A great big tale about peach pickin' fun. Join Tall Papa Tom, Pretty Mama May, Little Buddy Earl, and the rest of the bunch as they head to the Peach Pickin' Festival. Little Buddy Earl yodels each time they pass a field, but what's the use of that? His yodel soon comes in handy when he turns a tiny peach into the largest in the land! Complete with a recipe for peach cobbler, this tale about teamwork proves that sometimes the smallest person can be the biggest help.
Captain Dare and his newly hired mates set out in search of treasure, swimming through a lagoon, swinging through a jungle, and navigating other obstacles before finding the treasure, when a mouse frightens the Captain into retreat.
This is our mother’s story. “My story shows the tremendous opportunities for step-up transformation that await us within life-changing events. This memoir is an uplifting account of a family who struggles through hardships and overcomes them with a deeper love for life and an infectious joy for living” (Melissa Malcolm-Peck). A Story of Love is an eye-opening memoir about facing death and finally learning to live. A mother of three young children survives a series of four heart attacks and undergoes a nineteen-year transformational journey toward trust, forgiveness, and gratefulness. Her three daughters have come together to finish her book, sharing her legacy of love and a message of hope. In losing life repeatedly, Melissa and her family learned to continually refocus on recreating a picture of health in all areas of life. This helped her live a longer, healthier, and stronger life that anyone with major heart damage thought possible. Melissa chose to live life to the fullest and chose to be of service to her family and community. The art of refocusing on healthy living and relationships can benefit anyone. This story offers an intimate look at the power of the human spirit, the bonds of family, and the mystery and miracle of grace.
In this, her first book, scholar Demaree C. Peck assigns Willa Cather her rightful place in our literary history. Challenging the assumption that women writers must draw their inspiration from a lineage of female predecessors, Peck portrays Willa Cather as a woman who self-consciously set out to write within a male literary tradition that she identified as Emersonian. Peck explores the psychological underpinnings of Cather's aesthetics to show that her theory of stylistic economy and simplicity was motivated by a desire to reorganize the elements of the artistic stage exclusively around her own romantic ego - that "inexplicable presence of the thing not named". Although Cather's protagonists appear in various disguises, clad as pioneers, lawyers, or priests, they are all incarnations of the artist who appropriates people and places as parts of consciousness. Cather's imaginative claimants seek to assimilate the world as a reflection of the self, in the way that their prototype, Emerson's poet-landlord, enjoys a figurative ownership of the landscape in reward for his integrating vision. The novels offer a series of ingenious masquerades beneath whose plots lurk variations of a single story impelled by the artist's quest to take imaginative possession of the world in order to recover the dominion of her soul. Unlike critics who have discussed Cather's novels as a series of discrete experiments, Peck charts the pursuit for imaginative possession as a continuous theme, thereby suggesting a coherence for Cather's art and career as a whole. Offering original interpretations of eight of Cather's novels in the light of previously undiscussed letters and other biographical materials, Peckexplores the relation between Cather's life and art to suggest that she created her central characters as surrogates whose imaginative accumulations could compensate her for various dispossessing experiences in her own life. Cather's novels operate according to the psychological laws of wish fulfillment. While Cather's romanticism has its historical origin in American transcendentalism, its psychological origin derives from the mythic domain of childhood. Cather's "kingdom of art" sanctions the dream projected upon childhood of an original omnipotence that could cheat fate and remain unsoiled by experience. Her novels enact a fantasy of return to primal wholeness. Peck suggests that the novels serve a restorative function not only for their author, but for Cather's readers as well. Cather's fiction is significant, Peck argues, because it performs an important psychological work for its audience.
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