The Mary Louise books are another series for girls, also written by "Edith Van Dyne". They may be considered as successors to the Aunt Jane's Nieces Series, for the first title, Mary Louise, appeared in 1916, the year after the last of the Aunt Jane's Nieces stories. This edition contains the five original stories written by Baum. These are: Mary Louise Mary Louise in the Country Mary Louise Solves a Mystery Mary Louise and the Liberty Girls Mary Louise and Josie O'Gorman

Nothing is what it seems in NPR correspondent Mary Louise Kelly’s “riveting, twisty tale” (Hallie Ephron, author of Night Night, Sleep Tight), in which a woman discovers a decades-old bullet at the base of her neck. Caroline Cashion is stunned when an MRI reveals that she has a bullet lodged near the base of her skull. It makes no sense: she has never been shot. She has no scar. When she confronts her parents, she learns the truth: she was adopted when she was three years old, after her real parents were murdered in cold blood. Caroline had been there the night of the attack, and she’d been hit by a single gunshot to the neck. Buried too deep among vital nerves and blood vessels, the surgeons had left it, and stitched up the traumatized little girl with the bullet still inside. Now, thirty-four years later, Caroline returns to her hometown to learn whatever she can about who her parents were, and why they died. A cop who worked the case reveals that even after all these years, police still don’t have enough evidence to nail their suspect. The bullet in Caroline’s neck could identify the murderer... and that person will do anything to keep it out of the law’s hands. Now Caroline will have to decide: run for her life, or stay and fight? With non-stop action, “an extremely likable narrator and twists and turns galore” (Alice LaPlante, author of Turn of Mind), The Bullet will keep you riveted until the very last page.

A debut international thriller about a Pakistani terrorist's nuclear threat to blow up the White House.

This book "renders the singular arc of a woman's life through letters Mary-Louise Parker composes to the men, real and hypothetical, who have informed the person she is today. Beginning with the grandfather she never knew, the letters range from a missive to the beloved priest from her childhood to remembrances of former lovers to an homage to a firefighter she encountered to a heartfelt communication with the uncle of the infant daughter she adopted"--

The poet Charles Simic discusses poetry and life.

Finalist, CCBC Marilyn Baillie Picture Book Award Finalist, Quebec Writers' Federation Janet Savage Blachford Prize for Children's and Young Adult Literature Sydney and his friends gather outside to play, transforming one by one to climb, leap, lumber and soar into a shared jungle of their imagination. Hanging upside down in a tree, Sydney imagines he is a sleepy, sun-bathing sloth. And that's where Sami finds him. Sami thinks sloths are too slow, so she scampers up the tree and becomes a spider monkey. “Fast is fun!” she chatters. “Fast is best!” And that’s where Edward finds them... One after another, the neighborhood kids wander by and slip into a shared imaginative world where leaves and giant flowers unfurl, playing, laughing, teasing and bickering, until Edward the elephant fills up his trunk and—WHOOSH!—sends the children “galloping home like a herd of small wet animals.” As always, Marie-Louise Gay’s writing and artwork are wonderfully pitched to young readers, capturing the effortless way that children travel back and forth between the worlds of real life and make believe. With its sun-dappled watercolors, depiction of time spent outdoors with friends, and quiet, wistful ending, I’m Not Sydney perfectly illustrates the slow-moving magic of a childhood summer. Key Text Features illustrations Correlates to the Common Core State Standards in English Language Arts: CCSS.ELA-LITERACY.RL.1.4 Identify words and phrases in stories or poems that suggest feelings or appeal to the senses. CCSS.ELA-LITERACY.RL.1.7 Use illustrations and details in a story to describe its characters, setting, or events.

Where does the story start? Marie-Louise Gay explains the creative process with typical fun and whimsy. Many children want to know where stories come from and how a book is made. Marie-Louise Gay’s new picture book provides them with some delightfully inspiring answers in a fictional encounter between an author and some very curious children, who collaborate on writing and illustrating a story. Marie-Louise has scribbled, sketched, scrawled, doodled, penciled, collaged and painted the words and pictures of a story-within-a-story that show how brilliant ideas creep up on you when you least expect it and how words sometimes float out of nowhere asking to be written. Any Questions? presents a world inhabited by lost polar bears, soaring pterodactyls, talking trees and spotted snails, with cameo appearances by some of Marie-Louise’s favorite characters — a world where kids can become part of the story and let their imaginations run wild... and just maybe they will be inspired to create stories of their own. At the end of the book, Marie-Louise provides answers to many of the questions children have asked her over the years, such as “Are you Stella?” “How did you learn to draw?” “Can your cat fly?” “How many books do you make in one day?” Correlates to the Common Core State Standards in English Language Arts: CCSS.ELA-LITERACY.RL.2.6 Acknowledge differences in the points of view of characters, including by speaking in a different voice for each character when reading dialogue aloud. CCSS.ELA-LITERACY.RL.3.1 Ask and answer questions to demonstrate understanding of a text, referring explicitly to the text as the basis for the answers.

Marie-Louise Gay and David Homel combine their writing and illustrating talents with their own family memories to produce a very unique travelogue. Family vacations are supposed to be something to look forward to. Unless, that is, your parents have a habit of turning every outing into a risky proposition -- by accident, of course. So instead of dream vacations to Disney World and motels with swimming pools, these parents are always looking for that out-of-the-way destination where other tourists don't go. Their adventures involve eating grasshoppers in Mexico, forgetting the tide schedule while collecting sand dollars off the coast of Georgia, and mistaking alligators for logs in the middle of Okefenokee Swamp. Travels with My Family is told from the point of view of a long-suffering big brother who must fulfill many roles in this eccentric family: keep little brother out of trouble, humor artist Mom, and discourage Dad from pulling out the road map to search for yet another off-the-beaten-track destination. Husband-and-wife team Marie-Louise Gay and David Homel and have combined their prodigious writing and illustrating talents with their own family memories to produce a very different travelogue. Correlates to the Common Core State Standards in English Language Arts: CCSS.ELA-LITERACY.RL.2.1 Ask and answer such questions as who, what, where, when, why, and how to demonstrate understanding of key details in a text. CCSS.ELA-LITERACY.RL.4.3 Describe in depth a character, setting, or event in a story or drama, drawing on specific details in the text (e.g., a character's thoughts, words, or actions).

Husband-and-wife team Marie-Louise Gay and David Homel create a sequel to the enormously popular Travels with My Family and On the Road Again! — but with a twist. This time Charlie and his family stay home, and find adventure in their own Montreal neighborhood. Charlie can’t wait for school to be over. But he’s wondering what particular vacation ordeal his parents have lined up for the family this summer. Canoeing with alligators in Okefenokee? Getting caught in the middle of a revolutionary shootout in Mexico? Or perhaps another trip abroad? Turns out, this summer the family is staying put, in their hometown. Montreal, Canada. A “staycation,” his parents call it. Charlie is doubtful at first but, ever resourceful, decides that there may be adventures and profit to be had in his own neighborhood. And there are. A campout in the backyard brings him in contact with more than one kind of wildlife, a sudden summer storm floods the expressway, various pet-sitting gigs turn almost-disastrous, and a baseball game goes awry when various intruders storm the infield — from would-be medieval knights and an over-eager ice-cream vendor to a fly-ball-catching Doberman. Then of course there’s looking after his little brother, Max, who is always a catastrophe-in-the-making. Key Text Features illustrations key text features Correlates to the Common Core State Standards in English Language Arts: CCSS.ELA-LITERACY.RL.3.9 Compare and contrast the themes, settings, and plots of stories written by the same author about the same or similar characters (e.g., in books from a series).

In fin-de-siècle France, politics were in an uproar, and gender roles blurred as never before. Into this maelstrom stepped the "new women," a group of primarily urban, middle-class French women who became the objects of intense public scrutiny. Some remained single, some entered nontraditional marriages, and some took up the professions of medicine and law, journalism and teaching. All of them challenged traditional notions of womanhood by living unconventional lives and doing supposedly "masculine" work outside the home. Mary Louise Roberts examines a constellation of famous new women active in journalism and the theater, including Marguerite Durand, founder of the women's newspaper La Fronde; the journalists Séverine and Gyp; and the actress Sarah Bernhardt. Roberts demonstrates how the tolerance for playacting in both these arenas allowed new women to stage acts that profoundly disrupted accepted gender roles. The existence of La Fronde itself was such an act, because it demonstrated that women could write just as well about the same subjects as men—even about the volatile Dreyfus Affair. When female reporters for La Fronde put on disguises to get a scoop or wrote under a pseudonym, and when actresses played men on stage, they demonstrated that gender identities were not fixed or natural, but inherently unstable. Thanks to the adventures of new women like these, conventional domestic femininity was exposed as a choice, not a destiny. Lively, sophisticated, and persuasive, Disruptive Acts will be a major work not just for historians, but also for scholars of cultural studies, gender studies, and the theater.