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The Realm of the Lost by Emma Eden Ramos

The Realm of the Lost by Emma Eden Ramos is a middle-grade fantasy novel about a 13-year-old girl, named Kat Gallagher, who is feisty and responsible.  She’s got younger siblings, Ellie and Colm, and a home life that is not what it once was, but she takes it on her own shoulders to care for her little brother whose sick a lot of the time.  Her and Ellie, on the other hand, act as sisters should, especially sisters who share a room.  They bicker over space, and one day on the way to school, all of the tension boils over on the streets of New York City.

An accident changes everything for Kat, and she finds herself in a place that is disconcerting to say the least.  Here, she meets Rosario and Mikey, her brother and sister in the realm, and she must contend with Miss A, her realm mother.  Between the Tallyman, the mysterious forests, and the creepy dark mists that come out at night with Apate, Kat must navigate a strange and frightening world.  What makes this world believable is Ramos’ ability to ground her characters in a place and time, despite their strange surroundings.

“Before she died, Grandma Rose gave me a sterling silver necklace bearing the Celtic triskele.  ‘This,’ she explained, pointing to each swirl that extended from the symbol’s triangular middle, ‘will bring you knowledge, power, and, someday, a safe passage.'” (from ebook, location 27)

Grandma Rose is like Kat, a feisty Irish woman who immigrated to the United States, and she is reminiscent of the grandmothers who tell tall tales from the past and generally dote on their grandchildren.  Unfortunately, we don’t see much of this relationship, but a glimpse is enough to get the gist that she’s an important part of Kat’s upbringing.  The relationship between Ellie and Kat is clear, though the relationship with their mother is a little less developed.  However, Ramos offers the right balance of plot and description to see where Kat is and when, allowing the suspense and tension to build to the twist.

The four realms and what they signify are interesting, and could bring additional inspiration for a series of novellas, if Ramos is so inclined — the possibilities are endless.  But what is truly engaging is the parallels between The Realm of the Lost and Kat’s real life, only in the lost realm, Kat is forced to take on the role of younger sibling.  The Realm of the Lost by Emma Eden Ramos is an adventure that teachers Kat that there are more important things than just whether you have your own room.

***I wanted this to be longer!***

About the Author:

Emma Eden Ramos is a writer and student from New York City. Her short stories have appeared in Stories for Children Magazine, The Storyteller Tymes, BlazeVOX Journal, and others. Emma’s novelette, Where the Children Play, is included in Resilience: Stories, Poems, Essays, Words for LGBT Teens, edited by Eric Nguyen. Three Women: A Poetic Triptych and Selected Poems (Heavy Hands Ink, 2011), Ramos’ first poetry chapbook, was shortlisted for the 2011 Independent Literary Award in Poetry. Emma studies psychology at Marymount Manhattan College.  Please visit her Website.

This is my 5th book for the 2012 Ireland Reading Challenge.

National Poetry Month Winners….

Click for all the posts from the 2012 tour, including those from Savvy Verse & Wit

Even though National Poetry Month is over and the blog tour has ended, I’ve still got a couple poetry items to wrap up.

First, thanks to everyone who participated this year, and I hope to see you all again in 2013. I’d like to recruit more poets, academics, and poetry readers to provide guest posts to other tour stops and to offer up their own blog stops on the tour. So if you’re interested, feel free to email me at any time.

We had some great guest posts and reviews, and you can visit any of the posts or tour stops by clicking on the tour button.  All of the links have been added to the Mr. Linky.  If I missed a post from you, please feel free to add it.

Second, I want to congratulate the winners of the National Poetry Month Blog Tour giveaway.

Congrats to Liviania from In Bed With Books and Lilian of Circus Toybox

Congrats to Jill from Rhapsody in Books

Congrats to Lilian from Circus Toybox

Congrats to the five winners of the Trembling Pillow Press Journals: Elizabeth, Gerry, and Parrish Lantern.

Congrats to the nine winners of Real Courage by Michael Meyerhofer: Leslie from Under My Apple Tree, Anna from Diary of an Eccentric, Kathy of Bermudaonion, Diane, and Chris.

There are some winners I still have not received an address from, please send it along so I can mail out your prizes.

Guest Interview: Emma Eden Ramos Interviews Poet Lisa Maria Basile

You may remember Emma Eden Ramos from my earlier review of her poetry collection and Indie Lit Award short-listed title, Three Women.  Today, she’s come to celebrate National Poetry Month with an interview of a poet she adores, Lisa Marie Basile.

First, we wanted to share with you a poem from Basile’s latest collection Andalucia:

I Wear Short Dresses When I Visit Alejandro

I wear short dresses when I visit Alejandro. You
have legs for many miles, he says. So I show them.
If I take my legs away, would he still see me? Linger on his skin. I am the
mosquito, but he—he drinks
my blood. He sleeps on the floor, on his back. He
is covered in flies. I step over Alejandro, and his
fingers linger on my toes. He is wet from seas.
I step again over him, teasing, teasing. I cannot
seem to feed all the flowers. The red ones, the hard
ones. The fat ones. They grow. I cannot tame
them. I cannot groom them. I cannot control them.
I say hola and they grow and grow. The more we
talk the more they grow, and, oh, we talk, and we talk.
We talk about beauty and the way a body is
supposed to look. We talk about the way a woman
should be shaped and we talk about my hips, my
lips. Too round, too powerful, too godlike. You
cannot trust a woman who looks like a woman, he
says. She might destroy you. Look, I am
unribboning! My bones are peeling as petals. I am
hungry. I say I cannot seem to stop stepping over
and over him. You know that I look up your dress
every time, he tells me. I know that. I know that is
how I can keep him there, buzzing.

And now onto the interview; please give Emma and Lisa a warm welcome:

It was around this time last year that I discovered poet Lisa Marie Basile. I’d had a poem accepted for publication by one of my favorite online literary blogs, Calliope Nerve (the editor of which tragically passed away last August), and was excited for the piece to go live. Excited, that is, until I read the three poems that came out the day before. “SAILOR (BRIAN), 63,” “NEVADA, YOUNG,” and “LIPRARI (45) DIED IN ITALIAN,” all by Lisa Marie Basile, were three poems from a collection of obituaries. As I read Basile’s work in Calliope Nerve, I couldn’t help but feel that my piece would be a bit of a let-down.

It’s been a year since I first read Lisa Marie Basile’s work. So I thought, this year, it would make sense to interview and get to know one of the poets whose writing I have had the pleasure of exploring. Here is an interview with poet Lisa Marie Basile, followed by a poem from her most recent collection, Andalucia.

1. As a fiction writer who has also written poetry, I am very aware of the differences between the two mediums. You are a published short story writer and award winning poet. How would you compare writing poetry to writing fiction? Which comes more naturally to you?

Writing poetry certainly is the medium I tend to write in most often, because for me beauty is usually in snapshots in my mind. However, when the idea strikes, you go with what you think addresses the idea the best. The words are like their own entities; they need a space to live. We just give them that how we can. For more, poetry is more the default, because allows me to provide words with a place outside of the confines of structure and grammatical correctness. I love poetry’s natural fluidity. The more fiction I write, the more I realize how poetic it is for me; then, the more poetry I write lately, the more it is driven by prose I’ve written. I love prose-poetry, it’s something I’m gravitating toward.

2. How do you prepare yourself to write a poem? Do you have a ritual you do beforehand or are you more spontaneous?

I don’t have a ritual. Usually I’m intensely upset. Maybe a little drunk? I have to be honest. My latest collection —for my thesis—was written during times when my eye condition (Uveitis) flared up. Because of it, I had to be secluded in total dark, with no stimulation. No television. No music. My head was spinning in pain. I’d think and think and think, because there was nothing else to do. In these days, we need constant stimulation. In these situations, I just wrote, pieces of words, phrases, thoughts. Over time, I compiled these pieces. So there aren’t any real rituals. I don’t believe in ritual, because mostly if you force it, it won’t come.

3. How do you feel about spoken word poetry? Do you think it is more or less powerful than written poetry?

When spoken word is good, I really respect it. Other times, like any performative poetry, if the poet doesn’t understand how to trim, cut and emphasize the important parts of piece, it can really take away from the power of the performance. I think each poem has to be presented in the way it needs to be presented. Some poems are better as whispers; others as screams. If you do it well, you do it well, and I think the power is found in both the content of the poem and the treatment of it by the poet — no matter the form: spoken word or not. It has to be sincere.

Presenting your poetry doesn’t, for me, mean tacking on some theatrical spectacle if the poem doesn’t require that.

4. You have authored one full-length poetry book and three chapbooks. Along with being the Founding Editor of Patasola Press, you have edited for a number of renowned publications. Would you say that working as an editor has strengthened your own work?

My full-length, A Decent Voodoo, will be out with Cervena Barva Press this year. The editor, Gloria Mindock, is incredible. I’m so lucky. Also another chapbook, Triste, will be released by the badass Dancing Girl Press, this summer. Andalucia came out in December 2011 (Brothel Books) and it’s just my life; I love that I have that book. It really marked a time in my life. Working as an editor is important to me because as much as I love to write, I love to read and I love to help other people get their work out there. It’s super beautiful to hold your thoughts and dreams in your hand. Being an editor has made me more attentive to poetry’s power, for sure. I learn about the ebb and flow of a good or bad poem, and in turn, I learn from everything. There’s nothing I dislike more than a lazy poem, so I strive to keep away from that.

Later this year, some really inspiring poets will be released by Patasola Press. I’m happy to bring Kristina Marie Darling and Kiely Sweatt work to the world. Their books, Palimpsest and Origin Of, respectively, are the most beautiful works I’ve read in a long time. And this follows gorgeous work by J. A. Tyler and Rae Bryant—I’m lucky to work all these super talented and driven poets.

These are the people who will be canonized within our generation.

5. What is The Poetry Brothel and who is Luna Liprari?

The Poetry Brothel is a unique and immersive poetry experience that takes poetry outside classrooms and lecture halls and brings poetry to people in a lush and beautiful atmosphere. You spend so much time writing this beautiful work; it can be really disheartening to have to present your blood and work under a loud, flourescent light. Why not make the poetic experience gorgeous and welcoming. The Poetry Brothel presents poets as high courtesans who impart their work in public readings, spontaneous eruptions of poetry, and most distinctly, as purveyors of private poetry readings on couches, chaise lounges and in private rooms. Central to this experience is the creation of character —mine is Luna Liprari— which for poet and audience functions as disguise and as a freeing device, enabling The Poetry Brothel to be a place of uninhibited creative expression in which the poets and clients can be themselves in private. For a small fee, all of the resident poets are available for these sequestered readings at any time during the event. Of course, any true brothel need a good cover; The Poetry Brothel’s is part saloon and part salon, offering a full bar, musicians, painters, and fortune-tellers, with newly integrated themes, performances and installations at each event.

We’ve done events in New York (our home), Chicago, New Orleans, Barcelona, California, D.C., Massachusetts (actually I’m sitting at the Massachusetts Brothel right now). I’ve read in a lush speakeasy decorated with teacup globes and red lounges, an erotic soiree in a Catalonian side street and in a treehouse-like fort. I’ve read at private parties and in public events. We’ve presented as part of The Annual New York City Poetry Festival, which we present as The Poetry Society of New York.

Luna Liprari is my character. She presents poetry and interacts with people at The Poetry Brothel. The poetry is my own, and Luna Liprari is a part of me, whether she reads poetry or does burlesque.

Luna Liprari came from a Sicilian father and French mother, from whom she ran away when she turned 15 in 1925. She was to become the secret love of Hemingway and Anais Nin, living in a tiny room above a butcher shoppe in Paris. They helped her publish a book of her poems. When she grew up, she moved to Argentina and was said to be seen in Mexico, teaching poor women to dance for their husbands. She was a clairvoyant they said, always dreaming of explosions, always making men explode from the inside. Her lips brought rainfall to its knees, her hips were said to have been the inspiration for the holy design of Vesuvius. Years later, she was the first Pinup painted on the side of a World War II bomber plane, her black hair and long legs dropping like webbed-spiders into sleepy French streets and Japanese cities. She had predicted weapons, slapped Oppenheimer in the face, seduced (and poisoned) two-dozen Nazis, and finally became a Pinup girl and burlesque dancer, touring the world with the Poetry Brothel.

6. If you don’t mind talking about it, what is your latest project?

My latest project is my thesis work. I’m writing about the intersection between body and mind, how the body reveals our pains and feelings and desires through sickness. Someone recently said to me, “the most poetic thing is not being sick.” I wonder, though, because being sick forces you to really confront who you are and your limitations. So the project is a collection of work written during times of physical pain.

Thanks to both Emma and Lisa for sharing their thoughts about poetry with us.

Poet Lisa Marie Basile

About the Poet:

Lisa Marie Basile is an award winning poet from New York City. She is currently pursuing her M.F.A. at The New School and is a member of The Poetry Society of New York. Basile is the founding editor of Patasola Press, the company that published Rae Bryant’s The Indefinite State of Imaginary Morals: Stories by Rae Bryant and Comatose by J.A. Tyler.

***Also please visit Bermudaonion for today’s National Poetry Month Tour stop***

2011 Indie Lit Awards Short List

After all the prodding and poking my team and I did on Facebook, Twitter, and our blogs, the nominations for poetry rolled in with over 200 nominations coming in for a variety of poetry.

But there were some clear favorites in the voting, with one short listed nominee collecting more than 70 votes alone.

I want to take this moment to thank the judging panel — Diary of an Eccentric, Necromancy Never Pays, 1330V, and Regular Rumination — for all of their help.  And as you know, with the announcement of the short list, your jobs are not over.  It is now time to read and discuss the short listed titles below.

  • Beyond Scent of Sorrow by Sweta Vikram (Modern History Press)
  • Catalina by Laurie Soriano (Lummox Press)
  • What Looks Like an Elephant by Edward Nudelman (Lummox Press)
  • Three Women: A Poetic Triptych and Selected Poems by Ramos, Emma Eden (Heavy Hands Ink)
  • Sonics in Warholia by Megan Volpert (Sibling Rivalry Press)

Luckily, the individual presses of these books have kindly offered to send copies of the books to all the panelists.  I wish all of the poets luck.

Please visit the Indie Lit Awards Short List for the nominees in Fiction, Biography/Memoir, Nonfiction, Mystery, Speculative Fiction, and GLBTQ

Interview With Emma Eden Ramos

I recently had the pleasure of reading and reviewing Emma Eden Ramos‘ first chapbook, Three Women:  A Poetic Triptych and Selected Poems at the beginning of November.  Her collection creates three unique female voices who are connected.  I had the pleasure of interviewing Emma via email to learn a little more about her as a poet and her collection.

Without further ado, please welcome her.

1.  How would you introduce yourself to a crowded room eager to hang on your every word?  Are you just a poet, what else should people know about you?

I’m pretty shy and self-conscious in front of large groups of people, so I would probably begin with a short anecdote as a way to personally connect with the crowd. From there, I would go into my background.

I am a twenty-four-year-old student from New York City. I’ve wanted to be a writer since I was about seven-years-old. That year I wrote my first short story, a fable, which ended up in a collection of children’s stories called Witches Brew.

I became interested in poetry later when my mother gave me a collection of Emily Dickinson‘s poems in my freshman year of high school. That was a rough year and I remember finding a great deal of solace in Dickinson’s words. I wrote my first poem that year, a poem about the main character from Edith Wharton‘s novel Summer. My English teacher was very supportive and encouraged me to continue writing. I did, on and off, until 2009 when I decided to take my writing more seriously. I wrote a novelette entitled Where The Children Play that was published in the Spring of 2010. I’ve been writing continuously ever since.

2.  How did you create the three women in your chapbook, Three Women:  A Poetic Triptych and Selected Poems?  Were they based upon people you know or yourself?

After I agreed to write a poetry chapbook, I grew nervous. though I have a deep love for poetry, I see myself as more of a fiction writer. Creating and developing characters is essential to my writing process. I need them as guides. With Three Women I was lucky because, though the editor of Heavy Hands Ink had never published a chapbook with a storyline and characters before, he was supportive of the idea.

When developing the three characters, I attached each woman to a certain female archetype from Greek Mythology. I saw Annette as a manifestation of Aphrodite. She is outwardly beautiful and has relied on her beauty throughout her life. However, after her son’s suicide, Annette’s physical “perfection” has become more of a handicap. The beauty she once treasured now fully masks Annette’s internal torment.

I saw Julia as Persephone. She is the daughter trapped in the Underworld, which in her case, is adolescence. However, Julia is also very much based on myself.

Milena is a warrior. I have met many women like her and am always floored by their resilience. As an archetype, I saw her as Athena. Milena possesses courage, intelligence, wisdom, and strength. She may be under Annette’s “professional” care, but she is not the one who is lacking in emotional resources.

3.  Do you see spoken word, performance, or written poetry as more powerful or powerful in different ways and why? Also, do you believe that writing can be an equalizer to help humanity become more tolerant or collaborative? Why or why not?

I love spoken word and performance poetry and am a fan of artists such as Ursula Rucker and Anne Waldman. There is a power, an electricity, that comes from experiencing a poem  performed. Initially, I think performance poetry is probably more powerful than written poetry because it is synesthetic. There is a hidden quality to the written word, however, that I think makes it more durable. When I read a poem, the words are locked in my consciousness in a very different way than when I hear a poem performed.

I do believe that writing can be an equalizer, a tool through which human beings can find a common ground. Writing is a form of communication. Thoughts and perhaps, more importantly, feelings are channeled and conveyed through writing. While individuals are different, as a collective we share feelings that are fundamental to the human condition. Writing–poetry, fiction, non-fiction–can and has been a medium through which those universal feelings are expressed.

4.  Poetry is often considered elitist or inaccessible by mainstream readers.  Do poets have an obligation to dispel that myth and how do you think it could be accomplished?

When I hear people say that they struggle with this or that poem, find it impenetrable, I often agree. I cannot count the number of occasions that I have finished reading a poem and thought, “Wow. Beautiful language. Beautiful imagery. If only I knew what the writer was talking about.” I don’t know why this is. I have heard poets argue that poetry is personal. It comes from an unconscious place and therefor can only be understood by the poet. I respect this answer and the artist’s desire for self-expression. However, as I said earlier, writing, poetry included, has the potential to be a tool for communication.

5.  Please share some of your favorite contemporary and classic poets and a favorite collection or two from those poets and why you enjoy their work.

One of my favorite contemporary poets is a woman named Brooke Axtell. I discovered Brooke when I came across her first poetry collection, Daughter of the Burning. This collection, as well as Axtell’s other work, is a perfect example of the power poetry has to communicate strong emotions and inspiration.

Other poets I love are Adrienne Rich, Patricia Smith, Linda Gregg, Sarah Hannah, Sharon Olds, and the list could go on.

Thanks so much Emma for answering my questions.  I wish you great success in your poetry.

Three Women: A Poetic Triptych and Selected Poems by Emma Eden Ramos

Three Women: A Poetic Triptych and Selected Poems by Emma Eden Ramos, published by Heavy Hands Ink this year (it is eligible for the Indie Lit Awards), is primarily a series of poems about British-American psychotherapist Annette, her daughter Julia, and a Croatian immigrant, Milena.  Ramos uses the idea of the Triptych beautifully here, in which the poems about or told from Julia and Milena’s points of view are hinged on the poems told from Annette’s point of view.  Moreover, the poems from Julia and Milena’s points of view are used to flesh out the larger story of Annette and her grief, establishing not only the entrapment of “troubles” or suicidal feelings felt by the victims, but also the sense of enormous loss and emptiness felt by the surviving family members.  The message is the goal, and it is not bogged down by overly “pretty” or gruesome language.

From Fold One: Introductions in “Annette” (page 5), “I am a beautiful woman, perhaps the most beautiful/I’ve seen/But the exterior, she perjures herself like an unruly/teen.”  The first line of comparison is drawn when the poet takes the reader from this image of a beautiful woman whose exterior is deceiving to her daughter’s introduction, a young woman as troubled as her dead brother and her mother.  The line is further drawn to include Milena, who now feels out of place in her adopted home, America, since her father passed into a world of rest.  This unrest establishes the foundation upon which Ramos builds the Triptych or the links between these women.

On the surface, it is easy to see the connections between a mother grieving for her lost son and Milena grieving for her lost father.  Julia, it appears, is on the outside looking in because she does not believe her mother “sees” her through the grief, which gives her permission to be suicidal.  The connection Julia sees between her mother and her deceased brother are more than she can reconcile, especially when she too lost someone she loved.  It is not until the final panel is revealed — Fold Three: Connections — that the whole picture is revealed.  There is a melding here of these women, a verbal acknowledgment that they are the same.  However, what separates them is how they tackle the aftermath of suicide.

The other selected poems in the work are not as strong, unfortunately, but Emma Eden Ramos’ conversational style is maintained in the final poems.  Moreover, the stories in the final poems are so different that the collection would have been better served by further introspection by the three main women in the beginning set.  Two of the final poems are focused on body image and religion, but one of the poems maintains the examination of suicide, though in a more cryptic, less direct way.

Three Women: A Poetic Triptych and Selected Poems is a unique chapbook from a young poet, Emma Eden Ramos, that demonstrates a personable style that can reach out to readers and draw them into the story.

Please check out one of the best poems in the collection at the Virtual Poetry Circle.

About the Poet:

Emma Eden Ramos is a twenty-four year old writer from New York City. She has had short stories published in literary journals such as BlazeVOX Journal, The Legendary, The Citron Review, Down in the Dirt Magazine, Stories for children Magazine, and The StoryTeller Tymes.

Her poetry has appeared in Calliope Nerve, Ink Sweat & Tears, and Children, Churches and Daddies Magazine. Emma’s novelette, Where the Children Play, was published in the Spring 2010 issue of BlazeVOX Journal. Three Women: A Poetic Triptych and Selected Poems is Emma’s first collection of poems. At present, Emma is writing a middle-grade novelette. She will be a student at Brooklyn College in the spring. Connect with her on GoodReads.

This is my 27th book for the Fearless Poetry Exploration Reading Challenge.

 

This is my 64th book for the 2011 New Authors Reading Challenge.

121st Virtual Poetry Circle

Welcome to the 121st Virtual Poetry Circle!

Remember, this is just for fun and is not meant to be stressful.

Keep in mind what Molly Peacock’s books suggested. Look at a line, a stanza, sentences, and images; describe what you like or don’t like; and offer an opinion. If you missed my review of her book, check it out here.

Also, sign up for the 2011 Fearless Poetry Reading Challenge because its simple; you only need to read 1 book of poetry. Please contribute to the growing list of 2011 Indie Lit Award Poetry Suggestions, visit the stops on the National Poetry Month Blog Tour from April.

Today’s poem is from Three Women: A Poetic Triptych and Selected Poems by Emma Eden Ramos, which I’ll be reviewing next week:

Inferiority Complex (page 36-7)

I sleep on the kitchen floor when I'm alone.
Twenty-six-year-old virgin,
I moved to Sweden simply for the lack of sunlight.

Summer evenings are hardest --
I spend them behind blackout curtains,
tucked under used-to-be-white, stained flannel
sheets.

In grade school they called me Hobbit.
Fat-Ass-Farrah some years later.
My parents named me after a cute dead actress.
Cute? No
Dead?

It isn't that I don't try,
Only, how can I fix these size 36 hips?
This 25 inch waist? I swear I was born with it.
I'd give anything to refigure my upturned nose,
thin my full-bodied brown hair,
or just lengthen the 5'5" stature I've been cursed
with.

I love the winter months.
I can walk freely down the streets in Stockholm;
nobody notices.
I avoid the busy ones though,
the ones that are always well lit.
But sometimes I can't
and when I can't, it happens --
I'll catch a glimpse --
someone's looking,
somebody's seen.
The swollen-lipped whistle I dread,
the sharp sound that will inevitably trigger my dog-
like cower.
Because I am not stupid.
I know what he is thinking.
        ugly bitch!

No, I am not stupid.
That is not my problem.

What did you think? Share your thoughts.

I’m Hosting Mailbox Monday #148

First, I would like to congratulate (Bibliophile by the Sea) on winning Where Am I Going by Michelle Cromer from the last Mailbox Monday giveaway.

Stay tuned for the next giveaway later on in the post, but for now, let’s get to this week’s post.

Mailbox Mondays (click the icon to check out the new blog) has gone on tour since Marcia at A Girl and Her Books, formerly The Printed Page passed the torch. Thanks to Amused by Booksfor hosting last month.

As host for this month, I have a couple giveaways planned, but mostly its about sharing books and the love of reading, so I hope in addition to leaving your post links in Mr. Linky that you’ll peek around Savvy Verse & Wit.

Kristi of The Story Siren continues to sponsor her In My Mailbox meme.

Both of these memes allow bloggers to share what books they receive in the mail or through other means over the past week.

Just be warned that these posts can increase your TBR piles and wish lists.

Here’s what I received this week:

1.  The Time in Between by Maria Duenas for review (my second copy, look for a giveaway with the review)

2.   Twilight The Graphic Novel Volume 2 by Stephenie Meyer and adapted by Young Kim

3.  The Giver by Lois Lowry from the library sale for my daughter and myself

4.  The Horse and His Boy by C.S. Lewis from the library sale for my daughter

5.  Who Am I? by Sesame Street from the library sale for my daughter

6.  Silly Sally by Audrey Wood for my daughter from the library sale

7. The Conference of the Birds by Peter Sis for review for TLC Book Tours in early November.

8. The Strangers on Montagu Street by Karen White for review in November.

9. Three Women: A Poetic Triptych and Selected Poems by Emma Eden Ramos for review.

10. Beyond the Scent of Sorrow by Sweta Srivastava Vikram for review.

11. Soul Clothes by Regina D. Jemison for review.

12. A Train in Winter by Caroline Moorehead for a TLC Book Tour at the end of November.

What books did you receive this week?  Please leave your link below to your mailbox.

Now, for the giveaway for the week.  I’m holding an international giveaway for Waking by Ron Rash.  Deadline to enter is Oct. 22, 2011.

I reviewed the book earlier in the month and is my first experience with Rash’s work.  Have you read other Ron Rash books, if so which one and should I read it?

I also posted a poem from the collection in the Virtual Poetry Circle.

Please leave a comment if you are interested in this book.