A collection of poems by an urban Indian from California. In From the Stench of My Belly, she writes: "I'm sure when you were young / you saw Indians on TV / YOU SAW ME ON TV: / Indian princess / rotund squaw / blood-thirsty brave / stoic chief / ungrateful drunk."

Featuring a beachful of bare-bellied hippos—including one tiny baby who can only say “Bee Bo”—the Belly Button Book is a quirky addition to the phenomenally successful Boynton on Board series. Every page captivates with Sandra Boynton’s inimitable illustrations and joyful rhyming text: Soon after dark, upon the beach, we sing a hippo song, and if you’re feeling in the mood, we hope you’ll sing along: “Belly Belly Button, you’re oh so fine. Ooo, Belly Button, I’m so happy you’re mine.” Shiny and sturdy, and featuring a great (navel-shaped, naturally) die-cut cover, the Belly Button Book provides enduring, giggly, read-aloud fun. Oversized lap edition also available—perfect for more reading aloud!

Wrapped in blankets and looking at the stars, a young Navajo girl listened long ago to stories that would guide her for the rest of her life. "Such summer evenings were filled with quiet voices, dogs barking far away, the fire crackling, and often we could hear the faint drums and songs of a ceremony somewhere in the distance," writes Luci Tapahonso in this compelling collection. Blue Horses Rush In takes its title from a poem about the birth of her granddaughter Chamisa, whose heart "pounded quickly and we recognized / the sound of horses running: / the thundering of hooves on the desert floor." Through such personal insights, this collection follows the cycle of a woman's life and underlines what it means to be Navajo in the late twentieth century. The book marks a major accomplishment in American literature for its successful blending of Navajo cultural values and forms with the English language, while at the same time retaining the Navajo character. Here, Luci Tapahonso walks slowly through an ancient Hohokam village, recalling stories passed down from generation to generation. Later in the book, she may tell a funny story about a friend, then, within a few pages, describe family rituals like roasting green chiles or baking bread in an outside oven. Throughout, Tapahonso shares with readers her belief in the power of pollen and prayer feathers and sacred songs. Many of these stories were originally told in Navajo, taking no longer than ten minutes in the telling. "Yet, in recreating them, it is necessary to describe the land, the sky, the light, and other details of time and place," writes Tapahonso. "In this way, I attempt to create and convey the setting for the oral text. In writing, I revisit the place or places concerned and try to bring the reader to them, thereby enabling myself and other Navajos to sojourn mentally and emotionally in our home, Dinétah."

Love Your Forever meets On the Night You Were Born in this heartwarming picture book about a mother's love for her child. The special bond between a mother and her child begins well before the baby is born. But once the baby is born and starts to grow into her own person, traits from both parents begin to show themselves in delightful and humorous ways. When I Carried You in My Belly is a mother's song to her growing daughter, capturing the warmth and magic of the time when her daughter was housed inside her belly. The girl's laugh, her love of music, her sweet disposition, and her carefree attitude can all be traced back to her time in her mother's tummy, when her mother would laugh, sing songs, eat yummy treats, and dance the day away. Thrity Umrigar's lyrical and playful text are well complemented by Ziyue Chen's soft and delightful illustrations, and together they create a sentimental and insightful book about the special bond between parents and children. With a similar tone to On the Night You Were Born and the spirit of I Loved You Before You Were Born, When I Carried You in My Belly is primed to become a new timeless classic.

"A new collection of poems from Navajo poet, activist, and educator Esther G. Belin"--Provided by publisher.

The Belly of Paris (Le Ventre de Paris) is the third novel in Émile Zola's twenty-volume series Les Rougon-Macquart, first published in 1873. It is a novel of the teeming life which surrounds the great central markets of Paris. The book was originally translated into English by Henry Vizetelly and published in 1888 under the title Fat and Thin. After Vizetelly's imprisonment for obscene libel the novel was one of those revised and expurgated by his son, Ernest Alfred Vizetelly. The heroine is Lisa Quenu, a daughter of Antoine Macquart. She has become prosperous, and with prosperity her selfishness has increased. Her brother-in-law Florent had escaped from penal servitude in Cayenne and lived for a short time in her house, but she became tired of his presence and ultimately denounced him to the police. Émile Zola (1840 – 1902) was a French writer, the most important exemplar of the literary school of naturalism and an important contributor to the development of theatrical naturalism. He was a major figure in the political liberalization of France.

2022 Before Columbus Foundation American Book Award Winner The Diné Reader: An Anthology of Navajo Literature is unprecedented. It showcases the breadth, depth, and diversity of Diné creative artists and their poetry, fiction, and nonfiction prose.This wide-ranging anthology brings together writers who offer perspectives that span generations and perspectives on life and Diné history. The collected works display a rich variety of and creativity in themes: home and history; contemporary concerns about identity, historical trauma, and loss of language; and economic and environmental inequalities. The Diné Reader developed as a way to demonstrate both the power of Diné literary artistry and the persistence of the Navajo people. The volume opens with a foreword by poet Sherwin Bitsui, who offers insight into the importance of writing to the Navajo people. The editors then introduce the volume by detailing the literary history of the Diné people, establishing the context for the tremendous diversity of the works that follow, which includes free verse, sestinas, limericks, haiku, prose poems, creative nonfiction, mixed genres, and oral traditions reshaped into the written word. This volume combines an array of literature with illuminating interviews, biographies, and photographs of the featured Diné writers and artists. A valuable resource to educators, literature enthusiasts, and beyond, this anthology is a much-needed showcase of Diné writers and their compelling work. The volume also includes a chronology of important dates in Diné history by Jennifer Nez Denetdale, as well as resources for teachers, students, and general readers by Michael Thompson. The Diné Reader is an exciting convergence of Navajo writers and artists with scholars and educators.