Siblings Fritz and Franny have their sights set on the tastiest ice cream treat in this early reader from Geisel Honor winner Tina Kugler! Pick a Book. Grow a Reader!This series is part of Scholastic's early reader line, Acorn, aimed at children who are learning to read. With easy-to-read text, a short-story format, plenty of humor, and full-color artwork on every page, these books will boost reading confidence and fluency. Acorn books plant a love of reading and help readers grow!Scoop up this fun-filled early reader series! When competitive fox siblings Fritz and Franny hear the ice cream truck on their street, they both imagine making the sweetest treat with different flavors and toppings. But there's just one problem: Their mom says they can only have one scoop each! Maybe Fritz and Franny need to ask Fred -- their adorable dog -- which flavor is best?Geisel Honor winner Tina Kugler's easy-to-read text and humor-filled, full-color artwork will have young readers everywhere laughing out loud!

Adrian Mole's first love, Pandora, has left him; a neighbor, Mr. Lucas, appears to be seducing his mother (and what does that mean for his father?); the BBC refuses to publish his poetry; and his dog swallowed the tree off the Christmas cake. "Why" indeed.

#1 NATIONAL BESTSELLER • Two starcrossed magicians engage in a deadly game of cunning in the spellbinding novel that captured the world's imagination. • "Part love story, part fable ... defies both genres and expectations." —The Boston Globe The circus arrives without warning. No announcements precede it. It is simply there, when yesterday it was not. Within the black-and-white striped canvas tents is an utterly unique experience full of breathtaking amazements. It is called Le Cirque des Rêves, and it is only open at night. But behind the scenes, a fierce competition is underway: a duel between two young magicians, Celia and Marco, who have been trained since childhood expressly for this purpose by their mercurial instructors. Unbeknownst to them both, this is a game in which only one can be left standing. Despite the high stakes, Celia and Marco soon tumble headfirst into love, setting off a domino effect of dangerous consequences, and leaving the lives of everyone, from the performers to the patrons, hanging in the balance.

This early work by Radclyffe Hall was originally published in 1928 and we are now republishing it with a brand new introductory biography. 'The Well of Loneliness' is a novel that follows an upper-class Englishwoman who falls in love with another woman while serving as an ambulance driver in World War I. Marguerite Radclyffe Hall was born on 12th August 1880, in Bournemouth, England. Hall's first novel The Unlit Lamp (1924) was a lengthy and grim tale that proved hard to sell. It was only published following the success of the much lighter social comedy The Forge (1924), which made the best-seller list of John O'London's Weekly. Hall is a key figure in lesbian literature for her novel The Well of Loneliness (1928). This is her only work with overt lesbian themes and tells the story of the life of a masculine lesbian named Stephen Gordon.

Tired of being last on the smoky, noisy train, Katy wishes for some way to escape the endless track.

Zora Neale Hurston brings us Black America’s folklore as only she can, putting the oral history on the written page with grace and understanding. This new edition of Mules and Men features a new cover and a P.S. section which includes insights, interviews, and more. For the student of cultural history, Mules and Men is a treasury of Black America’s folklore as collected by Zora Neale Hurston, the storyteller and anthropologist who grew up hearing the songs and sermons, sayings and tall tales that have formed and oral history of the South since the time of slavery. Set intimately within the social context of Black life, the stories, “big old lies,” songs, voodoo customs, and superstitions recorded in these pages capture the imagination and bring back to life the humor and wisdom that is the unique heritage of Black Americans.

Explains how self-delusion is part of a person's psychological defense system, identifying common misconceptions people have on topics such as caffeine withdrawal, hindsight, and brand loyalty.

Part of the regionalist movement that included Grant Wood, Paul Engle, Hamlin Garland, and Jay G. Sigmund, James Hearst helped create what Iowa novelist Ruth Suckow called a poetry of place. A lifelong Iowa farner, Hearst began writing poetry at age nineteen and eventually wrote thirteen books of poems, a novel, short stories, cantatas, and essays, which gained him a devoted following Many of his poems were published in the regionalist periodicals of the time, including the Midland, and by the great regional presses, including Carroll Coleman's Prairie Press. Drawing on his experiences as a farmer, Hearst wrote with a distinct voice of rural life and its joys and conflicts, of his own battles with physical and emotional pain (he was partially paralyzed in a farm accident), and of his own place in the world. His clear eye offered a vision of the midwestern agrarian life that was sympathetic but not sentimental - a people and an art rooted in place.

Dubbed by his fellow Futurists the "King of Time," Velimir Khlebnikov (1885-1922) spent his entire brief life searching for a new poetic language to express his convictions about the rhythm of history, the correspondence between human behavior and the "language of the stars." The result was a vast body of poetry and prose that has been called hermetic, incomprehensible, even deranged. Of all this tragic generation of Russian poets (including Blok, Esenin, and Mayakovsky), Khlebnikov has been perhaps the most praised and the more censured. This first volume of the Collected Works, an edition sponsored by the Dia Art Foundation, will do much to establish the counterimage of Khlebnikov as an honest, serious writer. The 117 letters published here for the first time in English reveal an ebullient, humane, impractical, but deliberate working artist. We read of the continuing involvement with his family throughout his vagabond life (pleas to his smartest sister, Vera, to break out of the mold, pleas to his scholarly father not to condemn and to send a warm overcoat); the naive pleasure he took in being applauded by other artists; his insistence that a young girl's simple verses be included in one of the typically outrageous Futurist publications of the time; his jealous fury at the appearance in Moscow of the Italian Futurist Marinetti; a first draft of his famous zoo poem ("O Garden of Animals!"); his seriocomic but ultimately shattering efforts to be released from army service; his inexhaustibly courageous confrontation with his own disease and excruciating poverty; and always his deadly earnest attempt to make sense of numbers, language, suffering, politics, and the exigencies of publication. The theoretical writings presented here are even more important than the letters to an understanding of Khlebnikov's creative output. In the scientific articles written before 1910, we discern foreshadowings of major patterns of later poetic work. In the pan-Slavic proclamations of 1908-1914, we find explicit connections between cultural roots and linguistic ramifications. In the semantic excursuses beginning in 1915, we can see Khlebnikov's experiments with consonants, nouns, and definitions spelled out in accessible, if arid, form. The essays of 1916-1922 take us into the future of Planet Earth, visions of universal order and accomplishment that no longer seem so farfetched but indeed resonate for modern readers.