This is the ultimate storybook, playmat and toy all rolled into one. Once unfolded parent and child can read the text, which describes an exciting journey through space. The bright busy illustrations are packed with colourful details such as aliens, comets and planets.

“Filled with tongue-in-cheek humor…a gently fantastical world brimming with teen shenanigans.” —Publishers Weekly Perfect for fans of Geekerella and Jenn Bennett, this charming, sparkly rom-com follows a wish-granting teen forced to question if she’s really doing good—and if she has the power to make her own dreams come true. Charity is a fairy godmother. She doesn’t wear a poofy dress or go around waving a wand, but she does make sure the deepest desires of the student population at Jack London High School come true. And she knows what they want even better than they do because she can glimpse their perfect futures. But when Charity fulfills a glimpse that gets Vindhya crowned homecoming queen, it ends in disaster. Suddenly, every wish Charity has ever granted is called into question. Has she really been helping people? Where do these glimpses come from, anyway? What if she’s not getting the whole picture? Making this existential crisis way worse is Noah—the adorkable and (in Charity’s opinion) diabolical ex of one of her past clients—who blames her for sabotaging his prom plans and claims her interventions are doing more harm than good. He demands that she stop granting wishes and help him get his girl back. At first, Charity has no choice but to play along. But soon, Noah becomes an unexpected ally in getting to the bottom of the glimpses. Before long, Charity dares to call him her friend…and even starts to wish he were something more. But can the fairy godmother ever get the happily ever after?

Read the storybook, press out the characters and fold out the building with each of these brand new interactive titles. As well as promoting traditional reading, children can let their imaginations run free as they use the card press-outs and playmat to create their own adventures at a farm, castle and fire station.

One of the most influential, admired, and colorful women of our time: fashion designer and philanthropist Diane von Furstenberg tells the most personal stories from her life, about family, love, beauty and business: “It’s so good, you’ll want to take notes” (People). Diane von Furstenberg started with a suitcase full of jersey dresses and an idea of who she wanted to be—in her words, “the kind of woman who is independent and who doesn’t rely on a man to pay her bills.” She has since become that woman, establishing herself as a major force in the fashion industry, all the while raising a family, maintaining that “my children are my greatest creation.” In The Woman I Wanted to Be, “an intriguing page-turner filled with revelations” (More), von Furstenberg reflects on her extraordinary life—from her childhood in Brussels to her days as a young, jet-set princess, to creating the dress that came to symbolize independence and power for generations of women. With remarkable honesty and wisdom, von Furstenberg mines the rich territory of what it means to be a woman. She opens up about her family and career, overcoming cancer, building a global brand, and devoting herself to empowering other women. This “inspiring, compelling, deliciously detailed celebrity autobiography…is as much of a smashing success as the determined, savvy, well-intentioned woman who wrote it” (Chicago Tribune).

This is the ultimate storybook, playmat and toy all rolled into one. Once unfolded, children can follow the illustrated route and story. It then refolds to create a sit-in vehicle that a child can pretend to drive.

Ten-year-old girls don't wear wigs. So why is Anya wearing one? That's what Keely wants to know. But when Anya's wig falls off in front of the whole class, Keely realizes what she really wants is to help Anya, even though she's not sure how--and even though it means she'll have to do something she's afraid of: stand up to her friends. As for Anya, she just wants her hair to grow back, but no one can tell her whether it ever will. How can she learn to accept her disease when she can't even look in the mirror?

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.