By Walter Dean Myers
New York Times bestselling writer and Printz Award winner Walter Dean Myers once more connects with young ones all over the place in Darius & Twig, a singular approximately friendship and desiring to reside your personal dream.
Darius and Twig are an not going pair: Darius is a author whose simply get away is his regulate ego, a peregrine falcon named Fury, and Twig is a middle-distance runner striving for athletic luck. yet they're drawn jointly within the fight to beat the stumbling blocks that Harlem lifestyles throws at them.
The neighbors needs to face down bullies, an abusive uncle, and the concept they'll be caught within the comparable position endlessly during this touching and uncooked new teenager novel from Walter Dean Myers, award-winning writer of Monster, Kick, We Are America, Bad Boy, and plenty of different celebrated literary works for kids and youths.
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Extra resources for Darius & Twig
As a key member of a group of late nineteenth-century intellectuals, nicknamed ‘the Souls’*, Violet talked about art and berated the philistinism of the Victorian age. She was also much admired for her own amateur gifts, with several of her busts and her silver-point and pencil portraits exhibited in London galleries. A reputation for being different, even mildly rebellious, had attached itself to her. While Violet deferred to the formal duties of a Duke’s wife, she clearly preferred intimate suppers to grand dinners and court events.
1 Yet over the following days she would be feted by artists and critics as a black pearl, an ebony Venus, a jazz age vamp with the soul of an African goddess. Postcards of ‘La Baker’ went on sale, as did a range of Josephine dolls. Her shiny black hair and coffee-coloured skin, the source of so much abuse back home, were harnessed to the marketing of French beauty products: hair pomade for the glossing of Eton crops; walnut oil for the faking of summer tans. Her hard, supple body was celebrated as an icon of contemporary style – reflecting the glossy streamlined aesthetic of art deco and the gamine flair of the French garçonne.
They were written about by the same novelists and journalists, photographed for the same publications. But biography is essentially about the colour and detail of individual lives and in writing this book I’ve been fortunate to profit from the groundwork of many other fine biographers. To their research and knowledge I owe a profound debt. In the matter of language, the 1920s was a world away from our own politically conscious era. Young women were girls, blacks were often niggers, female actors were actresses, and even though this usage can grate on modern ears, I’ve opted to retain a flavour of it, for the sake of period accuracy.