Lured by a magical whistle, Fiona and Bran encounter a wizard-like person named Finn, who takes them on a fantasy journey across ancient Ireland and back to another time.
Determined to find out the truth about their father, Bran and Fiona use their uncle's magic book and go back in time to ninth-century Ireland. Sequel to "The Wizard Children of Finn."
After losing their house to foreclosure, three siblings - India, Finn and Mouse - have less than twenty-four hours to pack their belongings and fly, without their mother, to stay with an uncle in Colorado. But when they land, a mysterious driver meets them at the airport in a pink car adorned with feathers. He has never heard of their Uncle Red. Like Dorothy in Oz, they find themselves in an unknown place, with no idea of how to get home. Time is running out . . .
When Janine's parents win a vacation to a private island, it's the same week as her and her twin brother's 16th birthday. Cool! They leave to go sightseeing on a boat. Then a storm crashes their boat onto an island-- and they aren't alone.
Gena and Finn would have never met but for their mutual love for the popular show Up Below. Regardless of their differences—Gena is a recent high school graduate whose social life largely takes place online, while Finn is in her early twenties, job hunting and contemplating marriage with her longtime boyfriend—the two girls realize that the bond between them transcends fanfiction. When disaster strikes and Gena's world turns upside down, only Finn can save her, and that, too, comes with a price. Told through emails, text messages, journal entries, and blog posts, Gena/Finn is a story of friendship and love in the digital age.
"All modern American literature comes from one book called Huckleberry Finn," declared Ernest Hemingway. "There was nothing before. There has been nothing as good since." Yet even from the time of its first publication in 1885, Mark Twain's masterpiece has been one of the most celebrated and controversial books ever published in America. No other story so central to our American identity has been so loved and so reviled as Huck Finn's autobiography.
Honor Book for the 2005 Book Award given by the Children's Literature Association The popularity of the Harry Potter books among adults and the critical acclaim these young adult fantasies have received may seem like a novel literary phenomenon. In the nineteenth century, however, readers considered both Tom Sawyer and Huckleberry Finn as works of literature equally for children and adults; only later was the former relegated to the category of "boys' books" while the latter, even as it was canonized, came frequently to be regarded as unsuitable for young readers. Adults—women and men—wept over Little Women. And America's most prestigious literary journals regularly reviewed books written for both children and their parents. This egalitarian approach to children's literature changed with the emergence of literary studies as a scholarly discipline at the turn of the twentieth century. Academics considered children's books an inferior literature and beneath serious consideration. In Kiddie Lit, Beverly Lyon Clark explores the marginalization of children's literature in America—and its recent possible reintegration—both within the academy and by the mainstream critical establishment. Tracing the reception of works by Mark Twain, Louisa May Alcott, Lewis Carroll, Frances Hodgson Burnett, L. Frank Baum, Walt Disney, and J. K. Rowling, Clark reveals fundamental shifts in the assessment of the literary worth of books beloved by both children and adults, whether written for boys or girls. While uncovering the institutional underpinnings of this transition, Clark also attributes it to changing American attitudes toward childhood itself, a cultural resistance to the intrinsic value of childhood expressed through sentimentality, condescension, and moralizing. Clark's engaging and enlightening study of the critical disregard for children's books since the end of the nineteenth century—which draws on recent scholarship in gender, cultural, and literary studies— offers provocative new insights into the history of both children's literature and American literature in general, and forcefully argues that the books our children read and love demand greater respect.