Stanley and his friends think the new kid at school acts like a big scary wolf. But a visit with some real wolves teaches Stanley and his friends just how wrong they were about the animals-and their new classmate!
Stanley and his friends think the new kid at school acts like a big scary wolf. But a visit with some real wolves teaches Stanley and his friends just how wrong they were about the animals--and their new classmate!
This is the third volume of articles based on years of research into local history. previously printed weekly in the local paper. They cover many subjects, many of them unique, all of them relevant to Barlick. 508 pages and over 250 illustrations.
Stanley doesn't want to go to sleep-ever! He wants to play all night long. But when he and Dennis learn that even grizzly bears need their rest, Stanley realizes just how important it is to get your zzz's.
George Catlin's paintings and the vision behind them have become part of our understanding of a lost America. We see the Indian past through Catlin's eyes, imagine a younger, fresher land in his bright hues. But he spent only a few years in what he considered Indian country. The rest of his long life?more than thirty years?wasødevoted largely to promoting, repainting, and selling his collection?in short, to seeking patronage. Catlin and His Contemporaries examines how the preeminent painter of western Indians before the Civil War went about the business of making a living from his work. Catlin shared with such artists as Seth Eastman and John Mix Stanley a desire to preserve a visual record of a race seen as doomed and competed with them for federal assistance. In a young republic with little institutional and governmental support available, painters, writers, and scholars became rivals and sometimes bitter adversaries. Brian W. Dippie untangles the complex web of interrelationships between artists, government officials, members of Congress, businessmen, antiquarians and literati, kings and queens, and the Indians themselves. In this history of the politics of patronage during the nineteenth century, luminaries like Henry Rowe Schoolcraft, Henry H. Sibley, John James Audubon, Alfred Jacob Miller, and Karl Bodmer are linked with Catlin in a contest for the support of the arts, setting a precedent for later generations. That the contenders "produced so much of enduring importance under such trying circumstances," Dippie observes,"was the sought-for miracle that had seemed to elude them in their lives."
Worzel is still an enormous Lurcher with 'issues.' Now in his 4th year with his forever family, life is changing. As the children grow up and spread their wings, Worzel's world should be more peaceful. As life rolls on, a changing of the guard brings new challenges and whilst Worzel might be ready for an easy life, his family has other plans ...
A family lives in a small village. Everyone in the family must do his or her part to provide for the family. It is the youngest son's job to herd the family's sheep. He must be very careful because a wolf is nearby. But the boy does not believe there is danger. He is bored with his work. He decides to trick his family and cry, "Wolf!" even though the wolf is not there. The family comes to him and is angry that he lies. The boy promises not to lie again, but he does anyway. He loses everyone's trust. When the wolf really arrives, no one believes the boy's cries. Will the boy save himself and the village.