Special Order

Unexpectedly, the moment of opportunity comes to us--the prospect of entering a reality larger than we'd guess. A spacious option opens up before us, an urgent demand that seems to call for special enterprise, life-threatening perils or summons to action. Suddenly we realize that such a chance might never come again. What do you do when faced with such a moment? Do you sometimes get frozen into a state of inaction? Do you wonder if you are wasting the talents God has given you? Or if you enjoy adventure, do you struggle over whether a risk is just a reckless attempt to feed your own needs or a true calling from God? Luci Shaw has learned to act with discernment in regard to motivation and calling. She has discovered a path of deep joy and fulfillment by risking the unknown in partnership with God. In this book you will find the way to break through the fear barrier and follow God to new levels.

The Daddy Book celebrates all different kinds of dads and highlights the many reasons they are so special.

Whether your dad walks you to school or walks you to the bus, whether he wears suits or two different socks, whether he has a lot of hair or a little, Todd Parr assures readers that no matter what kind of daddy you have, every father is special in his own unique way.

With his trademark bold, bright colors and silly scenes, kids will learn that while no two dads are exactly alike, all daddies love to hug and kiss you, and that is what is so special about them! Perfect for young children just beginning to read, The Daddy Book is designed to encourage early literacy, enhance emotional development, celebrate multiculturalism, promote character growth, and strengthen family relationships.

Willem de Kooning is one of the most important artists of the twentieth century, a true "painter's painter" whose protean work continues to inspire many artists. In the thirties and forties, along with Arshile Gorky and Jackson Pollock, he became a key figure in the revolutionary American movement of abstract expressionism. Of all the painters in that group, he worked the longest and was the most prolific, creating powerful, startling images well into the 1980s.
The first major biography of de Kooning captures both the life and work of this complex, romantic figure in American culture. Ten years in the making, and based on previously unseen letters and documents as well as on hundreds of interviews, this is a fresh, richly detailed, and masterful portrait. The young de Kooning overcame an unstable, impoverished, and often violent early family life to enter the Academie in Rotterdam, where he learned both classic art and guild techniques. Arriving in New York as a stowaway from Holland in 1926, he underwent a long struggle to become a painter and an American, developing a passionate friendship with his fellow immigrant Arshile Gorky, who was both a mentor and an inspiration. During the Depression, de Kooning emerged as a central figure in the bohemian world of downtown New York, surviving by doing commercial work and painting murals for the WPA. His first show at the Egan Gallery in 1948 was a revelation. Soon, the critics Harold Rosenberg and Thomas Hess were championing his work, and de Kooning took his place as the charismatic leader of the New York school--just as American art began to dominate the international scene.
Dashingly handsome and treated like a movie star on the streets of downtown New York, de Kooning had a tumultuous marriage to Elaine de Kooning, herself a fascinating character of the period. At the height of his fame, he spent his days painting powerful abstractions and intense, disturbing pictures of the female figure--and his nights living on the edge, drinking, womanizing, and talking at the Cedar bar with such friends as Franz Kline and Frank O'Hara. By the 1960s, exhausted by the feverish art world, he retreated to the Springs on Long Island, where he painted an extraordinary series of lush pastorals. In the 1980s, as he slowly declined into what was almost certainly Alzheimer's, he created a vast body of haunting and ethereal late work.
This is an authoritative and brilliant exploration of the art, life, and world of an American master.

A Hmong American tells of her people's search for freedom.

For centuries, needlework has been part of Hmong culture. But it has only been since the war in Vietnam and Laos, which displaced many Hmong, that the new, narrative form of 'story cloths' has emerged, a bridge between past and present.

Dia Cha and her family experienced this displacement. Born in Laos, Dia fled with her family to Thailand as a child, spending four years in a refugee camp before arriving in the U.S. Her story is shared by many Hmong Americans.

As told through the story cloth stitched by her aunt and uncle, the Hmong people's search for freedom began long ago in China. Dia's Story Cloth explores many aspects of the Hmong experience from peace and war in Asia to new beginnings in America. Through Dia's story, young children can see that the search for freedom transcends all cultures.

This book includes a compendium of Hmong culture: their history, traditions, and stitchery techniques.

Wealth inequality, corporate welfare, and industrial pollution are symptoms-the fevers and chills of the economy. The underlying illness, says Business Ethics magazine founder Marjorie Kelly, is shareholder primacy: the corporate drive to make profits for shareholders, no matter who pays the cost.

In The Divine Right of Capital, Kelly argues that focusing on the interests of stockholders to the exclusion of everyone else's interests is a form of discrimination based on property or wealth. She shows how this bias is held by our institutional structures, much as they once held biases against blacks and women.

The Divine Right of Capital exposes six aristocratic principles that corporations are built on, principles that we would never accept in our modern democratic society but which we accept unquestioningly in our economy. Wealth bias is a holdover from our pre-democratic past. It has enabled shareholders to become a kind of economic aristocracy. Kelly shows how to design more equitable alternatives-new property rights, new forms of corporate governance, new ways of looking at corporate performance-that build on both free-market and democratic principles.

We think of shareholder primacy as the natural law of the free market, much as our forebears thought of monarchy as the most natural form of government. But in The Divine Right of Capital, Kelly brilliantly demonstrates that it is no more "natural" than any other human creation. People designed this system and people can change it.

We need a change of mind as profound as that of the American Revolution. We must question the legitimacy of a system that gives the wealthy few-the ten percent of Americans who own ninety percent of all stock-a disproportionate power over the many. In so doing, we can fulfill the democratic principles of our nation not only in the political sphere, but in the economic sphere as well.

From Eric Carle, the New York Times bestselling author of The Very Hungry Caterpillar and The Grouchy Ladybug, comes a reassuring tale of a mother's love for her child.

Does a Kangaroo Have a Mother, Too? answers curious kids who wonder whether lions, bears, and monkeys have mothers, too. Bright collage illustrations and simple text reinforce the theme that everyone has a mother, and every mother loves her child.

Meet the little joey bouncing in mother kangaroo's pouch. Watch little cubs prance around mother lion. Swim with a baby dolphin calf in the deep blue sea. Eric Carle's classic, colorful collages of baby animals and their mothers will delight and comfort young readers.

Does a Kangaroo Have a Mother, Too? is a warm and approachable book to use in the classroom, to cuddle up reading with a little one, and to give as a baby shower or Mother's Day gift.

Other favorite classic books from Eric Carle include The Very Hungry Caterpillar, The Grouchy Ladybug, From Head to Toe, and many others.

Based on a wide reading of letters, diaries and other contemporary documents, Mintz, an historian, and Kellogg, an anthropologist, examine the changing definition of "family" in the United States over the course of the last three centuries, beginning with the modified European model of the earliest settlers. From there they survey the changes in the families of whites (working class, immigrants, and middle class) and blacks (slave and free) since the Colonial years, and identify four deep changes in family structure and ideology: the democratic family, the companionate family, the family of the 1950s, and lastly, the family of the '80s, vulnerable to societal changes but still holding together.

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