A beautifully written, courageous memoir of a wartime childhood behind enemy lines. (SEE QUOTES. Use #2 if not too long.)

My Home is Far Away is the most precisely autobiographical of Powell’s fifteen novels. In this family chronicle set in early twentieth century Ohio, young Marcia Willard’s family struggles to keep up with the rapidly changing times, and Marcia endures disillusionment, cruelty, and betrayal to forge a survivor’s sense of independence. John Updike has compared Powell with Theodore Dreiser, Willa Cather, Sherwood Anderson, “and those other Midwestern writers who felt something epic in the national shift from rural to urban, from provincial sequestration to metropolitan liberation.” By 1941, when Powell set to work on My Home Is Far Away, she was better known for the smart, boozy, bawdy, hilarious send-ups of Manhattan high and low life. She had begun to attain a reputation for high sophistication and nothing could be less “sophisticated” – in the glittering, all-knowing, furiously present-tense, big-city manner Powell had perfected – than My Home Is Far Away. This was the month of cherries and peaches, of green apples beyond the grape arbor, of little dandelion ghosts in the grass, of sour grass and four-leaf clovers, of still dry heat holding the smell of nasturtiums and dying lilacs. This was the best month of all and the best day. It was not birthday, Easter, Christmas, or picnic, but all these things and something else, something wonderful, something utterly unknown. The two little girls in embroidered white Sunday dresses knew no way to express their secret joy but by whirling each other dizzily over the lawn crying, “We’re moving, we’re moving! We’re moving to London Junction!” My Home Is Far Away is one of the very few examples of a book written for adults, with an adult command of the language, that maintains the vantage point of a hungry, serious child throughout. It might be likened to a memoir that has been penned not with the usual tranquility of distance but rather with the sense that everything happening to the characters is happening right now, without any promise of eventual escape, without any assurance that childhood, too, shall pass away. My Home is Far Away had been out of print for sixty years when Steerforth reissued it in 1995. It received immediate widespread acclaim, and was featured on the cover of the New York Times Book Review, where Terry Teachout called it “one of the permanent masterpieces of childhood, comparable with David Copperfield, What Maisie Knew and the early reminiscences of Colette,” and where he proclaimed Powell to be “one of this country’s least recognized great novelists.”

Karl and Rosa's family watch in horror as Hitler's troops parade down the streets of their home city -- Vienna. It has become very dangerous to be a Jew in Austria, and after their uncle is sent to Dachau, Karl and Rosa's parents decide to send the children out of the country on a Kindertransport, one of the many ships carrying refugee children away from Nazi danger. Isolated and homesick, Karl ends up in Millisle, a run-down farm in Ards in Northern Ireland, which has become a Jewish refugee centre, while Rosa is fostered by a local family. Hard work on the farm keeps Karl occupied, although he still waits desperately for any news from home. Then he makes friends with locals Peewee and Wee Billy, and also with the girls from neutral Dublin who come to help on the farm, especially Judy. But Northern Ireland is in the war too, with rationing and air-raid warnings, and, in April 1941 the bombs of the Belfast Blitz bring the reality of war right to their doorstep. And for Karl and Rosa and the other refugees there is the constant fear that they may never see their parents again. Based on a true story -- there was a refugee farm at Millisle and among its occupants was a young boy called Karl.

Imagine this: you meet someone, an incredible someone, and from the moment they step foot into your life, you know from that very moment that you never want to be without them. They help you grow as a person. They inspire you. They change the ideas you have in your head about what love is and what it could be. Now imagine losing them. This is that story.

Whenever Ruth and Sammy visit their grandparents, they get to brush up on their Yiddish. This Jewish language, a blend of German and Hebrew, is full of words that are fun to say: words like shvitz (sweat), feh! ("It stinks!"), and schmaltz (fat). Ruth and Sammy look forward to spending time with relatives. As Ruth would say, until they arrive at their grandparent's house, they are on shpilkes (pins and needles)! Actress Ione Skye drew upon her childhood experiences in this story of family ties, cultural exploration, and adventures under the sunshine.

Collects the private correspondence between Georgia O'Keeffe and Alfred Stieglitz, revealing the ups and downs of their marriage, their thoughts on their work, and their friendships with other artists.

Gifts come in many guises. One summer, Rebecca Solnit was bequeathed three boxes of ripening apricots, which lay, mountainous, on her bedroom floor - a windfall, a riddle, an emergency to be dealt with. The fruit came from a neglected tree that her mother, gradually succumbing to memory loss, could no longer tend to. From this unexpected inheritance came stories spun like those of Scheherazade, who used her gifts as a storyteller to change her fate and her listener's heart. As she looks back on the year of apricots and emergencies, Solnit weaves her own story into fairytales and the lives of others - the Marquis de Sade, Mary Shelley and Ernesto 'Che' Guevara. She tells of unexpected invitations and adventures, from a library of water in Iceland to the depths of the Grand Canyon. She tells of doctors and explorers, monsters and moths. She tells of warmth and coldness, of making art and re-making the self.