Bryn Mawr Authors
Book of Boy
A Newbery Honor Book * Booklist Editors' Choice * BookPage Best Books * Chicago Public Library Best Fiction * Horn Book Fanfare * Kirkus Reviews Best Books * Publishers Weekly Best Books * Wall Street Journal Best of the Year * An ALA Notable Book
A young outcast is swept up into a thrilling and perilous medieval treasure hunt in this award-winning literary page-turner by acclaimed bestselling author Catherine Gilbert Murdock. The Book of Boy was awarded a Newbery Honor. "A treat from start to finish."--Wall Street Journal
Boy has always been relegated to the outskirts of his small village. With a hump on his back, a mysterious past, and a tendency to talk to animals, he is often mocked by others in his town--until the arrival of a shadowy pilgrim named Secondus. Impressed with Boy's climbing and jumping abilities, Secondus engages Boy as his servant, pulling him into an action-packed and suspenseful expedition across Europe to gather seven precious relics of Saint Peter.
Boy quickly realizes this journey is not an innocent one. They are stealing the relics and accumulating dangerous enemies in the process. But Boy is determined to see this pilgrimage through until the end--for what if St. Peter has the power to make him the same as the other boys?
This epic and engrossing quest story by Newbery Honor author Catherine Gilbert Murdock is for fans of Adam Gidwitz's The Inquisitor's Tale and Grace Lin's Where the Mountain Meets the Moon, and for readers of all ages. Features a map and black-and-white art by Ian Schoenherr throughout.
Book of Growing
Bread and Circus
Cactus Flowers
| by Samantha Pious - BMC '11 |
2026 shortlist for a Lambda Literary Award in Lesbian Poetry and a Golden Crown Literary Award
Samantha Pious's translations from the Portuguese of Judith Teixeira's poetry in Cactus Flowers resound with sensual energy and burning tenderness. Reading these poems, one is struck not only with the passion of Teixeira's queer love poems but by the way in which turbulent politics and social tensions are subtly traceable within the lines. Translations such as this renew literature across multiple languages; Pious is asking us not only to reconsider Teixeira's place within the canon but to reconsider what makes the canon itself: whose stories are valid, which loves are counted, whose language is considered inventive or new. Pious translates Teixeira's synesthetic rapture for English language readers who might be out of practice with such unconstrained earnestness, reminding us that pleasure does have the possibility of obliterating the pain it passes through. What excites me perhaps most about this collection, however, is its ability to transgress any notion of a quiet reading experience. The lone reader is thrown into the bodily world, reminding us that words first and foremost are of the body and its unique experiences.-Allison Grimaldi Donahue
Judith Teixeira's poetry has almost always, over the decades, discomfited specialists, whether because she was a woman writer whose style (Symbolist-Decadent, saudosista, and modernist) was used by the masculine canon of her day, or because her own amorous discourse manifests, at times, a lesbian desire characteristic of the poetic of the boudoir. Her verses disquiet, fascinate, and give rise to heated discussions, as often in her defense as in the condemnation of her work. Above all, she translated the clashes of the Roaring Twenties and fought for the right to liberty and artistic expression.
This English edition-with a selection and preface by Samantha Pious, wherein I would underline the sensitivity and care of her fine translations, as well as her personal commitment-allows Anglophone readers to connect with the first Portuguese woman writer to sing of lesbian love, transforming women's bodies into objects of worship and of carnal consummation.We celebrate this edition, then, with the words Judith Teixeira wrote in 1922 in her poem "Free," which return to life, reinvented, in 2025: "today, my desire intensifies / for what other hours might bring."
-Fabio Mario da Silva
Civil Rights Warrior
Cooking Data
Craft and Conscience
| by Kavita Das - BMC '96 |
Crowd Scenes: Movies and Mass Politics
The movies and the masses erupted on the world stage together. In a few decades around the turn of the twentieth century, millions of persons who rarely could afford a night at the theater and had never voted in an election became regular paying customers at movie palaces and proud members of new political parties. The question of how to represent these new masses fascinated and plagued politicians and filmmakers alike.
Movies seemed to speak directly to the masses, via a form of crowd psychology that bypassed individual personality. Many political commentators believed that movies were inherently aligned with the new forms of collectivist mass politics--indeed, government control of the movie industry became a cornerstone of Communist and Fascist regimes, new political movements that embraced the crowd as the basis of social order. Michael Tratner examines the representations of masses--the crowd scenes--in Hollywood films from The Birth of a Nation through such popular love stories as Gone with the Wind, The Sound of Music, and Dr. Zhivago. He then contrasts these with similar scenes in early Soviet and Nazi films. What emerges is a political debate being carried out in filmic style. In both sets of films, the crowd is represented as a seething cauldron of emotions. In Hollywood films, this is depicted as molding private loves, while collectivist movies present it as turning into organized mass movements. Crowd scenes do more than provide backgrounds for stories, that is: they also function as models for the crowd in the theater. The book concludes with an examination of the films of Fritz Lang, who first in pre-Nazi Germany, then in Hollywood, created movies that can be seen as meditations on both these ways of using the crowd.







