One woman’s journey to uncover her family’s history and understand the ties that bind us to a particular place. Encompassing three centuries of manor lords and tenant farmers, Civil War heroes and renegade aunts, award-winning author Leila Philip tells the story of her ancestral Hudson Valley home, Talavera, and the mystery of her attachment to it. After her father’s death in 1992, Leila and her family struggled to find the means to keep their farm intact. This uphill battle led her to examine the forces that compel a family to sacrifice almost everything to hold onto a particular piece of land. Newly republished with a folio of historic photographs and an epilogue that updates the story of the farm and the family to the present, A Family Place addresses the tensions between memory and recorded fact, inviting readers to take a new look at their own sense of home. “Philip is an extremely gifted writer who doesn’t skirt somber emotional notes. She has created a brave, eloquent, and beautifully constructed memoir of a remarkable place and the remarkable family that belongs to it.” — Chronogram “Author Leila Philip presents a tribute to her family’s long and illustrious history, revealing a piece of Americana that is hard to replicate. A Family Place is recommended reading for anyone who wants to see the evolution of the American family first hand.” — Reviewer’s Bookwatch “Philip grafts history, natural history, and autobiography into a stunning performance.” — Maureen Howard, author of Big as Life “Mesmerizing Both narrative threads are profoundly personal. Braided together with insight, they pay homage to the ideals of home and family with a resonance that should extend beyond her home region.” — Publishers Weekly “ an unpretentious, subtly shaded story of the importance of understanding the ghosts and heroes that reside in every ancestral home.” — New York Times “An exquisite rendering of a Hudson Valley family farm, as detailed and colored as a Persian miniature. Philip’s family history is alarmingly transporting, and her sense of place so rich you can taste it.” — Kirkus Reviews(starred review) “Riveting one of the most finely written family histories available.” — Library Journal

One woman’s journey to uncover her family’s history and understand the ties that bind us to a particular place.

In the summer of 1990, writer Charles Gaines and his artist wife, Patricia, bought 160 acres of wild land on the northeast coast of Nova Scotia. They believed they were simply buying a remote getaway spot, but within a few months a more complex dream for the property developed. By midwinter, they had begun to see the land as a place where family intimacy might be reclaimed, as a home that might heal their recently battered marriage, and as an opportunity to take on a big, risky, long-term project instead of settling into the caution and gradual losses of middle-class middle age. Enlisting their children and their daughter’s carpenter boyfriend, they decided to build a cabin on the land the following summer, to build it with their own hands, as a family venture. A Family Place gracefully mixes a narrative of that summer’s sometimes harrowing, sometimes hilarious, sometimes heartbreaking events with passages of the family’s history that show its members as real people and dramatize what is at stake for each of them in Nova Scotia. Gaines describes the process of building a cabin while living in tents without electricity or running water, and the pleasures and limitations of a life so simplified that a week’s biggest social event is a bonfire. He draws a deft portrait of the small, generous, hearth-centered Acadian community of farmers and lobster fishermen surrounding their land, and traces the history of that land to its original French-Acadian owner. And he tracks the mood of his family through the long, difficult summer, from initial enthusiasm to near mutiny, and finally to exhilaration and deep satisfaction at having built something that will last, having rebuilt a family in the process.

A poetry collection introducing animal architects that build remarkable structures in order to attract a mate and have babies. Many animals build something--a nest, tunnel, or web--in order to pair up, lay eggs, give birth, and otherwise perpetuate their species. Organized based on where creatures live--underground, in the water, on land, or in the air--twelve poems bring fish, insects, reptiles, mammals, and birds to life. Back matter includes more information about each animal. "A fine synthesis of poetry and science" — Kirkus Reviews "An inviting introduction to a dozen industrious creatures" — Publishers Weekly "A natural for classroom use, with eye-catching art that will lure little ones in" — Booklist ILA Teachers' Choices

Starr and her little brother Tyler hide under the bed when her father gets upset and becomes violent--until their mother takes them to a shelter.

Not Again, Little Owl is a children's story book that has been written for children who may have faced several moves. It is a story that has been found to be very effective in helping children and adults talk about difficult emotions and it encompasses the loss and anxiety as well as the hope involved when moving family.

In this challenging and often humorous book, Louis Owens examines issues of Indian identity and relationship to the environment as depicted in literature and film and as embodied in his own mixedblood roots in family and land. Powerful social and historical forces, he maintains, conspire to colonize literature and film by and about Native Americans into a safe "Indian Territory" that will contain and neutralize Indians. Countering this colonial "Territory" is what Owens defines as "Frontier," a dynamic, uncontainable, multi-directional space within which cultures meet and even merge. Owens offers new insights into the works of Indian writers ranging from John Rollin Ridge, Mourning Dove, and D'Arcy McNickle to N. Scott Momaday, Leslie Silko, James Welch, and Gerald Vizenor. In his analysis of Indians in film he scrutinizes distortions of Indians as victims or vanishing Americans in a series of John Wayne movies and in the politically correct but false gestures of the more recent Dances With Wolves. As Owens moves through his personal landscape in Oklahoma, Mississippi, California, and New Mexico, he questions how human beings collectively can alter their disastrous relationship with the natural world before they destroy it. He challenges all of us to articulate, through literature and other means, messages of personal and environmental — as well as cultural—survival, and to explore and share these messages by writing and reading across cultural boundaries.