What better time to be creative than a birthday? With gifts at stake, Phineas and Ferb are at their best. First they surprise Candace by adding her head to Mt. Rushmore, and then they cook up an even BIGGER surprise for their mom's birthday.

For use in schools and libraries only. Phineas and Ferb plan to do something wild to top their efforts of last year's celebration for Candace and find that things do not always go according to plan.

Gerald tells of the very unusual animals he would add to the zoo, if he were in charge.

A laugh-out-loud story of trying to make new friends and appreciating the ones you have from debut author-illustrator Caroline Hadilaksono Bear, Squirrel, and Raccoon have been friends a long time. A loooooooong time. So when a family of city folks comes to the neighborhood, the friends think that a surprise welcome party is just the kind of fun they've been looking for. Well, the party turns out to be quite the surprise indeed, but maybe not exactly what Bear, Squirrel, and Raccoon were imagining? Laugh-out-loud fun for friends and families of all species

A turkey hides from two brothers looking for food for Thanksgiving Day, and they end up finding something better to eat.

The latest roaring, rollicking adventure from Edgar Award-winner Joe R. Lansdale, featuring odd-couple P.I.s Hap and Leonard. Hap and Leonard are an unlikely pair--Hap, a self-proclaimed white trash rebel, and Leonard--a tough-as-nails Black, gay, Vietnam vet and Republican--but they're the closest friend either of them has in the world. After years of crime-solving companionship, something's changed: Hap, recently married to their P.I. boss, Brett, is now a family man. Amidst the worst flood East Texas has seen in years, the two run across a woman who's had her tongue nearly cut out, pursued by a heavily armed pair of goons. Turns out the girl survived a mob hit, and the boss has come to clean up the mess. On a chase that blows even the East Texas swampgrass back, Hap and Leonard must save the girl, and vanquish her foes, before the foes get them first. With a new case to solve, and a brand-new challenge to their relationship, will Hap and Leonard's friendship survive? Will Hap and Leonard survive? The Elephant of Surprise is rich with Lansdale's trademark humor, whip-smart dialogue, and plenty of ass-kicking adventures.

Today, in the era of the spoiler alert, "surprise" in fiction is primarily associated with an unexpected plot twist, but in earlier usage, the word had darker and more complex meanings. Originally denoting a military ambush or physical assault, surprise went through a major semantic shift in the eighteenth century: from violent attack to pleasurable experience, and from external event to internal feeling. In Surprise, Christopher R. Miller studies that change as it took shape in literature ranging from Paradise Lost through the novels of Jane Austen. Miller argues that writers of the period exploited and arbitrated the dual nature of surprise in its sinister and benign forms. Even as surprise came to be associated with pleasure, it continued to be perceived as a problem: a sign of ignorance or naïveté, an uncontrollable reflex, a paralysis of rationality, and an experience of mere novelty or diversion for its own sake. In close readings of exemplary scenes--particularly those involving astonished or petrified characters--Miller shows how novelists sought to harness the energies of surprise toward edifying or comic ends, while registering its underpinnings in violence and mortal danger. In the Roman poet Horace's famous axiom, poetry should instruct and delight, but in the early eighteenth century, Joseph Addison signally amended that formula to suggest that the imaginative arts should surprise and delight. Investigating the significance of that substitution, Miller traces an intellectual history of surprise, involving Aristotelian poetics, Cartesian philosophy, Enlightenment concepts of the passions, eighteenth-century literary criticism and aesthetics, and modern emotion theory. Miller goes on to offer a fresh reading of what it means to be "surprised by sin" in Paradise Lost, showing how Milton's epic both harks back to the symbolic functions of violence in allegory and looks ahead to the moral contours of the novel. Subsequent chapters study the Miltonic ramifications of surprise in the novels of Defoe, Haywood, Richardson, Fielding, and Sterne, as well as in the poems of Wordsworth and Keats. By focusing on surprise in its inflections as emotion, cognition, and event, Miller's book illuminates connections between allegory and formal realism, between aesthetic discourse and prose fiction, and between novel and lyric; and it offers new ways of thinking about the aesthetic and ethical dimensions of the novel as the genre emerged in the eighteenth century.