After Iris

Being a combination of conventional diary entries and transcripts of videos shot by the author on the camera she was given for her 13th birthday, and beginning at the end of summer. Bluebell Gadsby is 13 but that's the least of her problems. Both her parents seem more interested in their careers than the family, leaving Blue and her three siblings in the care of Zoran the au pair, as well as their three pet rats (who may or may not be pregnant). The enigmatic Joss moves in next door and Blue thinks she might be falling in love, until he takes out her older sister Flora instead (who, incidentally, is trying to make a statement by dying her hair bright pink but no one takes the blindest bit of notice). Blue thinks and feels very deeply about life but can't really talk to anyone about it, because no one in the Gadsby family wants to address the real problem - that Blue's twin sister, Iris, died a year ago, and they are all just trying to hide their grief in busyness... So Blue turns to her diary and her unique way of seeing the world through her camcorder to express herself. A tender, funny, smart and ultimately heartwarming story.

An unforgettable middle-grade debut that will steal your heart Blue Gadsby’s twin sister, Iris, died three years ago and her family has never been the same. Her histrionic older sister, Flora, changes her hair color daily; her younger siblings, Jasmine and Twig, are completely obsessed with their pet rats; and both of her parents spend weeks away from home–and each other. Enter Zoran the Bosnian male au pair and Joss the troublemaking boy next door, and life for the Gadsby family takes a turn for the even more chaotic. Blue poignantly captures her family’s trials and tribulations from fragmented to fully dysfunctional to ultimately reunited, in a sequence of film transcripts and diary entries that will make you cry, laugh, and give thanks for the gift of families. With the charm of The Penderwicks and the poignancy of When You Reach Me, Natasha Farrant's After Iris is a story that will stay with readers long after the last page.

Harriet is leaving her boyfriend Claude, “the French rat.” That at least is how Harriet sees things, even if it’s Claude who has just asked Harriet to leave his Greenwich Village apartment. Well, one way or another she has no intention of leaving. To the contrary, she will stay and exact revenge—or would have if Claude had not had her unceremoniously evicted. Still, though moved out, Harriet is not about to move on. Not in any way. Girlfriends circle around to patronize and advise, but Harriet only takes offense, and it’s easy to understand why. Because mad and maddening as she may be, Harriet sees past the polite platitudes that everyone else is content to spout and live by. She is an unblinkered, unbuttoned, unrelenting, and above all bitingly funny prophetess of all that is wrong with women’s lives and hearts—until, in a surprise twist, she finds a savior in a dark room at the Chelsea Hotel.

When Louis XVI was guillotined on January 21, 1793, vast networks of production that had provided splendor and sophistication to the royal court were severed. Although the king’s royal possessions—from drapery and tableware to clocks and furniture suites—were scattered and destroyed, many of the artists who made them found ways to survive. This book explores the fabrication, circulation, and survival of French luxury after the death of the king. Spanning the final years of the ancien régime from the 1790s to the first two decades of the nineteenth century, this richly illustrated book positions luxury within the turbulent politics of dispersal, disinheritance, and dispossession. Exploring exceptional works created from silver, silk, wood, and porcelain as well as unrealized architectural projects, Iris Moon presents new perspectives on the changing meanings of luxury in the revolutionary and Napoleonic periods, a time when artists were forced into hiding, exile, or emigration. Moon draws on her expertise as a curator to revise conventional accounts of the so-called Louis XVI style, arguing that it was only after the revolutionary auctions liquidated the king’s collections that their provenance accrued deeper cultural meanings as objects with both a royal imprimatur and a threatening reactionary potential. Lively and accessible, this thought-provoking study will be of interest to curators, art historians, scholars, and students of the decorative arts as well as specialists in the French Revolution.