Books by Lorie Ann Grover

Books by Lorie Ann Grover
Kirkus Starred Review, Firstborn: "A fantasy that reads like a lost history tome and deftly examines issues of gender...An engrossing story with welcome depths."

Wednesday, January 31, 2018

Publishers Weekly: Rights Report, Wonderful Me

Celia Lee at Scholastic/Cartwheel has bought world rights to Lorie Ann Grover's self-empowerment board book series, Wonderful Me, illustrated by Cocoretto. The series begins with two books, I Love All of Me and I Know I Can. Publication is scheduled for 2019; the author represented herself, and Emily Coggins at Astound represented the illustrators.

Publishers Weekly

Woohoo! :) 

Tuesday, January 30, 2018

Dry Eyes: Solutions, Part Five, Amniotic Membrane Bandage, Prokera

Related image

AMNIOTIC MEMBRANES! In my eye! For $3,500, for one eye, I'm wearing this bandage ring for a week. (My insurance pays 80%) The membranes, harvested from generous women who have C-sections, are reducing my inflammation. It's not possible to see through the lens, especially as it clouds over time, so I am wearing a patch. The ring is uncomfortable.

The brand I am using is Prokera. The insertion and removal (I was checked midway) is simple. The contact is about the size of a quarter. If feasible, the other eye may be treated or this one repeated.

I've received several messages from folks seeking help for their eyes. Maybe this option will be useful to another, as well. I'll update when results are in.

Note: my treatment is for Sjogren's and Lupus, dry eye.

Friday, December 15, 2017

Open Letter to the Seattle Art Museum, #MeToo

#AndrewWyeth #SeattleArtMuseum #SAM

I took my mother-in-law and mother to the Seattle Art Museum yesterday to celebrate the work of Andrew Wyeth. I had always admired his dedication to realism when so few artists were creating in a similar manner. I appreciated the haunting stories within his paintings.

As always, the Seattle Art Museum has created a beautiful, honest exhibit, this time showcasing Andrew Wyeth's life work. The accompanying literature was informative and intriguing.

What I hadn't realized is that I had formerly missed Andrew's reveal of his nude paintings of thirteen year old Siri. I had missed his acknowledgement of his affair with Helga and his representations of her while he was married to Betsy. So, as I toured the exhibition, noting the intense detail, the mastery, and repeated images of death, I found myself before paintings of a nude thirteen year old girl. And then, as the museum calls them, I viewed the "erotic paintings" of Andrew's mistress. Trying to take everything in and process, I heard a nearby teen girl say, "Well, at least she was of age."

In our day, in the midst of the #MeToo revolution, should we be staring at paintings of a thirteen year old girl, painted by a man who described himself as "a secretive bastard," according to Time magazine. Yes, an adult Siri Erickson seemingly gave her consent then and now, as the article states:

"Siri, now 32 and the mother of two girls, recalls no embarrassment or awe about posing nude for Wyeth when she was 13. 'He would get totally involved in his work. It was as if you were a tree,' she says. 'He's a normal, everyday person. He does paint good, but he's just Andy.'"

But as I sat and watched the public look at the paintings, as man after man studied the images, I had to ask: how did a man, whose body of work was not known for nude imagery, suddenly find himself painting a naked girl? If a thirteen year old agrees to be photographed nude today, is that not still illegal? Can we say the paintings of Helga are "erotic" and the images of Siri are not? 

Yes, this exhibit is a retrospect of Andrew Wyeth's work, but would it be better to leave empty spaces where the nude, underage Siri paintings now hang? Why are we not applying the same #MeToo standards to art? This is not a prudish question. This is not a call for censorship. This is about honoring a teen girl. There is a reason Andrew kept the imagery a secret until Siri came of age. What gave him the right to look until then? 

Seattle Art Museum, this is a thirteen year old girl.  What are we saying by looking and saying nothing?

Lorie Ann Grover, author, 2017

Thursday, October 5, 2017

Children's Lit Fellows Open Enrollment

I love mentoring for Children's Lit Fellows of Stony Brook! If you are ready to hone your skills and have your story to tell, check out the program. Enrollment is open now. #andnowwewrite

Tuesday, October 3, 2017

Happy Book Birthday, Bright Night!

It's her happy birthday!

Publishers Weekly: "It’s a simple, punchy, and jubilant retelling."
School Library Journal: "perfect for toddlers....A delightful Nativity story to show very little ones."

by Lorie Ann Grover
illustrated by Jo Perry

Thursday, September 21, 2017

Bright Night

A lovely review from Publishers Weekly!

Grover effectively reduces the Nativity story to quippy rhyming phrases in this padded board book, whose cozy mood is bolstered by Parry’s soft, gauzy-looking digital artwork. “Carry Mary,” reads the opening spread as Joseph leads a donkey down a road as birds, butterflies, and a rabbit dance around the couple. From there, they land in the “safe place” of the stable, celebrate “boy joy” when Jesus is born, and enjoy a little “swaddle, coddle” before visitors arrive, having followed the “far star” in the night sky. It’s a simple, punchy, and jubilant retelling. Ages 4–8. (Oct.)

Preorder is available here

by Lorie Ann Grover
illustrated by Jo Perry
Zonderkidz, Oct. 3, 2017