Eva’s hospital room looks out onto the skyscrapers of a huge city, but since waking up from her coma she only dreams of trees Thirteen-year-old Eva opens her eyes to find herself in a hospital, her body paralyzed while it heals from a devastating accident. Her mother says that Eva will be able to move her hands and face soon and that everything is going to be fine, but something in her voice tells Eva it’s not that simple. The doctors give Eva a keyboard that turns her typing into speech and controls a mirror that rotates to look around the room and out the window—every direction except back at her bed. What are the doctors trying to hide from her? And why, in an overpopulated world where humans have tamed all the wild places, does Eva keep dreaming of a forest she’s never seen? This ebook features an illustrated personal history of Peter Dickinson including rare images from the author’s collection.

Harold and the Purple Crayon meets Tom and Jerry in this sweet and funny picture book about a boy and girl who must balance their creativity and figure out how to cooperate after their drawings come to life. When Sam starts drawing a super cool velociraptor, Eva decides to join in. But Sam isn’t too happy about the collaboration. Soon Eva and Sam are locked in an epic creative clash, bringing to life everything from superhero marmots to exploding confetti. But when their masterpieces turn to mayhem, will Sam stay stubbornly solo or will he realize that sometimes the best work comes from teamwork?

Eva Anderson Becht Guyton (10/20/16-1/27/10) was an American painter and artist. Her husband Bill Guyton (6/29/23-12/21/12) wrote this very touching and sweet memoir of her life before he died. It was edited by their grandchildren Daniel Guyton and Kate Guyton, and includes photos, artwork, and some wonderful stories of her life and times. She was a beautiful woman, and her artwork was just as lovely.

THIRTEEN-YEAR OLD EVA wakes up in the hospital unable to remember anything since the picnic on the beach. Her mother leans over the bed and begins to explain. A traffic accident, a long coma . . . But there is something, Eva senses, that she’s not being told. There is a price she must pay to be alive at all. What have they done, with their amazing medical techniques, to save her?

A young witch must pass a coming-of-age quest or risk losing her magic forever in this enchanting fantasy -- perfect for fans of Kiki's Delivery Service and Aru Shah and the End of Time. Sometimes all you need is a pinch of magic... Eva Evergreen is determined to earn the rank of Novice Witch before her thirteenth birthday. If she doesn't, she'll lose her magic forever. For most young witches and wizards, it's a simple enough test: One: Help your town, do good all around. Two: Live there for one moon, don't leave too soon. Three: Fly home by broomstick, the easiest of tricks. The only problem? Eva only has a pinch of magic. She summons heads of cabbage instead of flowers and gets a sunburn instead of calling down rain. And to add insult to injury, whenever she overuses her magic, she falls asleep. When she lands in the tranquil coastal town of Auteri, the residents expect a powerful witch, not a semi-magical girl. So Eva comes up with a plan: set up a magical repair shop to aid Auteri and prove she's worthy. She may have more blood than magic, but her "semi-magical fixes" repair the lives of the townspeople in ways they never could have imagined. Only, Eva's bit of magic may not be enough when the biggest magical storm in history threatens the town she's grown to love. Eva must conjure up all of the magic, bravery, and cleverness she can muster or Auteri and her dreams of becoming a witch will wash away with the storm.

Eva, a 1927 novel by Dutch writer Carry van Bruggen, is an experiment in depicting a woman’s life from girlhood to marriage, and beyond, to sexual freedom and independence. At the same time, the narrative expresses Eva’s dawning sense of self and expanding subjectivity through a stream of consciousness told by a shifting narrator. Burdened all of her life by feelings of shame, at the end of the novel Eva overcomes this legacy of her upbringing and declares that it is ‘bodily desire that makes love acceptable’. Carry van Bruggen’s rich and varied language conveys Eva’s experience of the world. Powerful memories of an orthodox Jewish childhood pervade the novel with its fluid sense of time. As Eva puts it, ‘I let these years slip through my fingers like a stream of dry, glinting sand.’ Jane Fenoulhet makes this important modernist novel accessible to English readers for the first time. While it can be described as a becoming-woman of both Eva and her creator, so can the translation be seen as the translator’s own becoming, as Fenoulhet explains in the accompanying commentary, where she also describes the challenges of translating van Bruggen’s dynamic, intense narrative. For Fenoulhet, translation is more a matter of personal engagement with the novel than a matter of word choice and style. In this way, the emotional and intellectual life of the main character is re-enacted through translation.