The Fairy Queen strictly forbids fairies from using their magic power on humans. But after Tiki accidentally meets Jan, a woman who is desperate for a baby daughter, she finds it impossible to resist fulfilling her wish. Now up against the dark and vicious power of evil, this fairy rebel must face the Queen’s fury with frightening and possibly fatal results.

A fourth-grade classroom and school library are the setting for this book that presents an in-depth and qualitative study of teaching and learning of reading and writing. The study's exploration is designed to identify and explain connections among the school and classroom as literate communities, teachers' classroom practices, children's learning, and the type of literacy that is jointly constructed. In contrast to the traditional focus on reading lessons, methods, materials, and standardized test scores, this study explores teaching by closely examining teacher-child interactions with texts across the school day. Contents: Introduction: Early Indications of a Literate Community; Frameworks for Understanding a Literate Community; Culture and Teacher Thinking in a Literate Community; Opportunities to Become Literate; A Framework for Looking at Literacy Work; Common Threads and Unique Patterns.

This charming biography spans the life andaccomplishments of this award-winning children's author. She was forced to leave England during World War II for the Canadian wilderness. Though her first novel, The L-Shaped Room, was written for adults, it is often read by teens. It made news upon publication because of its subject matter-the trauma of making the painful decision to give up an unborn child. The author of the Indian in the Cupboard series, Banks wrote more than fifty novels for children and young adults. Included are source notes, a biographical timeline, and an interview with the author.

The Life Story of an Old Rebel is a book by John Denvir. In this autobiographic novel, we follow the life John Denvir, his struggles and achievements in a politically hot 19th century Ireland.

There’s no denying destiny . . . For too long, Benjamin Reese has masked his deadly skills and temper with loyalty and humor. A vampire-demon hybrid, he fiercely protects his family, guards his brothers, and destroys the enemy without mercy. But when he discovers one fragile, beautiful blonde—a woman once mated to a Kurjan, no less—every primal instinct he has buried for centuries roars to life. With the mating mark she roused on his hand entwining their fates, no one will prevent him from keeping her safe and making her his, forever . . . Or desire . . . Karma wishes she could remember her last name. Or if she even had one. All she has in this confusing new world is a desperate duty to save the innocent. That means destroying the dark, dangerous, and desirable Benjamin Reese and everything he loves—an impossible task even before his touch arouses a passionate hunger she can’t afford. She’s certain a deadly enemy watches her every move, but it’s not until Benny kisses her that she tastes true danger… “Spicy romantic interplay; highly recommended.” —Library Journal on Vampire’s Faith “Sizzling sex scenes and a memorable cast.” —Publishers Weekly on Claimed “A fast-paced, excitement-filled explosion of action. . .Zanetti keeps getting better.” –RT Book Reviews on Marked, 4.5 Stars Top Pick

Richard Dadd is a trickster, a pre-post-modern enigma wrapped in a Shakespearean Midsummer Night’s Dream; an Elizabethan Puck living in a smothering Victorian insane asylum, foreshadowing and, in brilliant, Mad Hatter conundrums, entering the fragmented shards of today’s nightmarish oxymorons long before the artists currently trying to give them the joker’s ephemeral maps of discourse. The author thinks of Bob Dylan’s “Ballad of a Thin Man,” that cryptic refusal to reduce the warped mirrors of reality to prosaic lies, or, perhaps “All Along the Watchtower” or “Mr Tambourine Man.” Even more than Samuel Beckett’s Waiting for Godot, which curiously enough comes off as overly esoteric, too studied, too conscious, Dadd’s entire existence foreshadows the forbidden entrance into the numinous, the realization of the inexplicable labyrinths of contemporary existence, that wonderfully rich Marcel Duchamp landscape of puns and satiric paradigms, that surrealistic parallax of the brilliant gamester Salvador Dali, that smirking irony of the works of Roy Lichtenstein, Robert Rauschenberg, John Cage, and Robert Indiana; that fragmented, meta-fictional struggle of Kurt Vonnegut’s Slaughterhouse Five. John Lennon certainly sensed it and couldn’t help but push into meta-real worlds in his own lyrics. Think of “Strawberry Fields Forever,” “I Am the Walrus,” and the more self-conscious “Revolution Number 9.” In “Yer Blues,” he even refers to Dylan’s main character, Mr Jones from “Ballad of a Thin Man.” If Lennon’s song is taken seriously, literally, then it is a dark crying out by a suicidal man, “Lord, I’m lonely, wanna die”; or, if taken as a metaphor for a lover’s lost feelings about his unfulfilled love, it falls into the romantic rant of a typical blues or teenage rock-and-roll song. However, even on this level, it has an irony about it, a sense of laughing at itself and at Dylan’s Mr Jones, who knows something is going on but just not what it is, and then, by extension, all of us who have awakened to the fact that the studied Western world doesn’t make sense, all of us who struggle to find meaning in the nonsense images, characters, and happenings in the song, and perhaps, coming to a conclusion that the nonsense is the sense.

By analyzing appropriations of fairies, old wives, and mummers, this project explores the conflicted entanglements of early moderns leaving, or attempting to leave, a once-shared common culture behind.