Randolph the Moose lives with his mother in the Great White North. After a chance encounter with the reindeer from Santa Claus' sleigh-pulling team, Randolph finds new joy in trail running as he trains to join the reindeer in Santa's flight school. But when the head elf places him at the workshop loading dock instead (due to his tremendous bulk), Randolph has to use his brains and work ethic to earn respect at his new job... and even save Christmas. Imagine Rudolf the red-nosed reindeer, except... • Randolph has a healthy self-image • Randolph has a more positive outlet for his feelings • Randolph runs, but not away from his problems • Randolph is pro-active, refusing to let Santa's workshop define him as a moose BE YOUR OWN MOOSE! "Randolph the Christmas Moose empowers kids to find the unique leader within themselves and to not allow stereotyping to limit their potential." --AUSTIN HIGHSMITH GARCES, author of The Miracle Tree and actor in Dolphin Tale 1 and 2 "Randolph the Christmas Moose, filled with humor and character building, shares a twist to a familiar tale to produce an important message about how children can be hard-working, determined and true to themselves." --ADAM DOVICO, educator and author of When Kids Lead, The Limitless School and Inside the Trenches "This is a charming and funny story that will not only entertain kids, but also help them understand that other people's opinions don't define them." --LINDSAY THOMPSON, filmmaker and writer for PBS' Arthur "Randolph the Christmas Moose addresses many important childhood themes, including acceptance, endurance and bullying, without sounding 'preachy.'" --SUE ELDER, Ed.D., public and elementary school librarian, educator and bibliophile Learn more at www.GerryGibsonAuthor.com From Loving Healing press www.LHPress.com

The gift of reading. There could not be a greater Christmas gift. Throughout history, I ask you what circumstances have compelled any and all would-be authors to put quills-to-parchments (or, in more recent generations, put fingertips-to-keyboards) to create their miasma of pages to be collected together and called a book? It s a good question and I haven t a clue as to any short, finite answer. I only know that there are lots and lots and lots of compelling circumstances. In my particular case, at an early age I found myself interested in the How? and Why? of things I had read about or heard about or saw. No doubt there have been others like me throughout history who have bumbled, stumbled and fumbled their way through life because they were looking through curious eyes - and not necessarily through practical, comprehending eyes. Let me tell you, one stumbles frequently when trying to get somewhere while looking upward rather than downward. But it is still a trip worth taking .and while looking upward. In the late 1940s I heard on our family entertainment center (which in the late1940s was only an RCA Victor radio) Gene Autry singing the song, Rudolph the Red-Nosed Reindeer, and I was fascinated by the lyrics of the song. Yet I wanted to know, But why did Rudolph s nose glow? No answers to that question were forthcoming and the question remained in the catacombs of my memory for all the years thereafter. Once I had retired from my career and began to write serialized Christmas stories, I plucked the glowing nose dilemma from its dormancy and began to ask, What if . In order to write this book s first Christmas story, The First Christmas Glowing, I felt compelled to examine (and for story purposes, hypothetically answer) the following What if s : - What if, say a hundred years ago or so, there had been a long-distance message runner making deliveries amongst neighboring villages in the Great Rift Valley of eastern Africa and what if, on one of his runs, the message-runner made a substantive discovery? - What if that substantive discovery, as found on the slope of an old volcano crater, would change Christmases forever and ever? - What if that discovery had something to do with the wing-flap speed of a certain kind of insect? - What if the message-runner put his substantive discovery into a small earthen jar and what if that jar over the course of the next sixty years found its way to a once well-traveled trunk in the home of the brother of a traveling circus entertainer named Maximillian? - What if Maximillian was the uncle of a young girl (his brother s daughter) who also lived in that home? - What if Uncle Max s young niece found the jar and years later would find herself positioned and prepared to come to the aid of one of the most important Christmasses of the 20th Century? - What if there are several other adventures along the way involving magic tricks, singing wolves, a Japanese fishing boat , and an intuitivie Inuit weatherman? - And, yes, what if there is a happy ending, and it is one that you know very well and certainly have even sung about? In order to write this book s second Christmas story, A Long-Distance Christmas Greeting, I had to answer a whole raft of completely different What if s . And that is because the second story has resulted from my memory of an incident that occurred in the mid 1950s. The remembered incident occurred somewhere on the east coast of the United States and involved some historical society or a university or a city council or something-or-other creating a time capsule, filled with objects. The objects were something like tooth paste, Argyle sox, automobile hubcaps, and square-dance instructions, all to be hermetically sealed, buried, and not opened for a hundred years or so... something to provide clear evidence as to how the residents of our country lived back in the 1950s. I liked that idea, but at the time I was curious about the assembling of

Meet Randolph. A dog like any other dog—but with a nose for murder . . . Harry is a man still mourning the loss of his beloved girlfriend, Imogen, who left him suddenly without a word. He’s also the owner of a plump, poetry-loving Lab, Randolph. Like most Manhattan dogs, Randolph spends his days sifting through a world of scents, his owner’s neuroses, and an overcrowded doggy run at the American Museum of Natural History. But now a bereft Harry has drifted into a circle of would-be occultists. Which might not be so bad if one of them wasn’t also a murderer. But which one? With 100,000 times the smelling power of a human being, Randolph can quickly detect the scents of guilt, anxiety, and avarice—and he has no lack of suspects, from a seductive con woman to an uncouth professor of the decorative arts. Now, to protect his hapless owner’s life, Randolph might have to do the unthinkable—and start training Harry to catch a killer. . . .

In more than twenty powerful films, Abenaki filmmaker Alanis Obomsawin has waged a brilliant battle against the ignorance and stereotypes that Native Americans have long endured in cinema and television. In this book, the first devoted to any Native filmmaker, Obomsawin receives her due as the central figure in the development of indigenous media in North America. ø Incorporating history, politics, and film theory into a compelling narrative, Randolph Lewis explores the life and work of a multifaceted woman whose career was flourishing long before Native films such as Smoke Signals reached the screen. He traces Obomsawin?s path from an impoverished Abenaki reserve in the 1930s to bohemian Montreal in the 1960s, where she first found fame as a traditional storyteller and singer. Lewis follows her career as a celebrated documentary filmmaker, citing her courage in covering, at great personal risk, the 1991 Oka Crisis between Mohawk warriors and Canadian soldiers. We see how, since the late 1960s, Obomsawin has transformed documentary film, reshaping it for the first time into a crucial forum for sharing indigenous perspectives. Through a careful examination of her work, Lewis proposes a new vision for indigenous media around the globe: a ?cinema of sovereignty? based on what Obomsawin has accomplished.

From the manger of Jesus Christ to the 21st century, this encyclopedia explores more than 2,000 years of Christmas past and present through 966 entries packed with a wide variety of historical and pop-culture subjects. Entries detail customs and traditions from around the world as well as classic Christmas movies, TV series/specials and animated cartoons. Arranged alphabetically by entry name, the book includes the historical background of popular sacred and secular songs as well as accounts of beloved literary works with Christmas themes from such noted authors as Charles Dickens, Louisa May Alcott, Hans Christian Andersen, Pearl Buck, Henry Van Dyke and others. All things Christmas are available here in one comprehensive volume.

For the first time in its one-hundred-and-twenty-five-year history, the Arthur Conan Doyle Estate has authorized a new Sherlock Holmes novel. Once again, The Game's Afoot... London, 1890. 221B Baker St. A fine art dealer named Edmund Carstairs visits Sherlock Holmes and Dr John Watson to beg for their help. He is being menaced by a strange man in a flat cap - a wanted criminal who seems to have followed him all the way from America. In the days that follow, his home is robbed, his family is threatened. And then the first murder takes place. Almost unwillingly, Holmes and Watson find themselves being drawn ever deeper into an international conspiracy connected to the teeming criminal underworld of Boston, the gaslit streets of London, opium dens and much, much more. And as they dig, they begin to hear the whispered phrase-the House of Silk-a mysterious entity that connects the highest levels of government to the deepest depths of criminality. Holmes begins to fear that he has uncovered a conspiracy that threatens to tear apart the very fabric of society. The Arthur Conan Doyle Estate chose the celebrated, #1 New York Times bestselling author Anthony Horowitz to write The House of Silk because of his proven ability to tell a transfixing story and for his passion for all things Holmes. Destined to become an instant classic, The House of Silk brings Sherlock Holmes back with all the nuance, pacing, and almost superhuman powers of analysis and deduction that made him the world's greatest detective, in a case depicting events too shocking, too monstrous to ever appear in print...until now.

Indigenous and settler scholars and media artists discuss and analyze crucial questions of narrative sovereignty, cultural identity, cultural resistance, and decolonizing creative practices. Humans are narrative creatures, and since the dawn of our existence we have shared stories. Storytelling is what connects us, what helps us give shape and understanding to the world and to each other. Who tells whose stories in which particular ways leads to questions of belonging, power, relationality, community and identity. This collection explores those issues with a focus on settler-Indigenous cultural politics in the country known as Canada, looking in particular at Indigenous representation in media arts. Chapters feature roundtable discussions, interviews, film analyses, resurgent media explorations, visual culture advocacy and place-based practices of creative expression. Eclectic in scope and diverse in perspective, Indigenous Media Arts in Canada is unified by an ethic of conciliation, collaboration, and cultural resistance. Engaging deftly and thoughtfully with instances of cultural appropriation as well as the oppressive structures that seek to erode narrative sovereignty, this collection shines as a crucial gathering of thoughtful critique, cultural kinship, and creative counterpower.