Notebook is a wonderful multi-purpose journal for sketching, jotting down thoughts, and writing notes. ★ Specifications: ✓ Size: 8.5" x 11" - US Letter Size ✓ Pages: 120 pages ✓ Cover: Soft, matte paperback cover ✓ Perfect Binding ✓ Made in the USA ✓ Perfect for gel pen, ink or pencil ♥ Makes a great Christmas, Birthday, Graduation or Beginning of the school year gift ♥
Notebook is a wonderful multi-purpose journal for sketching, jotting down thoughts, and writing notes. ★ Specifications: ✓ Size: 8.5" x 11" - US Letter Size ✓ Pages: 120 pages ✓ Cover: Soft, matte paperback cover ✓ Perfect Binding ✓ Made in the USA ✓ Perfect for gel pen, ink or pencil ♥ Makes a great Christmas, Birthday, Graduation or Beginning of the school year gift ♥
From the bestselling author of The Mountain Between Us comes the moving story of a man with a painful past, a little girl with a doubtful future, and a shared journey toward healing for both of their hearts. It begins on the shaded town square in a sleepy Southern town. A spirited seven-year-old has a brisk business at her lemonade stand. But the little girl’s pretty yellow dress can’t quite hide the ugly scar on her chest. Her latest customer, a bearded stranger, drains his cup and heads to his car, his mind on a boat he's restoring at a nearby lake. The stranger understands more about the scar than he wants to admit. And the beat-up bread truck careening around the corner with its radio blaring is about to change the trajectory of both their lives. Before it's over, they'll both know there are painful reasons why crickets cry . . . and that miracles lurk around unexpected corners. “Charming characters and twists that keep the pages turning.” —Southern Living A Southern Living Book of the Month selection Stand-alone contemporary Christian fiction (approx. 85,000 words) Also by Charles Martin: The Water Keeper, The Mountain Between Us, Send Down the Rain, and Chasing Fireflies
This multiple protagonist series with numerous points of view (PoV) centres around five college students about to begin their academic careers. Three of those five are boys who were childhood buddies, and the other two are females who they met in college. A side story about "Ms. Editor and Mr. Author," who are writing and editing the main story, is also included in the series. This section contains three storylines: 1) the main ML and FL, 2) the side characters of this section, and 3) Ms. Editor and Mr. Author First story: The female lead, on her first day of college, noticed a group of three boys arguing with college professors, and she thought that they were delinquents. Later, she became friends with those boys and started liking one of them. They are both completely opposite in everything; the only thing that is the same about them is that they are both human beings. But she doesn't know that the boy she likes already has a partner, which is more than a girlfriend but less than a wife. Why? It’s because they have been married for some years, and their father and mother have also been friends since childhood. Before our female lead confesses to him, her own mom requests that she find a stranger (a boy), whom she meets in the garden. That stranger helped her mom make a big decision that is going to change their lives for real. Still, our female lead ignored her mom's request to find that stranger (a boy) and planned to confess the boy she liked from her friend circle. Neglecting everything she confessed to him in the garden, he Second Story: Our second Male lead's (note: He's a side character in this part) college doesn’t start as he thought it would. On his first day of college, he fell in love at first sight when he saw a very beautiful girl coming near his bus stop. He thought college life was going to be fun, but he didn’t know that the author had planned something else for his tale. The girl, whom he thought would be his future partner, left their bus in a private car. He recovered from the tragic first day of college, but not fully. After a few days, his one and only girl friend, on whom he had a crush for many years, directed him to date one of the girls with whom he became friends in college. He accepted that request from his friend but also told her that he would wait for love at first sight, no matter how long it took. Side story: Ms. Editor and Mr. Author Mr. Author is writing the main story, and Ms. Editor is his partner and is helping him in his work. They have been a couple since their college days. But still, they’re not living together. It’s because, according to Mr. Author, it’s very hard to control himself around Ms. Editor in his own apartment. And also, Ms. Editor is a professional editor and earns at least five times more money than Mr. Author, who has only published a 20-page essay until now. Mr. Author gets a great response from everyone who reads that essay, and that’s why he decided to become an author. Mr. Author is an independent author.
During his third year in high school, Koyomi Araragi is introduced to a transfer student named Ougi Oshino Ougi tells Koyomi that there is something odd about Naoestu High School… a secret room on thats not on the map. What will Koyomi and Ougi find in this hidden room?
The all-time classic picture book, from generation to generation, sold somewhere in the world every 30 seconds! Have you shared it with a child or grandchild in your life? For the first time, Eric Carle’s The Very Hungry Caterpillar is now available in e-book format, perfect for storytime anywhere. As an added bonus, it includes read-aloud audio of Eric Carle reading his classic story. This fine audio production pairs perfectly with the classic story, and it makes for a fantastic new way to encounter this famous, famished caterpillar.
Meet Josephine, the most loveable mischief-maker in Barbados, in a magical, heartfelt adventure inspired by Caribbean mythology. * “A heart-wrenching adventure with big laughs and well-earned surprises.” –Kirkus Reviews, Starred Review Eleven-year-old Josephine knows that no one is good enough for her daddy. That's why she makes a habit of scaring his new girlfriends away. She's desperate to make it onto her school's cricket team because she'll get to play her favorite sport AND use the cricket matches to distract Daddy from dating. But when Coach Broomes announces that girls can't try out for the team, the frustrated Josephine cuts into a powerful silk cotton tree and accidentally summons a bigger problem into her life . . . The next day, Daddy brings home a new catch, a beautiful woman named Mariss. And unlike the other girlfriends, this one doesn't scare easily. Josephine knows there's something fishy about Mariss but she never expected her to be a vengeful sea creature eager to take her place as her father's first love! Can Josephine convince her friends to help her and use her cricket skills to save Daddy from Mariss's clutches before it's too late?
Race does not exist in animation—it must instead be constructed and ascribed. Yet, over the past few years, there has been growing discourse on the intersection of these two subjects within both academic and popular circles. In Race and the Animated Bodyscape: Constructing and Ascribing a Racialized Asian Identity in "Avatar" and "Korra," author Francis M. Agnoli introduces and illustrates the concept of the animated bodyscape, looking specifically at the US television series Avatar: The Last Airbender and its sequel, The Legend of Korra. Rather than consider animated figures as unified wholes, Agnoli views them as complexes of signs, made up of visual, aural, and narrative components that complement, contradict, and otherwise interact with each other in the creation of meaning. Every one of these components matters, as they are each the result of a series of creative decisions made by various personnel across different production processes. This volume (re)constructs production narratives for Avatar and Korra using original and preexisting interviews with cast and crew members as well as behind-the-scenes material. Each chapter addresses how different types of components were generated, tracing their development from preliminary research to final animation. In doing so, this project identifies the interlocking sets of production communities behind the making of animation and thus behind the making of racialized identities. Due to its illusory and constructed nature, animation affords untapped opportunities to approach the topic of race in media, looking beyond the role of the actor and taking into account the various factors and processes behind the production of racialized performances. The analysis of race and animation calls for a holistic approach, one that treats both the visual and the aural as intimately connected. This volume offers a blueprint for how to approach the analysis of race and animation.
