Now, Ned and I admire how well you read. But the story will be ruined if you turn the page right now. So please don't. A beautiful pie-making princess is trapped in a tower. Can Sir Wilbur rescue her? And more importantly, can he do it while wearing a tutu? He's going to try! But if you read the story too quickly, Ned won't be able to make the pictures or costumes in time. And happily-ever-after may start to go a bit haywire. Join Ian Lendler and Whitney Martin for a fairy tale that takes off into hilarious uncharted territory -- all because you won't slow down!

A COMPANION TO CHILDREN'S LITERATURE A collection of international, up-to-date, and diverse perspectives on children's literary criticism A Companion to Children's Literature offers students and scholars studying children's literature, education, and youth librarianship an incisive and expansive collection of essays that discuss key debates within children's literature criticism. The thirty-four works included demonstrate a diverse array of perspectives from around the world, introduce emerging scholars to the field of children's literature criticism, and meaningfully contribute to the scholarly conversation. The essays selected by the editors present a view of children's literature that encompasses poetry, fiction, folklore, nonfiction, dramatic stage and screen performances, picturebooks, and interactive and digital media. They range from historical overviews to of-the-moment critical theory about children’s books from across the globe. A Companion to Children's Literature explores some of the earliest works in children's literature, key developments in the genre from the 20th century, and the latest trends and texts in children's information books, postmodern fairytales, theatre, plays, and more. This collection also discusses methods for reading children's literature, from social justice critiques of popular stories to Black critical theory in the context of children's literary analysis.

Offers new insights into the continuing influence of postmodernism on a wide range of international picture books for children published between 1963 and 2008. Its chapters include metafiction; disruption to narrative conventions; interrogation of 'truths'; historiographic metafiction; difference and ex-centricity; globalisation and media.

"The essays address the reception of the Grimms' texts by their readers; the dynamics between Grimms' collection and its earliest audiences; and aspects of the literary, philosophical, creative, and oral reception of the tales, illuminating how writers, philosophers, artists, and storytellers have responded to, reacted to, and revised the stories, thus shedding light on the ways in which past and contemporary transmitters of culture have understood and passed on the Grimms' tales."--BOOK JACKET.

Encyclopedic in its coverage, this one-of-a-kind reference is ideal for students, scholars, and others who need reliable, up-to-date information on folk and fairy tales, past and present. Folktales and fairy tales have long played an important role in cultures around the world. They pass customs and lore from generation to generation, provide insights into the peoples who created them, and offer inspiration to creative artists working in media that now include television, film, manga, photography, and computer games. This second, expanded edition of an award-winning reference will help students and teachers as well as storytellers, writers, and creative artists delve into this enchanting world and keep pace with its past and its many new facets. Alphabetically organized and global in scope, the work is the only multivolume reference in English to offer encyclopedic coverage of this subject matter. The four-volume collection covers national, cultural, regional, and linguistic traditions from around the world as well as motifs, themes, characters, and tale types. Writers and illustrators are included as are filmmakers and composers—and, of course, the tales themselves. The expert entries within volumes 1 through 3 are based on the latest research and developments while the contents of volume 4 comprises tales and texts. While most books either present readers with tales from certain countries or cultures or with thematic entries, this encyclopedia stands alone in that it does both, making it a truly unique, one-stop resource.

Whether used for thematic story times, program and curriculum planning, readers' advisory, or collection development, this updated edition of the well-known companion makes finding the right picture books for your library a breeze. Generations of savvy librarians and educators have relied on this detailed subject guide to children's picture books for all aspects of children's services, and this new edition does not disappoint. Covering more than 18,000 books published through 2017, it empowers users to identify current and classic titles on topics ranging from apples to zebras. Organized simply, with a subject guide that categorizes subjects by theme and topic and subject headings arranged alphabetically, this reference applies more than 1,200 intuitive (as opposed to formal catalog) subject terms to children's picture books, making it both a comprehensive and user-friendly resource that is accessible to parents and teachers as well as librarians. It can be used to identify titles to fill in gaps in library collections, to find books on particular topics for young readers, to help teachers locate titles to support lessons, or to design thematic programs and story times. Title and illustrator indexes, in addition to a bibliographic guide arranged alphabetically by author name, further extend access to titles.

The first systematic approach to the parallels between fairy-tale retellings and fairy-tale theory.

This book examines magic's generally maleficent effect on humans from ancient Egypt through the Middle Ages, including tales from classical mythology, Jewish, Christian, and Muslim cultures. It shows that certain magical motifs lived on from age to age, but that it took until the Italian Renaissance for magic tales to become fairy tales.

The entire series--three scorching hot fairy tale inspired billionaire romances in one volume! A billionaire player craves the one woman he can't have. An icy British princess... THE BILLIONAIRE'S PRINCESS Friday nights have a routine. Drinks with my brothers. Maybe a casual hookup later. Then the ice princess walks into the bar. And it’s game over for me. I can’t figure her out. She runs hot and cold. She turns me inside-out. I like to keep my one-night stands cut and dried—my ambitions outweigh my emotions every time. Until she disappears without a trace. And I discover her little secret. She’s an actual princess. I need more than one night from her. Much more. A woman like that deserves the whole fairy tale. She deserves a charming prince. Too bad I’m the one planning to earn all her happy endings… THE BILLIONAIRE'S BEAUTY They call him The Beast for good reason. Now this billionaire boss wants his beautiful--and off-limits--assistant... Griffin: They call me The Beast. Some people think I’m a bully. I’m not here to make friends. I ruthlessly clawed my way to the top of the real estate market in NYC. No friends needed. She’s my feisty executive assistant. My right hand… woman. We have an unspoken arrangement: she pretends I’m smarter than she is while I pretend not to notice how sexy she is. That was before she gave me her notice while wearing that dress. I can do a lot. Run my family empire. Ignore the loneliness the top brings. Punch anyone who looks twice at her. But letting her go without a fight? Over my dead body… THE BILLIONAIRE'S CINDERELLA She's just a girl next door and a pastry chef. Why would a sexy billionaire ever want more than one steamy night with her? Ryker: Marriage and relationships aren’t for me. I have no desire to revisit my failures. Now I work hard and play hard--period. Until suddenly there she is. Sexy. Unexpected. Sweet. Unforgettable. One unprecedented night with her only whets my appetite for more. She’s been burned before, which makes her suspicious of me. Doesn’t think she’s good enough, that I’d prefer someone more… society. If only she knew how uninterested I am in other women since I first laid eyes on her. And I hope she never knows the things I think about when I look at her now. Fairy tales endings are meant for children’s books. I know that. But I write my own stories...