From the National Book Award-winning author of Just Kids and M Train, a profound, beautifully realized memoir in which dreams and reality are vividly woven into a tapestry of one transformative year. Following a run of New Year's concerts at San Francisco's legendary Fillmore, Patti Smith finds herself tramping the coast of Santa Cruz, about to embark on a year of solitary wandering. Unfettered by logic or time, she draws us into her private wonderland with no design, yet heeding signs--including a talking sign that looms above her, prodding and sparring like the Cheshire Cat. In February, a surreal lunar year begins, bringing with it unexpected turns, heightened mischief, and inescapable sorrow. In a stranger's words, "Anything is possible: after all, it's the Year of the Monkey." For Smith--inveterately curious, always exploring, tracking thoughts, writing--the year evolves as one of reckoning with the changes in life's gyre: with loss, aging, and a dramatic shift in the political landscape of America. Smith melds the western landscape with her own dreamscape. Taking us from California to the Arizona desert; to a Kentucky farm as the amanuensis of a friend in crisis; to the hospital room of a valued mentor; and by turns to remembered and imagined places, this haunting memoir blends fact and fiction with poetic mastery. The unexpected happens; grief and disillusionment set in. But as Smith heads toward a new decade in her own life, she offers this balm to the reader: her wisdom, wit, gimlet eye, and above all, a rugged hope for a better world. Riveting, elegant, often humorous, illustrated by Smith's signature Polaroids, Year of the Monkey is a moving and original work, a touchstone for our turbulent times.

The automa Pinocchio has always been duty-bound to serve in the floating palace of Venice's emperor. So when Pinocchio finds himself locked in a trunk and delivered to a new master-a wanted criminal and alchemist named Geppetto-he is curious about everything around him. But most curious is the way Pinocchio seems to be changing from a wooden servant into a living, human boy. Before Geppetto and Pinocchio can uncover the mystery surrounding the automa's transformation, Pinocchio is stolen away. Determined to find Geppetto again, Pinocchio begins a harrowing journey across the Empire, where danger in the form of half-beast outlaws and winged airmen abounds for a lost automa. Meanwhile, Princess Lazuli, the daughter of the ruler of a magical kingdom called Abaton, is also on a quest through the emperor's territory. Her father, Prester John, has been captured by the Venetian Empire, and Lazuli is desperate to rescue him. With the emperor's airmen closing in fast, Lazuli learns the only hope for saving her father-and her beloved home-lies in Pinocchio and Geppetto. In a masterful reimagining of Pinocchio, John Claude Bemis weaves an enchanting, thrilling adventure for middle-grade readers in the first installment in the Out of Abaton duology. Praise for The Wooden Prince "Wow! John Claude Bemis hides new magic in old stories." -- Tom Angleberger, New York Times best-selling author of the Origami Yoda series "Young readers will find this reimagined adventure an exhilarating and insightful journey." -- Kirkus Reviews "Pinocchio gets a new look in this curious, complex novel of betrayal, rebellion, and loyalty. . .the world-building is impressive, and the captivating setting will likely attract fantasy, steampunk, and adventure fans alike." -- Bulletin of the Center for Children's Books "Flying lions, fiery salamanders, chimera, sylphs, gnomes, men with wings, and an enormous sea monster all play roles in this fantastical retelling of Pinocchio." -- School Library Journal "Pinocchio's growth is sometimes uncomfortable, sometimes heartwarming, and bound to entrance readers." -- Booklist

When she purchases a tiny figurine of a winged horse, Georgia's life is greatly altered as this talisman has the power to take her back to different periods in time and away from the chaos in which she lives, such as the land of Remora where the excitement of the Stellata, the annual horse race, has brought the city to life. Reprint.

A liste of recommended readings for children, intended for home use and arranged by age, not school grade. Included in the list are fairy tales that are free from horrible happenings. Omitted are all writings which tolerate cruelty or unkindness to animals.

The Tree of Ecstasy and Unbearable Sadness is a masterful allegorical tale for the 21st century, weaving together the worlds of literature, music and visual art in the poignant story of one boy's journey into mental illness. Audiences are offered a mesmerising visual and auditory tour de force about beauty and resilience, society and belief, that at its heart expresses hope for a greater understanding and embracing of difference.The narrative unfolds around the metaphor of a tree growing within the boy, whose flower is ecstasy and whose fruit is sadness. This luminous, multi-faceted work is inspired by the experiences of its award-winning creator, Matt Ottley, who has lived with bipolar disorder all his life and been hospitalised on numerous occasions in mental health facilities. Having personally experienced the prejudices and challenges that come from suffering a mental illness, Matt's aim is to offer a sensory insight through words, music and images into the experiences of those who suffer from such debilitating illnesses, particularly psychosis.At the heart of the work is a 50-minute orchestral composition by Matt Ottley, performed by the Brno Philharmonic Orchestra, the Czech Philharmonic Choir Brno, tenor Ben Reynolds and narrated by Tina Wilson.This book comes with a CD recording and download link of the musical work, which forms part of this multi-modal work.

Baron Hieronymus Karl Friedrich, Freiherr von Münchhausen, was an actual baron living in 18th-century Hanover famous for entertaining his guests with outrageously-embellished tales of his wartime exploits—so much so that his nickname in German is Lügenbaron, or “Baron of Lies.” When Rudolph Eric Raspe, a writer and scientist living in England, heard of the Baron’s tales, he wrote his own versions centered around a fictional Baron Munchausen. While the real Baron wasn’t amused to have his name attached to a silly character famous for his bald-faced lies, Raspe’s tales became hugely popular, reprinted for hundreds of years and illustrated just as many times. These very short tales were originally intended as contemporary satire, but their outrageous silliness is still entertaining today.

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.

From a writer “whose genre-jumping refusal to be pinned down [makes him] an exemplar of our era” (NPR), a new book that confirms his power to astound readers. As a child Geoff Dyer spent long hours making and blotchily painting model fighter planes. So the adult Dyer jumped at the chance of a residency aboard an aircraft carrier. Another Great Day at Sea chronicles Dyer’s experiences on the USS George H.W. Bush as he navigates the routines and protocols of “carrier-world,” from the elaborate choreography of the flight deck through miles of walkways and hatches to kitchens serving meals for a crew of five thousand to the deafening complexity of catapult and arresting gear. Meeting the Captain, the F-18 pilots and the dentists, experiencing everything from a man-overboard alert to the Steel Beach Party, Dyer guides us through the most AIE (acronym intensive environment) imaginable. A lanky Englishman (could he really be both the tallest and the oldest person on the ship?) in a deeply American world, with its constant exhortations to improve, to do better, Dyer brilliantly records the daily life on board the ship, revealing it to be a prism for understanding a society where discipline and conformity, dedication and optimism, become forms of self-expression. In the process it becomes clear why Geoff Dyer has been widely praised as one of the most original—and funniest—voices in literature. Another Great Day at Sea is the definitive work of an author whose books defy definition.

Utopia is a work of fiction and socio-political satire by Thomas More published in 1516 in Latin. The book is a frame narrative primarily depicting a fictional island society and its religious, social and political customs. Many aspects of More's description of Utopia are reminiscent of life in monasteries.