It's the embodiment of a lost soul that pauses before the split-log saltbox; thoughts of his broken life droning through an adrenaline-induced haze. The road behind him is wrought with death, guilt, shock, and heartache a series of events that his keenest of nightmares couldn't have conjured. All he can hope for now is a place to fi nd solace; refuge from a world gone mad. Eyeing the puff s of white smoke that rise from the flagstone chimney like dissipating answers to life's great mysteries, Jeremy takes in a deep breath of the clean mountain air, then releases it along with the last of his apprehension over revisiting his alliance with the enigmatic albino who dwells within. The Whirligig Dance delves into the struggling maturation of the human entity via that of its main character, Jeremy Van Hutton. Feel the pain of his betrayal, the joy of his discovery, and the sense of wonder that plagues him even as it cradles his soul.

When sixteen-year-old Brent Bishop inadvertently causes the death of a young woman, he is sent on an unusual journey of repentance, building wind toys across the land. In his most ambitious novel to date, Newbery winner Paul Fleischman traces Brent's healing pilgrimage from Washington State to California, Florida, and Maine, and describes the many lives set into new motion by the ingenious creations Brent leaves behind. Paul Fleischman is the master of multivoiced books for younger readers. In Whirligig he has created a novel about hidden connections that is itself a wonder of spinning hearts and grand surprises.

Dancing is as old as humanity. It has always been a way of expressing intense emotions and indicating the influence of transcendental powers. At the beginning of human history the individual and the world formed an organic unity, but as a result of social development this original state ceased to exist. Dancing can restore that unity and reabsorb the Dancer into the Universe. For William Butler Yeats and James Joyce, who differ from one another in so many respects, dancing and the figure of the dancer became important symbols. Apart from the detailed analysis of the works, this book offers a cultural-historical access to the characteristic productions of the fin-de-sicle period, recalling the performances of Loie Fuller, Isadora Duncan, Vaslav Nijinski, Anna Pavlova, and the other famous or ill-famed dancers. For the two Irish artists the dancer, balancing on the borderlines of everyday reality and the transcendental world, of body and soul, of the relationship of the masses and the a