Sixteen bedtime stories record the adventures of David and his stuffed animal friends.

Dalmatian Dot has lots of spots, but she isn't the only one! Someone has more spots than Dot or her friends.

Buddy, a service dog, would do absolutely anything to protect his human companion, Noah. So when Noah gets into trouble in the water on a trip to the beach, how can Buddy convince everyone that he isn't to blame? An incredible story of the bond between a dog and his boy, told with waggy-tailed warmth from a dog's-eye view. Buddy is a dog with a big appetite and an even bigger heart-- which means he's absolutely perfect for doing a Very Important Job. When Buddy becomes Noah's service dog, he is excited to have a family of his own. Noah has anemia, and he needs his canine companion to keep an eye on him. It's a big responsibility, but to Buddy, it's the best job in the world. One day on a trip to the beach, Noah gets sick and desperately needs Buddy's help. Can Buddy overcome slippery rocks, a dark cave, and strong ocean waves to rescue his friend? Told from the dog's perspective, the stories in Dog's Eye View are full of adventure, excitement, and waggy-tailed warmth, highlighting the unique bond between dogs and their human best friends.

Sandy Clyburn, (fictitious), was orphaned at five, during Londons Blitz), 1943. He was evacuated to Wales for the remainder of the war, then returned to London, to foster homes and finally an orphanage run by the Skunks, (Shanks) who were drunkards and gamblers, denying their charges their due. Leaving school at age 15 and not wanting to remain in London, he took an audition for the Royal Marines School Of Music, Deal, Kent. He had no previous music study of any kind, other than a friend who showed him some basic march drumming, cadet style. The contract; 3 and 12 years Boy and Man. At his audition he was told, the quota for Band Drummers, (Percussionists), at that time were filled. However, he agreed to accept a position as Bugler, till such time as new Band Drummer positioned opened up, that were frequent throughout the year. (Buglers conscript as Marines, fighting soldiers. RM). Musicians, non-combatant, Bandsmen, RMB), almost a different service. Accepting the position of Bugler/Drummer, RM., would put him on the spot, as it were. The story centers around his trials, tribulations and general struggle to obtain the objective of Musician/Percussionist. Friends help him gain knowledge and ability in order to transfer. Time was not on his side. Boy Musicians had four years training as opposed to one year for Buglers, who were then shipped to a Division, then a ship or Naval establishment. After graduating as a Bugler, eight months later, much to his surprise, hes granted a six month trial period in order to prove his worth. Stepping back to the move from the School, he allowed himself to be coerced and talked into stealing a clarinet. A friend convinces him that the extra cash would be handy for Christmas leave. His involvement, minimal. An instrument or two, would be stashed in his kit while his back was turned, thereby getting them out of barracks without notice. The friend, also a Londoner, made arrangements with Sandy to meet and pedal what had been stolen. That was done. Now, with the granting of a six month trial period he was returning to Deal, that would leave approximately sixteen months before reaching age 18 and adulthood. Through the help of the Percussion Bandmaster, who believed in his ability, he performs and solos Xylophone, at the end of school year, Summer, concert. With just one year to cram, he embarks on a strict practice schedule. February of 1955 is a particular bad winter for an Influenza epidemic and Sandy is admitted into the sick-bay. While there, hes visited by MPs and a Detective, who were investigating instruments theft during Christmas leave. This investigation also harped back to previous occurrences that went unsolved. Sandys name came up, and while sick, he was interrogated. He caves in and is Court Martialed.

NATIONAL BESTSELLER • The lives of three women—transgender and cisgender—collide after an unexpected pregnancy forces them to confront their deepest desires in “one of the most celebrated novels of the year” (Time) “Reading this novel is like holding a live wire in your hand.”—Vulture One of the New York Times’s 100 Best Books of the 21st Century Named one of the Best Books of the Year by more than twenty publications, including The New York Times Book Review, Entertainment Weekly, NPR, Time, Vogue, Esquire, Vulture, and Autostraddle PEN/Hemingway Award Winner • Finalist for the Lambda Literary Award, the National Book Critics Circle Award, and the Gotham Book Prize • Longlisted for The Women’s Prize • Roxane Gay’s Audacious Book Club Pick • New York Times Editors’ Choice Reese almost had it all: a loving relationship with Amy, an apartment in New York City, a job she didn't hate. She had scraped together what previous generations of trans women could only dream of: a life of mundane, bourgeois comforts. The only thing missing was a child. But then her girlfriend, Amy, detransitioned and became Ames, and everything fell apart. Now Reese is caught in a self-destructive pattern: avoiding her loneliness by sleeping with married men. Ames isn't happy either. He thought detransitioning to live as a man would make life easier, but that decision cost him his relationship with Reese—and losing her meant losing his only family. Even though their romance is over, he longs to find a way back to her. When Ames's boss and lover, Katrina, reveals that she's pregnant with his baby—and that she's not sure whether she wants to keep it—Ames wonders if this is the chance he's been waiting for. Could the three of them form some kind of unconventional family—and raise the baby together? This provocative debut is about what happens at the emotional, messy, vulnerable corners of womanhood that platitudes and good intentions can't reach. Torrey Peters brilliantly and fearlessly navigates the most dangerous taboos around gender, sex, and relationships, gifting us a thrillingly original, witty, and deeply moving novel.

2016 Choice Outstanding Academic Title Finalist for 2016 Richard Wall Memorial Award by the Theatre Library Long listed for the 2017 Kraszna-Krausz Best Photography Book Award from the Kraszna-Krausz Foundation Marlene Dietrich, Greta Garbo, and Katharine Hepburn all made lasting impressions with the cinematic cross-dressing they performed onscreen. What few modern viewers realize, however, is that these seemingly daring performances of the 1930s actually came at the tail end of a long wave of gender-bending films that included more than 400 movies featuring women dressed as men. Laura Horak spent a decade scouring film archives worldwide, looking at American films made between 1908 and 1934, and what she discovered could revolutionize our understanding of gender roles in the early twentieth century. Questioning the assumption that cross-dressing women were automatically viewed as transgressive, she finds that these figures were popularly regarded as wholesome and regularly appeared onscreen in the 1910s, thus lending greater respectability to the fledgling film industry. Horak also explores how and why this perception of cross-dressed women began to change in the 1920s and early 1930s, examining how cinema played a pivotal part in the representation of lesbian identity. Girls Will Be Boys excavates a rich history of gender-bending film roles, enabling readers to appreciate the wide array of masculinities that these actresses performed—from sentimental boyhood to rugged virility to gentlemanly refinement. Taking us on a guided tour through a treasure-trove of vintage images, Girls Will Be Boys helps us view the histories of gender, sexuality, and film through fresh eyes.

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