Pablo Neruda is one of the world's great poets, and Copper Canyon Press has long been dedicated to publishing translations of his work in bilingual editions. The Hands of Day--at long last translated into English in its entirety--pronounces Neruda's desire to take part in the great human making of the day. Moved by the guilt of never having worked with his hands, Neruda opens with the despairing confession, "Why did I not make a broom? / Why was I given hands at all?" The themes of hands and work grow in significance as Neruda celebrates the carpenters, longshoremen, blacksmiths, and bakers--those laborers he admires most--and shares his exuberant adoration for the earth and the people upon it. Yes, I am guilty of what I did not do, of what I did not sow, did not cut, did not measure, of never having rallied myself to populate lands, of having sustained myself in the deserts and of my voice speaking with the sand. Pablo Neruda (1904-1973) was a Chilean poet and diplomat who received the Nobel Prize in Literature in 1971. Recognized during his life as "a people's poet," he is considered one of the greatest artists of the twentieth century. William O'Daly is the best-selling translator of six of Pablo Neruda's books, including The Book of Questions and The Sea and the Bells. His work as a translator has been featured on The Today Show.

This year, get to know the true Jonathan Edwards—and see the hand of God in your own life like never before. Jonathan Edwards is one of the most respected early American theologians. In Always in God’s Hands, Owen Strachan recovers the real Jonathan Edwards—the thinker, the compassionate father, the courageous reformer—as opposed to the caricature of him that is often presented. Edwards believed God was ever-present in each of our lives, caring and encouraging us in every moment. In a moving letter to his daughter, he reminds her of that comforting truth by describing her as “always in God’s hands.” Through daily quotes from Edwards’s letters and sermons, this inspirational devotional reveals the soaring theology and comforting spirituality of one of history’s most faithful and gifted pastors. With each meditation, compiler Owen Strachan offers refreshing and relevant insights, encouraging you in your walk with God.

A book of poetic essays written in English, Kahlil Gibran's The Prophet is full of religious inspirations. With the twelve illustrations drawn by the author himself, the book took more than eleven years to be formulated and perfected and is Gibran's best-known work. It represents the height of his literary career as he came to be noted as ‘the Bard of Washington Street.’ Captivating and vivified with feeling, The Prophet has been translated into forty languages throughout the world, and is considered the most widely read book of the twentieth century. Its first edition of 1300 copies sold out within a month.

Le Corbusier's assistant and fellow architect remembers his mentor in a series of concise and poetic reflections. Le Corbusier's Hands offers a poetic and personal portrait of Le Corbusier—a nuanced portrayal that is in contrast to the popular image of Le Corbusier the aloof modernist. The author knew Le Corbusier intimately for thirty years, first as his draftsman and main assistant, later as his colleague and personal friend. In this book, written in the mid-1980s, Wogenscky remembers his mentor in a series of revealing personal statements and evocative reflections unlike anything that exists in the vast literature on Le Corbusier. Wogenscky draws a portrait in swift, deft strokes—50 short chapters, one leading to the next, one memory of Le Corbusier opening into another. Appearing and reappearing like a leitmotif are Le Corbusier's hands—touching, taking, drawing, offering, closing, opening, grasping, releasing: "It was his hands that revealed him.... They spoke all his feelings, all the vibrations of his inner life that his face tried to conceal." Wogenscky writes about Le Corbusier's work, including the famous design of the chapel at Ronchamp, his ideas for high-density Unités d'Habitation linked to the center of a "Radiant City," and his "Modulor" system for defining proportions—which Wogenscky compares to a piano tuner's finding the exact relation between sounds. He remembers the day Picasso spent with Le Corbusier at the Marseilles building site—"All day long they outdid one another in a show of modesty," he observes in amazement. He adds, speaking for himself and the others present, "We were inside a double energy field." And Wogenscky writes about Le Corbusier more personally. "I have spent years trying to understand what went on in his mind and in his hand," he tells us. With Le Corbusier's Hands, Wogenscky gives us a unique record of an enigmatic genius.

Emily is nervous before her first day of school, but she has such a good time that she cannot wait until the second day. Includes note to parents.