In his "wee house in the heather," where he lives with his family of twelve, he welcomes to his hearth every weary traveler who passes by on a stormy night. "There's always room for one more," says Lachie, and how his grateful guests say a wonderful "Thank you" provides a delightfully warm and tender ending to this hilarious tale of kindness.

    One day on a walk through Paris (a "twelve little girls in two straight lines" kind of walk), Madeline slips and falls off a bridge right into the Seine. Everyone feared she would be dead, "But for a dog / That kept its head," saving her from a "watery grave." What choice do Madeline and the girls have but to take the heroic pooch home, feed her biscuits, milk, and beef, and name her Genevieve? Sadly, when Lord Cucuface gets wind of the new dog, he decrees that no dogs will be allowed in the "old house in Paris that was covered with vines," and kicks Genevieve out on the street. Madeline vows vengeance, and the girls scour Paris looking for the pup: "They went looking high / and low / And every place a dog might go. / In every place they called her name / But no one answered to the same." As we've come to expect from Bemelmans, all's well that ends well chez Clavel, and young readers will be tickled by this heartwarming, quirky dog story with a surprise finale. (Ages 4 to 8) --Karin Snelson

    . . . It's all done with a commendable amount of taste, imagination, and style."--School Library Journal (starred review)"A beautifully convincing tale."--The New York Times Book Review"Using elements of traditional Japanese art, the illustrator has made marvelously imaginative pictures."--The Horn Book"Lent's pictures are a lively blend of finely detailed, delicate drawings and rip-roaring good humor."--The Boston Globe"A good read-aloud with lots of suspense."--LearningAwards: ALA Notable Children's Book Child Study Association Book of the Year The Horn Book Fanfare

    Though it was written for one little girl, the prayer is for all boys and girls, and it carries a universal appeal for all ages and races.

    "Another virtuoso performance. . . . Such an astute blend of aesthetics and information is admirable, the child's eye will be rewarded many times over."--Booklist. ALA Notable Book; Caldecott Medal.

    Brightly dressed in full uniform, each soldier brings a part for the remarkable machine.

    But the proud tiger must suffer the consequences when he becomes ungrateful and forgets his humble origins. Marcia Brown’s magical woodcuts bring this Indian fable to life with the mastery that won her a second Caldecott Medal.

    Ceci's first Christmas posada party and pinata have made her Mexican town come alive for generations of readers. "The youngest child will be completely transported by this lovely story".--The Atlantic. Three-color illustrations.

    But when a lion frightens him on his way home, Sylvester makes a wish that brings unexpected results.

    She goes on to explain that even one tree is nice, if it is the only one you happen to have.Some of the reasons why trees are so good to have around are funny. Some are indisputable facts. But in all of them there is a sense of poetic simplicity and beauty which will be sure to entrance any young child. Whether he knows one tree or many, he will relish the descriptions of the delights to be had in, with, or under a tree.Marc Simont's joyous pictures, half of them in full color, accentuate the child-like charm of the words. And each painting of a tree or trees shows just how very nice they can be.

    The house has an expressive face of windows and doors, and even the feelings of a person, so she’s sad when she’s surrounded by the dirty, noisy city’s hustle and bustle: “She missed the field of daisies / and the apple trees dancing in the moonlight.” Fortunately, there’s a happy ending, as the house is taken back to the country where she belongs.

    Zelinsky has once again with unmatched emotional authority, control of space, and narrativecapability brought forth a unique vision for an age-old tale. Few artists at work today can touch the level at which his paintings tell a story and exert their hold.Zelinsky's retelling of Rapunzel reaches back beyond the Grimms to a late-seventeenth-century French tale by Mlle. la Force, who based hers on the Neapolitan tale Petrosinella in a collection popular at the time. The artist understands the story's fundamentals to be about possessiveness, confinement, and separation, rather than about punishment and deprivation. Thus the tower the sorceress gives Rapunzel here is not a desolate, barren structure of denial but one of esoteric beauty on the outside and physical luxury within. And the world the artist creates through the elements in his paintings the palette, control of light, landscape, characters, architecture,interiors, costumes speaks to us not of an ugly witch who cruelly imprisons a beautiful young girl, but of a mother figure who powerfully resists her child's inevitable growth, and of a young woman and man who must struggle in the wilderness for the self-reliance that is the true beginningof their adulthood.As ever, and yet always somehow in newly arresting fashion, Paul O. Zelinsky's work thrillingly shows us the events of the story while guiding us beyond them to the truths that have made it endure.

    The Russian folktale about an old woman's endless search for the Christ child.

    A wild stallion becomes her friend and she decides to ride free with the herd even after she is found.

    When a fox bursts into his domain, dupes him into crowing, and then grabs him in a viselike grip, Chanticleer must do some quick thinking to save himself and his barnyard kingdom.