A 2018 New York Times and New York Public Library Best Illustrated Picture Book When Mae's family moves to a new home, she wishes she could bring her garden with her. She'll miss the apple trees, the daffodils, and chasing butterflies in the wavy grass. But there's no room for a garden in the city. Or is there? Mae's story, gorgeously illustrated in watercolor, is a celebration of friendship, resilience in the face of change, and the magic of the natural world.

She didn't want to find love... until he found her. Florette doesn't believe in love, especially the kind that involves magical beings with butterfly wings on their backs. She is content to sit in her cottage and finish her clients' ballgowns in time for the Fall Gatherings. But a stranger comes knocking on her door, and suddenly her convictions about romance and magic start to shatter. Blayze knows that he must find his bride from among the willing candidates of the Fall Gatherings, but a secret foray into Harowe convinces him that he's meant to marry the local seamstress. However, he soon learns that loving someone with as cautious a heart as Florette's is not so easy. Before the Fall Gatherings end, Blayze must convince Florette that their love is real, and she must find the courage to believe him.

Tells the story of Jean de Florette, a 35-year-old, city-bred, hunchbacked idealist, his wife, Aimee, and his daughter, Manon. In the second novel, Manon seeks revenge for her father's death, and it is she who brings the wheel full circle in a final dramatic retribution in the town square.

Title on the spine and cover reads: Jean de Florette & Manon of the springs.

Pagnol's tragedy explores themes of sacrifice, selfishness and revenge in a Provencal village.

A sparkling life of the monumental fashion designer Cristóbal Balenciaga When Cristóbal Balenciaga died in 1972, the news hit the front page of The New York Times. One of the most innovative and admired figures in the history of haute couture, Balenciaga was, said Schiaparelli, “the only designer who dares do what he likes.” He was, said Christian Dior,“the master of us all.” But despite his extraordinary impact, Balenciaga was a man hidden from view. Unlike today’s celebrity designers, he saw to it that little was known about him, to the point that some French journalists wondered if he existed at all. Even his most notable and devoted clients—Marlene Dietrich, Barbara Hutton, a clutch of Rothschilds—never met him. But one woman knew Balenciaga very well indeed. The first person he hired when he opened his Paris house (then furnished with only a table and a stool) was Florette Chelot, who became his top vendeuse—as much an adviser as a saleswoman. She witnessed the spectacular success of his first collection, and they worked closely for more than thirty years, until 1968, when Balenciaga abruptly closed his house without telling any of his staff. Youth-oriented fashion was taking over, Paris was in upheaval, and the elder statesman wanted no part of it. In The Master of Us All , Mary Blume tells the remarkable story of the man and his house through the eyes of the woman who knew him best. Intimate and revealing, this is an unprecedented portrait of a designer whose vision transformed an industry but whose story has never been told until now.

Texts of interviews conducted in the mid-1980s for the television documentary "Il coraggio e la pietà". The interviewees included Holocaust survivors and former Italian officials. The survivors stressed that they managed to survive in wartime Italy due to the sympathetic stance of non-Jewish Italians, military and civil, who, while supporting fascism, refused to collaborate with the Nazis in the annihilation of the Jewish people. Pp. xv-xxiii contain a foreword by Renzo de Felice; pp. xxv-xxxiv contain an introduction by F.R. Koffler and R. Koffler; pp. xxxv-xli contain a prologue by Mario Toscano, relating briefly the history of the Italian Jews and fascist policy towards the Jews in 1936-45.