A blob of slime has broken out of the prison. As it slithers in escape, it slurps up everything in its path. Nothing is safe. Especially not Measle Stubbs. For, the slippery stomach has gobbled up a gaggle of wrathmonks, and has ingested their dislike of Measle. Can Measle gulp down his fear and beat the Slitherghoul, before it gulps him down?

A small boy, a slimy dog and a very sticky ending . . . When a blob of oozing slime is on the loose, gobbling up everything in its path, nothing is safe. Especially not Measle Stubbs!

A blob of slime has broken out of the prison in which it has been kept for years. As it slithers in escape it slurps up everything in its path. Nothing is safe. Especially not Measle Stubbs. For the slippery stomach has gobbled up a gaggle of wrathmonks, and in doing so has ingested their dislike of Measle. Now the blob is after him. And nothing can stop it. Not Iggy Niggle. Not Nanny Flannel. Not Tinker the dog. But it has enjoyed eating them . . .Can Measle gulp down his fear and beat the Slitherghoul . . . before the Slitherghoul gulps him down?

Twelve-year-old orphan Measle Stubbs is shrunk down to half an inch tall and placed in a toy train set by his evil guardian, the Wrathmonk.

Seitsemän veljestä (The Brothers Seven), the 1870 Finnish novel by Aleksis Kivi (1834-1872), is one of the most (in)famously unknown classics of world literature—unknown not only because so few people in the world can read Finnish, but also because the novel is so incredibly difficult to translate, the Mount Everest of translating from Finnish. It is difficult to translate not only because it blends a saturation in Homer, Shakespeare, Dante, Cervantes, and the Bible with a brilliantly stylized form of local dialect, but because it is wild, grotesque, carnivalistic, and laugh-out-loud funny on every page. It has been translated 58 times into 34 languages—but somehow the translations always seem to fall short of their flamboyant original. Douglas Robinson’s new translation is a bold attempt to remedy that. He aims to make Kivi as rhythmic, as alliterative, as brash, as grotesque, and as funny in English as he is in Finnish. Since Kivi deliberately used an archaic Finnish, but used it playfully—and since Kivi was steeped in Shakespeare, to the point of memorizing whole plays—Robinson translates him into a playful Shakespearean register. As he notes in his Preface, this makes the translation a bit difficult to read—but the original is difficult for Finns to read as well, and the Finnish readers who love Kivi (and that is most of them) read him with pleasure despite the words they don’t know, because his prose is so intensely alive.

NEW YORK TIMES BESTSELLER • “A fascinating look at how consumers perceive logos, ads, commercials, brands, and products.”—Time How much do we know about why we buy? What truly influences our decisions in today’s message-cluttered world? In Buyology, Martin Lindstrom presents the astonishing findings from his groundbreaking three-year, seven-million-dollar neuromarketing study—a cutting-edge experiment that peered inside the brains of 2,000 volunteers from all around the world as they encountered various ads, logos, commercials, brands, and products. His startling results shatter much of what we have long believed about what captures our interest—and drives us to buy. Among the questions he explores: • Does sex actually sell? • Does subliminal advertising still surround us? • Can “cool” brands trigger our mating instincts? • Can our other senses—smell, touch, and sound—be aroused when we see a product? Buyology is a fascinating and shocking journey into the mind of today's consumer that will captivate anyone who's been seduced—or turned off—by marketers' relentless attempts to win our loyalty, our money, and our minds.

Meet Matilda Stubbs. She's nine months old, has six new baby teeth, and loves to send spoonfuls of porridge catapulting through the air. But this is no ordinary baby: Matilda is also a Mallockee -- one of the most powerful creatures in the world. And guess who her big brother is. In his third heroic adventure, Measle is thrust into his most outlandish predicament yet. How will he ever escape from the spooky, deserted castle, fend off his guardian Wrathmonk, rescue his kidnapped parents, and look after his baby sister? The odds are stacked against him until he learns that, this time, he's got a powerful ally -- Matilda the Mallockee is on his side.

New edition! Convenient listing of words arranged alphabetically by rhyming sounds. More than 55,000 entries. Includes one-, two-, and three-syllable rhymes. Fully cross-referenced for ease of use. Based on best-selling Merriam-Webster's Collegiate® Dictionary, Eleventh Edition.

In a tumbledown castle in the Western Highlands of Scotland lives the Boggart. He is invisible -- an ancient mischievous spirit, solitary and sly, born of a magic as old as the rocks and the waves. He has lived in Castle Keep for centuries, playing tricks on the owners. But the last Scottish owner has died and left the castle to his great-nephew Robert Volnik of Toronto, Canada. The Volnik family -- including Emily and her nine-year-old computer genius brother Jessup -- visit Castle Keep, and when they return to Toronto, they unwittingly take the Boggart with them. The astonishments, delight, and horrors that invade their lives with the arrival of the Boggart fill this swiftly moving story. The collision of modern techology and the Old Magic brings perils nobody could have imagined -- and, in the end, an amazing and touching solution to the problem of the Boggart who has found himself on the wrong side of the ocean. Sometimes extremely funny, sometimes wildly scary,and always totally absorbing, this remarkable story -- brilliantly imagined and beautifully written -- marks the return of the Newbery Award winner Susan Cooper to the field of novels for young readers. An outstanding achievement, The Boggart will work its special magic on all who read it.

In this sequel to Fiction & the Figures of Life, one of America's most brilliant and eclectic minds examines literature, culture, writers (their lives and works), and the nature and uses of language and the written word. Included are discussions of Valéry, Henry Miller, Sartre, Freud, Faulkner, suicide, "art and order," and the transformation of language into poetry and fiction. The vividness and clarity of Gass's writing, the unabashed love and inimitable use of language-his startling metaphors, the sinuousness of his philosophy, the originality of his vision-make each essay a searching revelation of its subject, as well as an example of Gass's own singular artistry.