiction, noir, and the philosophical parables of Borges's Fictions and Calvino's Cosmicomics, these very short stories signal a new dimension in the work of this significant writer. In Ten Planets, objects can be sentient and might rebel against the unhappy human family to which they are attached. A detective of sorts finds clues to buried secrets by studying the noses of his clients, which he insists are covert maps. A meagre bacterium in a human intestine gains consciousness when a psychotropic drug is ingested. Monsters and aliens abound, but in the fiction of Herrera, knowing who is the monster and who the alien is a tricky proposition. This collection of stories, with a breadth that ranges from philosophical flights of fancy to the gritty detective story, leaves us with a sense of awe at our world and the worlds beyond our ken, while Herrera continues to develop his exploration of the mutability of borders, the wounds and legacy of colonial violence, and a deep love of storytelling in all its forms.

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This punk ain’t feelin’ lucky. It’s 2032 and hacker-for-hire Kiera’s living in the worst cyberpunk future. She’s been gigging her ass off to keep the lights on, chasing cheaters with Angel Herrera, a luddite P.I. who talks like a ’40s movie detective. But that changes when Herrera’s ex-best friend turns up murdered. Their only lead: a stick of Nag Champa incense dropped at the scene. Next thing Kiera knows, her new crush has disappeared, leaving nothing behind but a severed hand (the real one, not the cybernetic) and the familiar stink of sandalwood. Two crimes, two sticks of incense, Kiera framed for both. She told Herrera to lose her number after the last job, but now the old man might be her only way out of this mess...

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‘The lunatic, the lover, and the poet,are of imagination all compact.’- William Shakespeare, A Midsummer Night’s DreamTo commemorate the 400th anniversary of the deaths of William Shakespeare and Miguel de Cervantes, And Other Stories and Hay Festival have selected twelve contemporary international authors to each write an original and previously unpublished story as their tribute to these giants of world literature.In order to celebrate the international influence of both writers and offer us new and intriguing perspectives on them, six English-speaking authors have taken inspiration from Cervantes and his work, while six Spanish-language authors have written stories inspired by Shakespeare.The authors are Ben Okri, Deborah Levy, Kamila Shamsie, Yuri Herrera, Marcos Giralt Torrente, Juan Gabriel Vásquez, Vicente Molina Foix, Soledad Puértolas, Hisham Matar, Nell Leyshon, Rhidian Brook and Valeria Luiselli. An introduction by Salman Rushdie explores the liberating legacy of Cervantes and Shakespeare for contemporary fiction.

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2020 Second Place, Best Nonfiction Multi Author, International Latino Book AwardsCollecting the perspectives of scholars who reflect on their own relationships to particular garments, analyze the politics of dress, and examine the role of consumerism and entrepreneurialism in the production of creating and selling a style, meXicana Fashions examines and searches for meaning in these visible, performative aspects of identity.Focusing primarily on Chicanas but also considering trends connected to other Latin American communities, the authors highlight specific constituencies that are defined by region (“Tejana style,” “L.A. style”), age group (“homie,” “chola”), and social class (marked by haute couture labels such as Carolina Herrera and Oscar de la Renta). The essays acknowledge the complex layers of these styles, which are not mutually exclusive but instead reflect a range of intersections in occupation, origin, personality, sexuality, and fads. Other elements include urban indigenous fashion shows, the shifting quinceañera market, “walking altars” on the Days of the Dead, plus-size clothing, huipiles in the workplace, and dressing in drag. Together, these chapters illuminate the full array of messages woven into a vibrant social fabric.

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2020 Second Place, Best Nonfiction Multi Author, International Latino Book AwardsCollecting the perspectives of scholars who reflect on their own relationships to particular garments, analyze the politics of dress, and examine the role of consumerism and entrepreneurialism in the production of creating and selling a style, meXicana Fashions examines and searches for meaning in these visible, performative aspects of identity.Focusing primarily on Chicanas but also considering trends connected to other Latin American communities, the authors highlight specific constituencies that are defined by region (“Tejana style,” “L.A. style”), age group (“homie,” “chola”), and social class (marked by haute couture labels such as Carolina Herrera and Oscar de la Renta). The essays acknowledge the complex layers of these styles, which are not mutually exclusive but instead reflect a range of intersections in occupation, origin, personality, sexuality, and fads. Other elements include urban indigenous fashion shows, the shifting quinceañera market, “walking altars” on the Days of the Dead, plus-size clothing, huipiles in the workplace, and dressing in drag. Together, these chapters illuminate the full array of messages woven into a vibrant social fabric.

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In the early decades of the American Republic, American soldiers demonstrated and defined their beliefs about the nature of American republicanism and how they, as citizens and soldiers, were participants in the republican experiment through their service. In For Liberty and the Republic, Ricardo A. Herrera examines the relationship between soldier and citizen from the War of Independence through the first year of the Civil War. The work analyzes an idealized republican ideology as a component of soldiering in both peace and war. Herrera argues that American soldiers’ belief system—the military ethos of republicanism—drew from the larger body of American political thought. This ethos illustrated and informed soldiers’ faith in an inseparable connection between bearing arms on behalf of the republic, and earning and holding citizenship in it. Despite the undeniable existence of customs, organizations, and behaviors that were uniquely military, the officers and enlisted men of the regular army, states’ militias, and wartime volunteers were the products of their society, and they imparted what they understood as important elements of American thought into their service. Drawing from military and personal correspondence, journals, orderly books, militia constitutions, and other documents in over forty archives in twenty-three states, Herrera maps five broad, interrelated, and mutually reinforcing threads of thought constituting soldiers’ beliefs: Virtue; Legitimacy; Self-governance; Glory, Honor, and Fame; and the National Mission. Spanning periods of war and peace, these five themes constituted a coherent and long-lived body of ideas that informed American soldiers’ sense of identity for generations.

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Twenty Kids. Twenty points of view. One rambunctious, brilliantly conceived novel that corrals the seeming chaos (c’mon, TWENTY points of view!) into one effervescent story.Sixth grade is a MOST confusing time. Best friends aren’t friends anymore. Worst enemies suddenly want to be partners in crime. And classmates you thought you knew have all sorts of surprising stuff going on. The kids in Mrs. Herrera’s class are dealing with all these things and more—specifically, three more: 1. There’s a new girl who just seems to be spying on them all and scribbling things in a notebook. Maybe she IS a spy? 2. Someone is stealing all of Mrs. Herrera’s most treasured items. 3. Their old classmate, Sam, keeps showing up and no one knows why…until they do. Which leads to a fourth problem. But we can’t tell you about that yet. The twenty kids in Mrs. Herrera’s classroom can, though, and they do. Every. Single. One. Of. Them.

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14 Young Adult short stories from bestselling and award-winning authors make a splash in Mermaids Never Drown - the second collection in the Untold Legends series edited by Zoraida Cordova and Natalie C. Parker - exploring mermaids like we've never seen them before! A gripping new anthology about mermaids, Mermaids Never Drown features beloved authors like Kerri Maniscalco, Julie Murphy, Kalynn Bayron and many more A Vietnamese mermaid caught between two worlds. A siren who falls for Poseidon's son. A boy secretly pining for the merboy who saved him years ago. A storm that brings humans and mermaids together. Generations of family secrets and pain. Find all these stories and more in this gripping new collection that will reel you in from the very first page! Welcome to an ocean of hurt, fear, confusion, rage, hope, humor, discovery, and love in its many forms. Edited by Zoraida Cordova and Natalie C. Parker, Mermaids Never Drown features beloved authors like Darcie Little Badger, Kalynn Bayron, Preeti Chhibber, Rebecca Coffindaffer, Julie C. Dao, Maggie Tokuda-Hall, Adriana Herrera, June Hur, Katherine Locke, Kerri Maniscalco, Julie Murphy, Gretchen Schreiber, and Julian Winters.

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Un hijo de granjeros inmigrantes, un poeta mitad mexicano, la otra mitad también mexicano, influenciado por Allen Ginsberg y la Beat Generation, un hombre atado a una frontera, con sus sueños fronterizos, con su corazón indocumentado. Como ha señalado Fernando Valverde, la poesía de Juan Felipe Herrera ?es la voz de los invisibles de América?, de los que cruzan fronteras de paredones y guardias, de desiertos e injusticias y aun sobreviven y transcienden. En 2015, Juan Felipe Herrera fue el primer latino nombrado Poeta Laureado por el Congreso de los Estados Unidos.

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*HONORABLE MENTION in the 2022 International Latino Book Awards for the Juan Felipe Herrera Best Poetry Book Award - One Author - English*From the edge of a singularity and across desert roads at night, A Camera Obscura teleports its readers through deep space nebulae and the constructs of cityscapes to arrive at what it means to “see.” Lovers embrace in sonnets and meditations move through artworks and Hubble Telescope images as these poems employ ekphrastic visions to balance the profound displacements in the most mundane aspects of our lives with science, fact, faith, and song. In the ceremonial blades of Aztec sacrifice and the anonymity of undocumented lives, these poems accrete into a solar system of images seen true, seen askance, seen in error, seen entire. A Camera Obscura is the dark room of the imagination where sīgnum—the sign, the act—becomes the tangible testaments of living.

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“A complex, thought-provoking, and entertaining view of middle school.” —Publishers Weekly Twenty kids. Twenty points of view. One rambunctious, brilliantly conceived novel that corrals the seeming chaos (c’mon, TWENTY points of view!) into one effervescent story.Sixth grade is a MOST confusing time. Best friends aren’t friends anymore. Worst enemies suddenly want to be partners in crime. And classmates you thought you knew have all sorts of surprising stuff going on. The kids in Mrs. Herrera’s class are dealing with all this and more—specifically: 1. There’s a new girl who just seems to be spying on them all and scribbling things in a notebook. Maybe she IS a spy? 2. Someone is stealing Mrs. Herrera’s most treasured items. 3. Their old classmate, Sam, keeps showing up and no one knows why…until they do. Which leads to a fourth problem. But we can’t tell you about that yet. The twenty kids in Mrs. Herrera’s classroom can, though, and they do. Every. Single. One. Of. Them.

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José Luis García Herrera (Esplugues de Llobregat, Barcelona1964), fue secretario de la Academia Iberoamericana de Poesía en Barcelona y fundador de los premios literarios ?Ciutat de Sant Andreu de la Barca?, además de poeta, narrador y crítico literario

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