WMPL is inviting the community to help us vote in The Great American Read! Come into the library and check out our book display featuring a selection of some of the 100 books America loves the most. Cast your vote and when it's finished, we'll know not only which book...read more
Thank you to everyone who voted! Our library budget passed. For more information on the budget, click here.read more
The library now offers wireless printing! Simply send your print jobs as an attachment to email@example.com. You will receive a print release code. Give this code to the tech staff at the technology desk in the library, and they will release your print...read more
“When horror superfan and film producer Mallory O’Meara watched The Creature from the Black Lagoon at age 17, her life changed forever. She found a lifelong heroine when she discovered that the movie’s titular creature had been created by a female artist named Milicent Patrick. “For all of my adult life and film career, Milicent Patrick has been a guiding light, a silent friend, a beacon reminding me that I belonged,” O’Meara writes.
Patrick was a footnote long lost to film history, but O’Meara has decided to change all that with her fascinating biography, The Lady from the Black Lagoon: Hollywood Monsters and the Lost Legacy of Milicent Patrick. Patrick’s story is enthralling: She spent part of her childhood on the grounds of Hearst Castle, where her megalomaniac father was an architect. A talented artist, she became one of Disney’s first animators and, later, the only woman to create a classic Hollywood monster―only to be fired because her boss was jealous of the attention she was receiving. Nonetheless, her legacy continues to inspire, as her creature was the impetus behind the Oscar-winning film The Shape of Water. Patrick was also an actress (albeit not a great one) and a glamorous personality who embodied the allure of Hollywood.”
“We follow the life of a girl named Harriet Lee, daughter of Margot and Simon, who grows up in the land of Druhástrana amid the idyllic wheat fields, in a life of serfdom to the wealthy and legendary Kercheval family. But Druhástrana, once a powerful small nation, seems to have fallen off the map, and now only exists as a myth for the rest of the world. No way in. No way out.
Or so it seems—until Margot gets a message via a homing pigeon from a very distant cousin in Britain (also a wealthy Kercheval), who somehow comes across a video clip of Harriet and sees promise in the young girl. He wants to rescue the Lees, so to speak, and thanks to Margot’s magical gingerbread, Harriet and Margot are able to leave Druhástrana, but with a new debt to the Kerchevals.
That was then, and this is now. Living in a seven-story walk-up apartment, Harriet is now 34 years old and a mother to a very curious 17-year-old named Perdita. Will Perdita be the reason that Harriet and Margot are finally forced to revisit their Druhástranian roots? And were they really able to escape their history while forging a new life in Britain?”
“Dartmouth classmates Jack and Wynn have cleared a few weeks for fly-fishing and whitewater canoeing in northern Canada. Raised on a ranch in Colorado, Jack finds camping and hunting to be as natural as breathing. Wynn is a gentle soul from rural Vermont whose random trailside installations of stones, twigs and flowers do not take away from his acumen out of doors. The young men share a love of literature and outdoor sport, and imagine their two-week trek to be one of leisurely paddling, blueberry picking and reading around the campfire. This idyll is abruptly shattered when they sniff out the fumes of a swiftly approaching forest fire. Wynn and Jack agree to turn back and warn a couple they heard arguing the day before. This proves to be a fateful decision, as the woman, Maia, is found injured and bloody, and her husband, Pierre, no longer on the scene. The two men, with the badly shocked Maia in tow, are now on the run from the fire and, equally threatening, from a possibly homicidal husband. As if this weren’t bad enough, the crises put a strain on the two men, and an element of mistrust creeps into their friendship.”
“The novel follows a family of three grown sisters after Althea, the oldest sister and the family matriarch, is sent to jail along with her husband. Her sisters, Viola and Lillian, must rise to the occasion to care for Althea’s twin daughters. While each woman battles demons of her own, they take turns carrying the story, each adding a beautiful and vivid layer to the plot as the narrative torch is passed.
Viola, the middle sister, struggles with the eating disorder that has plagued her for years. As she contemplates whether or not she has what it takes to raise her teenage nieces, she’s also trying to reconcile her own marriage. Lillian, the youngest, has tenaciously held onto and restored her family’s old house, a place where she experienced profound pain and loneliness during her adolescence. She has a history of taking on the responsibilities of other people’s families: Along with Althea’s twin daughters, Lillian cares for her late ex-husband’s grandmother, Nai Nai. Althea’s twins are as different as sisters can be and have dealt with the fallout of their parents’ incarceration in vastly different ways. When Kim, the more headstrong of the twins, goes missing, Lillian and Violet must band together to bring her home.
The fourth narrator is Proctor, Althea’s husband, whose capacity for love is apparent in his letters to his wife. Through these letters, Proctor offers a subtle but brilliant contrast to the women’s internal monologues. Through these intimate perspectives, the family becomes a breathing entity, giving space to peripheral characters such as the parents (both deceased) and the brother, a troubled teen turned preacher.”