There has been a terrible mistake. Instead of having thirty classrooms side by side, Wayside School is thirty storeys high! (The builder said he was sorry.) Perhaps that's why all sorts of strange and unusual things keep happening – especially in Mrs Jewls's classroom on the very top floor. There's the terrifying Mrs Gorf, who gets an unusually fruity comeuppance; Terrible Todd, who always gets sent home early; and Mauricia, who has a strange ice-cream addiction. Meanwhile, John can only read upside down, and Leslie is determined to sell her own toes. From top to bottom, Wayside is packed with quirky and hilarious characters who are all brought to life in this new edition with delightful illustrations by Aleksei Bitskoff throughout. This is an unmissable, irrepressible story of mixed-up mayhem from Louis Sachar, the bestselling author of Holes.

Maurice Sendak greeted the publication of the first book by this unique author-and-artist team with an astonishing review in The New York Times Book Review, which began: "Sid and Sol is a wonder--a picture book that heralds a hopeful, healthy flicker of life in what is becoming a creatively exhausted genre. The magic rests in teh seamless bond of Arthur Yorinks's and Richard Egielski's deft and exciting collaboration." Sendak concluded his review with an enthusiastic "Welcom, Mr. Yorinks and Mr. Egielski!" Now Louis the Fish, their second picture book, not only fulfills the promise of the first, but amply surpasses it. Louis is a butcher. He has a nice shop on Flatbush, with steady customers. He's "always friendly, always helpful, a wonderful guy." But Louis is not happy. He hates meat! All his life he's been surrounded by meat. His grandfather was a butcher. His father was a butcher. His whole childhood, even his birthdays, revolved aournd meat. As a boy he tried anythign to escape--even a job after school cleaning fishtanks. But that doesn't last long. Louis soon has to take over his parents' butcher shop. He grows ill. Business begins to fail. All seems lost. Until on night, in fitful sleep, after uneasy dreams, Louis is changed in a profound and startling way and begins a happy new life.

The first in-depth biographical study of the brilliant but elusive architect who fundamentally redefined twentieth-century architecture. Now ranked with Frank Lloyd Wright, Le Corbusier, and Mies van der Rohe, Louis I. Kahn brought a reverence for history back into modern architecture while translating it into a uniquely contemporary idiom. Drawing on more than one hundred interviews with colleagues, coworkers, clients, and family members and illustrated with many previously unpublished photographs, this book documents the uniquely American rise of a poor immigrant to the pinnacle of the international architectural world. It illuminates the richly diverse personal relationships Kahn had with such clients as Jonas Salk and Paul Mellon, and the romantic entanglements that mystified even those closest to him. While celebrating the genius of Kahnís art, the book provides an invaluable portrait of the man who created it.

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A thought-provoking, authoritative biography of one of history's most maligned rulers Louis XVI of France, who was guillotined in 1793 during the Revolution and Reign of Terror, is commonly portrayed in fiction and film either as a weak and stupid despot in thrall to his beautiful, shallow wife, Marie Antoinette, or as a cruel and treasonous tyrant. Historian John Hardman disputes both these versions in a fascinating new biography of the ill-fated monarch. Based in part on new scholarship that has emerged over the past two decades, Hardman's illuminating study describes a highly educated ruler who, though indecisive, possessed sharp political insight and a talent for foreign policy; who often saw the dangers ahead but could not or would not prevent them; and whose great misfortune was to be caught in the violent center of a major turning point in history. Hardman's dramatic reassessment of the reign of Louis XVI sheds a bold new light on the man, his actions, his world, and his policies, including the king's support for America's War of Independence, the intricate workings of his court, the disastrous Diamond Necklace Affair, and Louis's famous dash to Varennes.

This monograph examines the wide artistic production of Louis XIV's most prolific and powerful artist, Charles Le Brun (1619-1690), illustrating the magnificence of his paintings and focusing particularly on the interiors and decorative art works produced according to his designs. In his joint capacities of Premier peintre du roi, director of the Gobelins manufactory and rector of the Acad mie royale de peinture et de sculpture, Le Brun exercised a previously unprecedented influence on the production of the visual arts - so much so that some scholars have repeatedly described him as 'dictator' of the arts in France. The Sovereign Artist explores how Le Brun operated in his diverse fields of activities, linking and juxtaposing his portraiture, history painting and pictorial theory with his designs for architecture, tapestries, carpets and furniture. It argues that Le Brun sought to create a repeatable and easily recognizable visual language associated with Louis XIV, in order to translate the king's political claims for absolute power into a visual form. How he did this is discussed through a series of individual case studies ranging from Le Brun's lost equestrian portrait of Louis XIV, and his involvement in the Querelle du coloris at the Acad mie, to his scheme for 93 Savonnerie carpets for the Grande Galerie at the Louvre, his Histoire du roy tapestry series, his decoration of the now destroyed Escalier des Ambassadeurs at Versailles and the dramatic destruction of the Sun King's silver furniture. One key theme is the relation between the unity of the visual arts, to which Le Brun aspired, and the strong hierarchical distinctions he made between the liberal arts and the mechanical crafts: while his lectures at the Acad mie advocated a visual and conceptual unity in painting and architecture, they were also a means by which he attempted to secure the newly gained status of painting as a liberal art, and therefore to distinguish it from the mechanical crafts which he oversaw the production of at the Gobelins. His artistic and architectural aspirations were comparable to those of his Roman contemporary Gianlorenzo Bernini, summoned to Paris in 1665 to design the Louvre's East fa ade and to create a portrait bust of Louis XIV. Bernini's failure to convince the king and Colbert of his architectural scheme offered new opportunities for Le Brun and his French contemporaries to prove themselves capable of solving the architectural problems of the Louvre and to transform it into a palace appropriate "to the grandeur and the magnificence of the prince who was] to inhabit it" (Jean-Baptiste Colbert to Nicolas Poussin in 1664). The comparison between Le Brun and Bernini not only illustrates how France sought artistic supremacy over Italy during the second half of the 17th century, but further helps to demonstrate how Le Brun himself wanted to be perceived: beyond acting as a translator of the king's artistic ambition, the artist appears to have sought his own sovereign authority over the visual arts.