On Christmas Eve, River Rose accidentally falls asleep while trying to wait up for Santa, but she awakens to take a magical trip to the North Pole with her dog, Joplin.

Rose o' the River is a romance story by Kate Douglas Smith Wiggin. Wiggin was an American educator, author and composer. Excerpt: "It was just seven o'clock that same morning when Rose Wiley smoothed the last wrinkle from her dimity counterpane, picked up a shred of corn-husk from the spotless floor under the bed, slapped a mosquito on the window-sill, removed all signs of murder with a moist towel, and before running down to breakfast cast a frowning look at her pincushion. Almira, otherwise "Mite," Shapley had been in her room the afternoon before and disturbed with her careless hand the pattern of Rose's pins. They were kept religiously in the form of a Maltese cross; and if, while she was extricating one from her clothing, there had been an alarm of fire, Rose would have stuck the pin in its appointed place in the design, at the risk of losing her life."

Emmy Pérez’s poetry collection With the River on Our Face flows through the Southwest and the Texas borderlands to the river’s mouth in the Rio Grande Valley/El Valle. The poems celebrate the land, communities, and ecology of the borderlands through lyric and narrative utterances, auditory and visual texture, chant, and litany that merge and diverge like the iconic river in this long-awaited collection. Pérez reveals the strengths and nuances of a universe where no word is “foreign.” Her fast-moving, evocative words illuminate the prayers, gasps, touches, and gritos born of everyday discoveries and events. Multiple forms of reference enrich the poems in the form of mantra: ecologist’s field notes, geopolitical and ecofeminist observations, wildlife catalogs, trivia, and vigil chants. “What is it to love / within viewing distance of night / vision goggles and guns?” is a question central to many of these poems. The collection creates a poetic confluence of the personal, political, and global forces affecting border lives. Whether alluding to El Valle as a place where toxins now cross borders more easily than people or wildlife, or to increased militarization, immigrant seizures, and twenty-first-century wall-building, Pérez’s voice is intimate and urgent. She laments, “We cannot tattoo roses / On the wall / Can’t tattoo Gloria Anzaldúa’s roses / On the wall”; yet, she also reaffirms Anzaldúa’s notions of hope through resilience and conocimiento. With the River on Our Face drips deep like water, turning into amistad—an inquisition into human relationships with planet and self.

This charming narrative is set on the bank of a river and dwells on simple village life. It shows triumph of deep-seated emotions and the sincere efforts made to bring that about. The characters develop and expand with the plot and the theme is skillfully conveyed.