Best Selling Books by CHRISTINA BAKER

La prima volta che si vedono è a casa di Christina. È una bella giornata di luglio e Andrew Wyeth è un giovane artista esile e sorridente, che bussa alla porta della fattoria in cerca di un po'' d''acqua per diluire i colori. Tra loro scatta subito qualcosa di speciale: il pittore è completamente ammaliato da Olson House e dai suoi singolari abitanti. Blocco sotto al braccio e pennelli in mano, Andy torna molte altre volte, da solo o con la moglie, per ritrarre quella casa piena di fascino, popolata da antichi ricordi e misteriose leggende. Christina vive sola col fratello, in un mondo piccolo nel quale il suo corpo fragile e ferito può orientarsi a occhi chiusi. Così diversi, Andy e Christina, eppure così simili: due spiriti curiosi, vivaci e resilienti, tra cui nasce un''intensa amicizia. Andy spezza la monotonia delle sue giornate, apprezza l''intelligenza e l''arguzia di Christina senza mai compatirla per il suo handicap fisico. Ma, soprattutto, è l''unico a chiederle davvero: «Chi è Christina Olson?», e a rimanerle vicino tanto a lungo per scoprirlo. La risposta è immortalata nel dipinto a lei dedicato. Quello che diventò uno dei quadri americani più famosi di tutti i tempi. Baker Kline dà voce a questa donna emblematica e misteriosa in un capolavoro che intreccia finzione e verità storica. Un romanzo capace di evocare un piccolo frammento di mondo dai sentimenti universali.

Dans la lignée du Train des orphelins, Christina Baker Kline nous entraîne dans la Tasmanie coloniale de l''ère victorienne, sur les traces de ces " femmes de mauvaise vie " exilées par la Couronne britannique. Inspirée de faits réels, une fresque inoubliable. Pour avoir naïvement cru aux promesses d''amour de son employeur, Evangeline, jeune gouvernante anglaise, a été accusée de vol et condamnée à la déportation. Sur le navire qui l''emmène en terre australe, elle pense à ce que sera sa vie dans le " pays au-delà des mers ", qu''on dit si inhospitalier, peuplé d''indigènes et de renégats. Elle pense aussi à l''enfant qu''elle porte : saura-t-elle le protéger ? Pourra-t-elle s''appuyer sur la débrouillarde Hazel avec qui elle a noué une forte amitié lors de la traversée ? Au même moment, sur l''île Flinders, au large de l''Australie, Mathinna, une orpheline aborigène, est elle aussi retenue prisonnière. Arrachée à sa tribu, la petite a été adoptée par le gouverneur et son épouse, qui entendent bien la civiliser à tout prix. Ces trois femmes l''ignorent encore, mais leur sort est inextricablement lié. Sur ces terres soumises à la folie des hommes, elles auront besoin de toutes leurs forces, de tout leur courage pour survivre et se frayer un chemin vers la liberté.

Když naivní mladá guvernantka Evangeline otěhotní se synem svého zámožného londýnského zaměstnavatele, netuší, jak závažné to pro ni bude mít následky. Poté, co ji služka navíc křivě obviní z krádeže, je Evangeline propuštěna a zatčena. S hrůzou se dozvídá, že byla odsouzena ke čtrnácti letům v australské trestanecké kolonii ve Van Diemenově zemi, dnešní Tasmánii. Neví, co ji čeká, ale jedna věc je jistá: dítě, které nosí pod srdcem, se narodí během několikaměsíční plavby. Jediné štěstí je, že na lodi se Evangeline spřátelí s Hazel – mladičkou, ale zkušenou porodní bábou a bylinkářkou. V době, kdy loď dorazí na místo, je mnoho místních obyvatel, Aboridžinců, násilně vytrženo z jejich přirozeného prostředí a někteří jsou nuceni začlenit se do společnosti britských kolonizátorů. Jednou z takových je osmiletá Mathinna, osiřelá dcera náčelníka kmene Lowreenne, kterou adoptoval nový guvernér Van Diemenovy země. Christina Baker Klineová vykresluje počátky kolonialismu v Austrálii z nové perspektivy prostřednictvím zkušeností Evangeline, Hazel a Mathinny a současně vypráví příběh o milosti zrozené ze strádání, o nezlomných poutech ženského přátelství a o síle odkazu předchozích generací.

Après l''immense succès du Train des orphelins, Christina Baker Kline recrée l''histoire de l''une des muses les plus célèbres, et les plus mystérieuses, de la peinture américaine du XX e siècle. Un roman fascinant et plein de tendresse sur l''amitié, le regard de l''autre et la force de l''art. Du monde, Christina Olson n''a rien vu. Paralysée depuis l''enfance, elle vit recluse dans la ferme familiale, perchée sur une falaise du Maine. Sa seule ouverture sur l''extérieur : une pièce remplie de coquillages et de trésors rapportés des mers du Sud par ses ancêtres, farouches marins épris d''aventures, et dont les histoires nourrissent ses rêves d''ailleurs. L''arrivée de nouveaux voisins, la pétillante Betsy et son fiancé, le jeune peintre Andrew Wyeth, va bouleverser le quotidien de cette femme solitaire. Alors qu''une amitié naît entre elle et le couple, Christina s''interroge : pourra-t-elle jamais accéder à la demande d''Andrew de devenir son modèle ? Comment accepter de voir son corps brisé devenir l''objet d''étude d''un artiste, d''un homme ? L''art est le reflet de l''âme. Et sur la toile, Christina redoute de voir apparaître ses failles, et celle qu''elle aurait tant désiré être...

New York 1929. När Vivians familj tragiskt omkommer i en brand sätts hon, tillsammans med många andra föräldralösa barn, på ett tåg. De färdas genom USA och auktioneras ut i städerna de passerar. Allra sist blir 9-åriga Vivian vald och hon sätts snabbt i arbete som sömmerska. Men när depressionen drabbar landet och beställningarna sinar skickas hon vidare. Och vidare. Ska hon någonsin hitta en plats där hon känner sig som hemma? Maine 2011. När 17-åriga Molly tvingas till samhällstjänst, är det droppen för hennes fostermor. Av rädsla för att än en gång behöva flytta går hon med på att städa vinden hos den numera 91-åriga Vivian. Ju mer hon börjar rota bland Vivians gamla saker, desto tydligare inser Molly att de har mer gemensamt än hon någonsin kunnat ana.

In the years 1854 - 1929, a series of orphanage trains departed from the East Coast cities, carrying thousands of helpless children who were praying for their luck to change their lives, to the agricultural lands of the region. Midwest. Will the children return to a good family full of love, or will they suffer hardship and abuse? Originally an Irish immigrant, Vivian Daly was one of them, having to follow the train from New York City to a dark place with a future. It was not until later that she returned to the East Coast that Vivian lived a quiet and peaceful life on the coast of Maine. However, stashed up in her attic, in sealed crates, was a fierce past. Seventeen-year-old Molly Ayer, knows that community work cleaning out a widow''s attic is the only thing that helps her avoid facing youth headquarters. However, when she embarked on helping Vivian organize her past, Molly discovered that the girl and the old woman were no different. Crossing between two states, Present Maine and Depression-era Minnesota, Orphan Train is a story of volatility and resilience, new opportunities and unexpected friendships.

How the use of sound in twenty-first-century Mexican theater and performance transmits experiences of living in a nation at war

Essays by such literary figures as Christopher Buckley and Susan Fromberg Schaeffer explore particular experiences of child rearing and ponder the reasoning behind parenting rather than the methods

Orphan Train is a good read for those that want a bit of bittersweet storytelling. Kline sets up a good story of orphan?s past, and the struggle to find identity, friendship, and acceptance in a world that is so often cold. You?re introduced to Molly, and her struggles in the foster care system, the law, and trying to find hope. The story pulls at your heart, and is really an up and down ride of emotions. Kline does well here, and the summary illuminates the power of the emotions that are in the novel. It?s hard to read and not have a visceral reaction, as the characters seem so real, and when the sadness prevails, you feel it.

Meraki Journey is a positive self-transformation and authentic healing journey, created by Dr. Baker to encourage and aid readers in striving to become the most beautiful versions of themselves. This book includes the importance of forgiveness, how to handle the process of healing from past traumas, nontraditional elements of self-love, and implementing healthy boundaries in all forms of relationships. In a nutshell, Dr. Baker aims to unnormalized toxic positivity and many other negative trends that has kept us as a liability to our purpose. Dr. Baker chose the name Meraki for this series because it embodies her life''s motto. Meraki is a Greek word that means doing something with your whole heart and soul. In other words, to put your purest effort into what you set out to accomplish. Therefore, it goes without further explanation that the success of this journey requires you to be all in. Meraki Journey encourages readers to be free thinkers, and open to unconventional ways of cultivating self-love and healing. Throughout this journey, there will be a lot of unlearning and breaking free from social norms and cultural rules--both spoken and unspoken.

Em 1929, Nova Iorque é uma cidade vibrante mas cruel para com os mais fracos. O número de órfãos a viver nas ruas multiplica-se. Demasiado visíveis, estas crianças são um incómodo para o qual é encontrada uma solução radical. Em comboios que partem rumo ao interior dos Estados Unidos, os órfãos são amontoados e oferecidos a quem os quiser receber, os seus destinos entregues a desconhecidos, as suas vidas à mercê do acaso. Vivian teve em tempos um lar e uma família. Após o incêndio que matou os seus pais e a deixou só no mundo, ela passa a ser apenas mais uma entre as centenas de crianças forçadas a embarcar no “Comboio dos Órfãos. Décadas depois, Molly Ayer, uma jovem que não conhece outro sentimento que não a rejeição das famílias de acolhimento por onde passa, é acusada de roubar um livro. Ela sabe que, agora, ninguém a defenderá. Com aquele livro, morrem também os seus sonhos. O fio do destino vai ligar estas duas mulheres. Vivian e Molly são mais parecidas do que imaginam. E no dia em que Molly decide solucionar o grande enigma do passado de Vivian, sem o saber, vai encontrar a sua própria salvação. Um relato épico centrado numa realidade da História americana há muito esquecida... Christina Baker Kline nasceu em Cambridge e cresceu dividindo o seu tempo entre a Grã-Bretanha e os Estados Unidos. Foi professora de Escrita Criativa, Literatura Inglesa, Teoria da Literatura e Estudos de Género nas universidades de Yale, Drew e NYU. Para além do seu trabalho como ensaísta e editora, é autora de cinco romances. Vive em Nova Jérsia com o marido e os filhos.

This book is a light-hearted story of a little boy and his bedtime dinosaur. Written in melodic rhyme, this book will have your kiddo laughing until they yawn for their own bedtime adventure!

Emerging from the Latin/o American barrios of New York City in the 1960s, salsa music was a response of growing Latin American diaspora communities. Though the recognized "backbone" of salsa is the Cuban son, it been influenced by other Latino(o) American groups and U.S. jazz artists. Popular memory attests to salsa music''s arrival in Mexico City during the late 1970s, integrated into the sonicscape by means of deejays working in peripheral barrios. Like the music, salsa dancing has its roots in the movements of the Cuban son, but has since evolved into a variety of basic styles such as the On-2/New York style, On-1/Los Angeles style. In 1997, Carlos Carmona, Mexico''s salsa dancing pioneer, brought the On-1/LA style to Mexico City via video recordings. My research examines the way salsa has been integrated into Mexico City''s cultural repertoire via memories, oral histories, and the corporeal expressions of its participants. Living in Mexico City during the summer of 2008, I relied on the participant-observer approach to ethnographic study. To conduct my research, I attended various venues where formal salsa dancing occurs such as dance clubs, instructional classes, and professional performances. Within those spheres, I participated as a dancer and an academic. Approaching dancers, musicians, and deejays for interviews, I was interested in their understanding of salsa''s historical development and arrival to Mexico City. Utilizing this information, and my own observations of the musical repertoire and movement vocabularies, the act of participation and the presence of the body have become central to my work.