Something interesting is always happening at Blackberry Farm. Come join the fun and meet George the Kitten, Walter Duck, Henry the Pig, Lucy Mouse, Mrs Nibble, Mother Hen, Mrs Squirrel, and all the other's who share each other's adventures, secrets and happy surprises.

Poetry. "Emily Pettit has included a number of 'how to' poems in her nimble and dazzling first collection, such as: 'How to Make No Noise, ' and the especially useful 'How to Avoid Confronting Most Large Animals.' Her kindness is always ahead of us, anticipating the problems we will or won't run into, and we always end up in a different, precise place than the one we started out from, as she reassuringly tells us: 'You know / you know you know. It's all uncertainty / and your neck. You walk slowly / in a calm voice.' GOAT IN THE SNOW is multicolored, ever-changing, a delight to try to clasp." John Ashbery "GOAT IN THE SNOW is like a taste test between an etch-a-sketch and a spotlight, a race between a wind-up beetle and an idea. The certainty of Pettit's 'I know, ' and 'I think' quickly turns into a quicksand of questions. Perceptive, jumpy and perfectly odd, this book encourages you to 'try to maneuver like a spacecraft / passing sufficiently close to a planet / in order to make some relatively detailed observations / Without landing.'" Matthea Harvey "The poems in GOAT IN THE SNOW often ask odd, penetrating questions. 'What do you call a field of black telephones ringing?' 'Where did you find such a stunning embankment?' 'Is this what loving someone is like?' 'Do you remember the basement?' 'In what direction do you look when someone says something true?' These poems are full of mortal awareness, and are sophisticated without being ornate or 'poetic.' When the poet says, 'Once in modest and murky water, I had a very disturbing conversation with a boat,"' I don't feel as if she is writing in metaphor. I feel like something real has happened." Matthew Zapruder"

In 1932, the city of Natchez, Mississippi, reckoned with an unexpected influx of journalists and tourists as the lurid story of a local murder was splashed across headlines nationwide. Two eccentrics, Richard Dana and Octavia Dockery—known in the press as the "Wild Man" and the "Goat Woman"—enlisted an African American man named George Pearls to rob their reclusive neighbor, Jennie Merrill, at her estate. During the attempted robbery, Merrill was shot and killed. The crime drew national coverage when it came to light that Dana and Dockery, the alleged murderers, shared their huge, decaying antebellum mansion with their goats and other livestock, which prompted journalists to call the estate "Goat Castle." Pearls was killed by an Arkansas policeman in an unrelated incident before he could face trial. However, as was all too typical in the Jim Crow South, the white community demanded "justice," and an innocent black woman named Emily Burns was ultimately sent to prison for the murder of Merrill. Dana and Dockery not only avoided punishment but also lived to profit from the notoriety of the murder by opening their derelict home to tourists. Strange, fascinating, and sobering, Goat Castle tells the story of this local feud, killing, investigation, and trial, showing how a true crime tale of fallen southern grandeur and murder obscured an all too familiar story of racial injustice.

The dazzling success of The Toaster Project, including TV appearances and an international book tour, leaves Thomas Thwaites in a slump. His friends increasingly behave like adults, while Thwaites still lives at home, "stuck in a big, dark hole." Luckily, a research grant offers the perfect out: a chance to take a holiday from the complications of being human—by transforming himself into a goat. What ensues is a hilarious and surreal journey through engineering, design, and psychology, as Thwaites interviews neuroscientists, animal behaviorists, prosthetists, goat sanctuary workers, and goatherds. From this, he builds a goat exoskeleton—artificial legs, helmet, chest protector, raincoat from his mum, and a prosthetic goat stomach to digest grass (with help from a pressure cooker and campfire)—before setting off across the Alps on four legs with a herd of his fellow creatures. Will he make it? Do Thwaites and his readers discover what it truly means to be human? GoatMan tells all in Thwaites's inimitable style, which NPR extols as "a laugh-out- loud-funny but thoughtful guide through his own adventures."

Emily lives alone with a little mouse, and complains about the noise, so the mouse suggests that she get more and more animals, each one noisier than the last. On board pages.

Comtemporary re-telling of Three Billy Goats Gruff, retold in a lively and humorous way with novelty elements throughout.

A kid named Kid, a dog named Cat, and a goat on a roof A blind skateboarding writer, an old man who can't speak (and his wife), a smartly dressed non-hamster-owner, plus Kid and her parents, are all apparently sharing their Manhattan apartment building with a mountain goat. But in all the wonders and marvels of New York City, who has time to see this impossible goat? How did the goat even get there? And is the goat really capable of something a little like magic? In this tender and hilarious tale of a misplaced animal, a road trip, and a Broadway show, neighbours who were previously strangers may find the goat is just what they needed... ANNE FLEMING is the author of Pool-Hopping and Other Stories (shortlisted for the Ethel Wilson Fiction Prize, the Danuta Gleed Award and the Governor General's Award), Anomaly and Gay Dwarves of America. She is a long-time and highly regarded teacher of creative writing who has taught at the University of British Columbia, Emily Carr University of Art and Design, Douglas College, Kwantlen University College and the Banff Centre for the Arts. The Goat is her first full-length work for young readers. Anne lives in Vancouver.

A farmer makes a series of trades and ends up with the dog he had at the start.

The world is coming down in Emily, Maryland. That which has been buried is now surfacing and that which has been lost is being found. Billy and Delia Trexler have agreed to return to Leona Street to house-sit as a favor for Ricky Pettibone a war hero had died too many times to count. The favor quickly becomes an errand, the pursuit of which leads to the secret contents of The Pinch, as well as an even greater and more troubling suspicion: that things really are just as they seem especially in the spaces between the spaces.

This story moves around Aunt Emily, a farm lady (that would become a well known fashion designer after she moved to New York) and Phelps Durham, a writer of romance novels. In due course the two would wed. First, everybody remembers how Phelps Durham, the famous writer of romance novels, looked like in reality, not as he appeared in the yellowish pictures that Aunt Emily kept around the house: a 6:10 ft. tattooed Yankee – too tall to be a serious writer - who couldn’t fit in a normal door frame, or in a rolling door, and who could start a storm with his deep breath and crush a brick without utensils, with his bare hands or feet, if you gave him the idea that he could do it. He looked funny when Aunt Emily, who was 5.2 feet, was around. His head was like an egg decorated with a fresh crew haircut. Aunt Emily’s head was round and her face was pale. Also Phelps’ and Aunt Emily’s personalities were opposite: Aunt Emily was docile, she would listen to everybody’s talk and always make concessions, while Phelps was one of those men that thought that only his opinion was right and who could convince anybody in a couple of seconds that whatever he was saying was the only truth that there was The first chapter is dedicated to Phelps Durham only, to his passion for writing and his love for an actress Maggie – his first major flame, which he married shortly after they met in a fish market in downtown New York. Very soon their marriage fell apart. Maggie got increasingly troubled by a strange trembling (she called it “tremolo”) of her both hands. In her miserable state of mind she told Phelps one day that she didn’t want to have sex anymore, that she had enough of it. As Phelps and Maggie decided to divorce Phelps knew that he was dishonest, given that he was running away from a woman that was more than ever in need of somebody to take care of her. Chapter two is dedicated to Aunt Emily: “People ask me all the time how was Aunt Emily Wagner in reality. I confess that I don’t know everything about Aunt Emily’s family. The way I describe her in this story is how I felt she was. I began seeing her more often after her family moved and lived on a farm next to ours. When I think of Aunt Emily there are two hypostases that are very distinctive and irreconcilable. First, when she was fifteen (I was seven at that time), her beauty was like a “peach flower whispering to a spring breeze”. I found the above quotation in a small book called “How to impress a young lady with versatile poetry”. First I thought that versatile was the name of a poet. Her beauty, Aunt Emily’s, made me feel happy and also uncomfortable. I’d stand next to her and pinch her arm. I was in love with her, nobody would doubt that. As opposed to Phelps that had a modest background and worked very hard to make a living from his writing, Aunt Emily was born wealthy. Her dad used to collect vintage cars, among them a precious Rolls Royce that belonged to Winston Churchill.