"Marisol the Parasol" is a short whimsical tale told in rhyme and intended for young readers, as well as for adults to read-aloud to children. It is based in Paris and tells the story of the troubled romance between a sun umbrella (Marisol, a parasol) and a rain umbrella ("parapluie" in French), named Louie; and how their love comes to triumph in the end. Beyond the clear and straightforward attempt to entertain, the author and illustrator believe young English speaking listeners and readers may acquire from this little book some curiosity or insight about French and, by extension, foreign languages in general. (A glossary addresses the French words as well as a few in English which may not be familiar to young readers.) David "Ollie" Oliver's colorful, charming, and thoughtful illustrations evoke a little of the culture, look and style of the City of Paris in times somewhat earlier than our own. Under the surface of this tale, more serious questions and issues - such as the nature of work and of differences - might possibly provoke discussion which children, families, or teachers might find useful (not obligatory!)

Marisol's Parasol is a charming bilingual "girl power" "Cinderella" story that will inspire girls and young women around the globe. Although there is no prince to sweep "Marisol" away to happiness, Marisol finds happiness through her own skill and talent. Although there are some common story elements to Cinderella, the reader will find many refreshing contrasts to the traditional tale. The story's ending relays the message that helping out a neighbor just a little bit can change the entire course of someone's life. The book is written with English text on the left hand pages and offers a word to word translation into Spanish on the right hand side. Beautiful illustrations by Ruth Palmer further enhance the charm of the story. As a bonus, thoughtful questions for discussion are offered at the end of the book for use as a teaching tool for both educators and parents. Readers will find the story charming and inspiring!

When Janie Fitzhugh returns to Muddy Gap, Wyoming, eight years after her divorce to work at a new resort, sparks fly between her and her ex-husband, while her new boss partners with a spoiled little daddy's girl to get his dream ranch.

“We know what you’re thinking...” Meet Marisol Rodriguez, a brilliant young neuroscientist with emotional issues who discovers a secret society of world-dominating telepaths and leads a campaign to defeat them. Can Marisol and her rag-tag band of followers prevail against people who can read and manipulate the very thoughts in our minds? Find out in The Psychic War!

First published in 1976, this beautiful, interactive collaboration is a unique work of book art in which Marisol’s monumental pop-art sculptures face the blocks of Creeley’s prose poems. The new introduction by Creeley scholar Stephen Fredman describes how the poet’s autobiographical prose poetry arose in conversation with images of Marisol’s equally autobiographical sculptures. In addition to the introduction, this edition features an appendix of newly discovered material, much of it found in Creeley’s own copy of the original edition of Presences. These include postcards and letters from Marisol, designer William Katz (who brought the poet and artist together), Mexican poet Octavio Paz, and several university professors. The material in the appendix allows the editor to reveal the genesis of Presences as a collaborative work of art involving three creators: artist, designer, and poet.

Compilation of poetry for the everyday. A journey through the imagination. Give your fantasies wings and let the soar. Written for people who love poetry, but do not want to be bogged down with hidden deeper meanings. Written by a wife, mother and poetist.

How do students develop a personal style from their instruction in a visual arts program? Women Artists on the Leading Edge explores this question as it describes the emergence of an important group of young women artists from an innovative post-war visual arts program at Douglass College. The women who studied with avant-garde artists at Douglas were among the first students in the nation to be introduced to performance art, conceptual art, Fluxus, and Pop Art. These young artists were among the first to experience new approaches to artmaking that rejected the predominant style of the 1950s: Abstract Expressionism. The New Art espoused by faculty including Robert Watts, Allan Kaprow, Roy Lichtenstein, Geoffrey Hendricks, and others advocated that art should be based on everyday life. The phrase “anything can be art” was frequently repeated in the creation of Happenings, multi-media installations, and video art. Experimental approaches to methods of creation using a remarkable range of materials were investigated by these young women. Interdisciplinary aspects of the Douglass curriculum became the basis for performances, videos, photography, and constructions. Sculpture was created using new technologies and industrial materials. The Douglass women artists included in this book were among the first to implement the message and direction of their instructors. Ultimately, the artistic careers of these young women have reflected the successful interaction of students with a cutting-edge faculty. From this BA and MFA program in the Visual Arts emerged women such as Alice Aycock. Rita Myers, Joan Snyder, Mimi Smith, and Jackie Winsor, who went on to become lifelong innovators. Camaraderie was important among the Douglass art students, and many continue to be instructors within a close circle of associates from their college years. Even before the inception of the women’s art movement of the 1970s, these women students were encouraged to pursue professional careers, and to remain independent in their approach to making art. The message of the New Art was to relate one’s art production to life itself and to personal experiences. From these directions emerged a “proto-feminist” art of great originality identified with women’s issues. The legacy of these artists can be found in radical changes in art instruction since the 1950s, the promotion of non-hierarchical approaches to media, and acceptance of conceptual art as a viable art form.