Bøker av Carol Snow

From the author of Here Today, Gone to Maui, the story of a woman who finally got a life...some else's. Ever since Veronica's husband found the love of his life-not her-she's been a walking zombie with runny mascara. It doesn't help that she keeps getting mistaken for Haley Rush-the Hollywood starlet whose dazzling life is plastered on every magazine. When Haley's manager offers Veronica a job as a celebrity double, it only takes a moment before she says yes. Veronica gets to drive Haley's car, wear her phenomenal clothes-and have fun with her hot celebrity boyfriend, Brady Ellis. Too bad the job's only part-time, and at the end of the day she has to return to her life as a cash-strapped substitute teacher and cub scout mom. But when real sparks fly with Brady, is it a fantasy come true or a disaster in disguise?

Claire Martin has some serious body issues. Ever since Claire hit her teens, electrical storms have been making her switch bodies. But when something goes terribly wrong, she finds herself stuck in the fabulous body-and life-of Larissa, the icy blonde beauty who has caught the eye of Nate, Claire's longtime crush.

Carol Snow's award-winning poetry has been admired and celebrated as "e;work of difficult beauty"e; (Robert Hass), "e;ever restless, ever re-framing the frame of reference"e; (Boston Review), teaching us "e;how brutally self-transforming a verbal action can be when undertaken in good faith"e; (Jorie Graham). In this, her third volume, Snow continues to mine the language to its most mysterious depths and to explore the possibilities its meanings and mechanics hold for definition, transformation, and emotional truth. These poems place us before, and in, language--as we stand before, and in, the world. The Seventy Prepositions comprises three suites of poems. The first, "e;Vocabulary Sentences,"e; reflects on words and reality by taking as a formal motif the sort of sentences used to test vocabulary skills in elementary school. The poems of the second suite, "e;Vantage,"e; gather loosely around questions of perspective and perception. The closing suite finds its inspiration in the Japanese dry-landscape gardens known as karesansui, such as the famous rock garden at Ryoan-ji Temple in Kyoto. Here the poet approaches composition as one faces a "e;miniature Zen garden,"e; choosing and positioning words rather than stones, formally, precisely, evocatively.