They were falling through time together. Moth was being clubbed by Travis in perpetual night, in foreign landscapes. It was Day One. The sky was blue and Moth was dead. He fought Travis in the ring, in a palace, on a barge. He could see every fight imposed on the fight before, the past getting smaller the closer it got to the bottom of the tunnel. This fight was miles and centuries away from the first. They fought in a dream. Travis had a moustache and Moth was a boy. His hair hung down like Stanley Ketchel's. He killed Travis with one thunderous blow to the temple. Hundreds of men surrounded them in a clearing in the woods without a woman in evidence. He had always known Travis. It's the summer before the Summer of Love in the 1960s. Small-town Ontario. Beer, fights, boredom, sex. Kid stuff. Tom Walmsley's first novel in eleven years is an expansive, visceral narrative that dissects the lives of young teens loitering at the edge of adulthood. Moth and Beryl are teenaged siblings anaesthetized by their emotionally broken family; it is only in the spectacle of feral violence and the unearthliness of sex that they come alive. But they are not alone: in the circle of teens and adults that surrounds them, the brutality of the empty landscape becomes self-evident, leading them all down a path of betrayal, deception, and even murder. With an unwavering eye, Tom Walmsley captures perfectly the essence of small-town kids up to no good, if only because it is the only thing they can know. Ferocious and unabating, Kid Stuff is a bittersweet opera, about a time and place that is both then and now.

Robinson, Stacy L. Smith--Martin Morse Wooster "Washington Times"

How popular debates about the so-called digital generation mediate anxieties about labor and life in twenty-first-century America “The children are our future” goes the adage, a proclamation that simultaneously declares both anxiety as well as hope about youth as the next generation. In The Digital Is Kid Stuff, Josef Nguyen interrogates this ambivalence within discussions about today’s “digital generation” and the future of creativity, an ambivalence that toggles between the techno-pessimism that warns against the harm to children of too much screen time and a techno-utopianism that foresees these “digital natives” leading the way to innovation, economic growth, increased democratization, and national prosperity. Nguyen engages cultural histories of childhood, youth, and creativity through chapters that are each anchored to a particular digital media object or practice. Nguyen narrates the developmental arc of a future creative laborer: from a young kid playing the island fictions of Minecraft, to an older child learning do-it-yourself skills while reading Make magazine, to a teenager posting selfies on Instagram, to a young adult creative laborer imagining technological innovations using design fiction. Focusing on the constructions and valorizations of creativity, entrepreneurialism, and technological savvy, Nguyen argues that contemporary culture operates to assuage profound anxieties about—and to defuse valid critiques of—both emerging digital technologies and the precarity of employment for “creative laborers” in twenty-first-century neoliberal America.

There's this boy. Let's say he's somewhere between nine and thirteen years old or so. You'd like to see this kid get creative. You'd like to see him get some exercise. You'd like to see him get out from in front of the television. And you'd love for him to be motivated enough to find some stuff to do on his own. This boy NEEDS The Big Book of Boy Stuff! What do I do if I get a bean stuck up my nose? How can I make lightning without killing myself? Where can I find new practical jokes to play on my friends and family? How can I make a rocket? What is the best way to poop outside? How do I tell a girl I like her? Why would I tell a girl I like her? How many mosquitoes does it take to suck all the blood out of a person? What's that smell? . . . and many, many more! This big, thick, durable book includes fascinating chapters on gross stuff, magic, emergencies, fireworks, games, experiments, jokes, activities, insults, pets, flying things, and, of course, duct tape. No boyhood is complete without a copy!

With daughters like this who wants to be a dad?

Bestselling authors Bob and Emilie Barnes are a couple committed to encouraging and inspiring others to build their families on a foundation of kindness and faith. With that caring goal in mind and biblical wisdom at heart, they present their best tips, ideas, and examples to help parents guide children of any age to become better listeners and communicators with peers and adults reflect a compassionate and helping heart for others experience confidence in social situations show respect for God and others through actions and words display daily manners at the table, on the phone, at school, and anywhere Filled with practical advice, this Barnes offering will strengthen parents, children, and families as they discover together how good manners make life more enjoyable while reflecting the love of God to others.

Can you make a living writing? Absolutely! 102 Ways to Earn Money Writing 1,500 Words or Less shows you the wide array of freelance opportunities available–and gives you everything you need to know to reap the benefits of a bustling writing career. Award-winning freelancer and highly sought communications consultant I.J. Schecter delivers ideas for finding freelance work in traditional markets like magazines and newspapers, as well as in unique markets, including: • fast-food tray liner copy • person-to-person correspondence (including love letters!) • resumes • menus • and many others! Every suggestion is backed by a real-life experience from Schecter and other freelancing experts. Plus, each of the 102 ways has a "Get This Gig" section that tells you where to start, who to contact, and what to charge so you can immediately apply what you learn. 102 Ways to Earn Money Writing 1,500 Words or Less gives you the knowledge, confidence, and inspiration to recognize and make the most of today's freelance possibilities.

The child in many post-apocalyptic films occupies a unique space within the narrative, a space that oscillates between death and destruction, faith and hope. The Child in Post-Apocalyptic Cinema interrogates notions of the child as a symbol of futurity and also loss. By exploring the ways children function discursively within a dystopian framework we may better understand how and why traditional notions of childhood are repeatedly tethered to sites of adult conflict and disaster, a connection that often functions to reaffirm the “rightness” of past systems of social order. This collection features critical articles that explore the role of the child character in post-apocalyptic cinema, including classic, recent, and international films, approached from a variety of theoretical, methodological, and cultural perspectives.

A memoir-like accounting of love, betrayal, and revenge, But When She Was Bad tells of the star-crossed meeting of a man and a woman, their marriage and divorce, and their deadly struggle for custody of a child.