Remembering their mother who suddenly disappeared, three children--Mary Belle, Ariel, and Callie--cope with tough times on their own. By the author of You Shouldn't Have to Say Good-bye. Reprint.
For use in schools and libraries only. A lyrical dance through the seasons. Fine lines scratched into drawings add a sense of motion beyond the dancing figures, the billowing clouds, rustling leaves, and splashed-in puddles.
This rhythmic showcase of dances from all over the world features children of diverse backgrounds and abilities tapping, spinning, and boogying away! Tap, twirl, twist, spin! With musical, rhyming text, author Valerie Bolling shines a spotlight on dances from across the globe, while energetic art from Maine Diaz shows off all the moves and the diverse people who do them. From the cha cha of Cuba to the stepping of Ireland, kids will want to leap, dip, and zip along with the dances on the page!
The hilarious, colorful #1 New York Times bestselling phenomenon that every kid wants! Gift a copy to someone you love today. Poor Duncan just wants to color. But when he opens his box of crayons, he finds only letters, all saying the same thing: His crayons have had enough! They quit! Blue crayon needs a break from coloring all those bodies of water. Black crayon wants to be used for more than just outlining. And Orange and Yellow are no longer speaking—each believes he is the true color of the sun. What can Duncan possibly do to appease all of the crayons and get them back to doing what they do best? With giggle-inducing text from Drew Daywalt and bold and bright illustrations from Oliver Jeffers, The Day the Crayons Quit is the perfect gift for new parents, baby showers, back-to-school, or any time of year! Perfect for fans of Don't Let the Pigeon Drive the Bus by Mo Willems and The True Story of the Three Little Pigs by Jon Sciezka and Lane Smith. Praise for The Day the Crayons Quit: Amazon’s 2013 Best Picture Book of the Year A Barnes & Noble Best Book of 2013 Goodreads’ 2013 Best Picture Book of the Year Winner of the E.B. White Read-Aloud Award * “Hilarious . . . Move over, Click, Clack, Moo; we’ve got a new contender for the most successful picture-book strike.” –BCCB, starred review “Jeffers . . . elevates crayon drawing to remarkable heights.” –Booklist “Fresh and funny.” –The Wall Street Journal "This book will have children asking to have it read again and again.” –Library Media Connection * “This colorful title should make for an uproarious storytime.” –School Library Journal, starred review * “These memorable personalities will leave readers glancing apprehensively at their own crayon boxes.” –Publishers Weekly, starred review “Utterly original.” –San Francisco Chronicle
..".It is the music that makes the difference in the read-aloud version...The wonderful jazzy introductory music matches the loose, easy-going illustrations and sets the tone...Tom Chapin's friendly, relaxed voice invites us along...[his] alligator voices are excellent...This delightful audiobook takes its story beyond what reading alone can do." - AudioFile Magazine
Down on her luck blues singer, Gabriella Santos, escapes her over- protective family, along with a series of bad relationships, for a gig in Chicago. She is determined to prove she can stand on her own two stiletto-clad feet and make a fresh start. But when she tangles with the sexy but aloof bar owner, Shane O'Neil, she begins to believe she might have bitten off more than she can chew. When she gets mugged, shot at, witnesses a hit and run and sees somebody murdered, she knows she's in way over her head. Ex-special forces guy turned detective and reluctant bar owner, Shane O'Neil, has a laundry list of things he doesn't like, starting with cops—especially his stepfather and stepbrother, who top the list. He also doesn't like a too-beautiful-for-her-own-good blues singer trying to tell him how to run his bar. She's pushy, chatty, high-maintenance and does everything she can do to get under his skin—from her flawless latte-colored skin, to her long sexy legs, to her incredible voice, he can hardly think of anything else. Which is a really bad thing since Shane thrives on being in control. But when he ends up beaten to a pulp in a Chicago alley, he has no choice but to rely on Gabriella for help. Despite the sizzling chemistry between them, finding the balance between trust and commitment is a formidable task.
Bobbie Sanders and her family live what some might call an idyllic life in Newport Beach, California. Happily married with two fairly normal teenagers, Bobbie confronts lifes challenges with faith, humor, and humility. But life as Bobbie has come to know it is in flux. Her kill them with kindness attitude hits a wall when the irascible Mr. Ragoni moves in next door and rebuffs all her efforts to win him over. Its just the first sign of the seismic changes that threaten Bobbies sense of security. Her husband, Bud, is going through a midlife crisis; her daughter, Pamela, is leaving convention and a fianc behind for new horizons in Japan; and her sixteen-year-old son, Cole, shocks them all by befriending Mr. Ragoni to potentially disastrous effect. In All Things Possible, Bobbies goodnessand her faithare challenged to the core when real tragedy occurs, and she is forced to question the divine promise that God will not give her more than she can handle.
Body stories capture a nuanced, interconnected, interactive, and complex telling of our understanding, perception, and experience of and through our bodies. Plenty has been published on body image but image suggests a static fixed body, unmitigated through our social interactions and varying times and spaces. This book is not a "how-to" guide for fat confidence. It's not a compendium of fat suffering. It's simply a collection of narratives about what it's like to survive in a weight-hating world. It resists the ways that marginalized bodies are being written and researched and put into other people's ideas about our existence. The stories in this book are celebratory and are painful. They look at intersections of race and queerness; they destabilize womanhood by presenting a range of possible female embodiments. They explore issues of disability and madness. The full range of possibilities that are collected here give a picture of what it means to live in a society with strong and powerful messages about size, about normalcy, about what a moral and healthy life and body look like. This book is a snapshot of its place and time, but these stories remind us that we're here to stay. The body stories will change but we will keep owning our own narratives. While story, especially written by women, is often seen as outside the academic canon, these stories, these creative offerings, are theory, are research, and are activism. They are nothing less than the blueprint for liberation. Writing about fat and about bodies outside of medicalized narratives, without ignoring the impact of race, sexuality, class, ability, gender, fashion, appearance, and beyond, is radical and rigorous. It is impossible to think about the future without wishing for liberation. Liberation can come in many forms. It can mean an awareness, the ability to confront. The stories in this book display the ways that liberation isn't a finish line or a thing we can complete—rather it is a million small actio