The castle is a temporary boarding school for children escaping the Blitz, but soon it’s clear there is something terribly wrong. There are clues hinting that a spy is in the house, and there are undeniable signs of a sinister magic. When the children in the castle’s temporary boarding school begin disappearing one by one, it’s a race against the clock for twelve-year-old Kat Bateson, her two younger siblings, and their new best friend.

    He arrives in the dead of night at a remote village, where he crosses paths with the tall and limping figure of Joe Zabbidou - a pawnbroker with a difference. For Joe trades secrets, not goods, for cash.Employed as Joe's assistant, Ludlow records the villagers' fiendish confessions in an ancient leather-bound volume: The Black Book of Secrets. There's the gravedigger who has been resurrecting bodies; the butcher who made a mouse-meat pie for his bullying father, with fatal consequences; the wizened bookseller who went to murderous lengths to get her hands on a priceless tome.Ludlow longs to trust his mysterious master, but he senses Joe has much to hide. But then Ludlow Fitch has his own, very dark, secrets . . .

    Eva's great desire is to go aboveground, and her wish comes true, though not as she had imagined. On the surface, Eva goes in search of other humans--she has never met one--and soon meets both friend and foe.

    Her father, an expert on the supernatural, has been away for too long while doing research in Saarthe, a remote territory in the Pacific Northwest populated by towering redwoods, timber barons, and the Lupine people. But upon arriving, she learns her father is missing: Rumor has it he’s gone in search of dreamwood, a rare tree with magical properties that just might hold the cure for the blight that’s ravaging the forests of Saarthe.Determined to find her father (and possibly save Saarthe), Lucy and her vexingly stubborn friend Pete follow William Darrington’s trail to the deadly woods on Devil’s Thumb. As they encounter Lupine princesses, giant sea serpents, and all manner of terrifying creatures, Lucy hasn’t reckoned that the dreamwood itself might be the greatest threat of all.

    In the dead of night, a cloaked figure drags a heavy box through snow-covered streets. The chest, covered in images of mythical beasts, can only be opened when the fangs of its serpent's-head clasp taste blood. Centuries later, in an Oxford library, a boy touches a strange book and feels something pierce his finger. The volume is blank, wordless, but its paper has fine veins running through it and seems to quiver, as if it's alive. Words begin to appear on the page--words no one but the boy can see. And so unfolds a timeless secret . . . .

    Consisting of a series of episodes in the story of the English outlaw Robin Hood and his band of Merry Men, the novel compiles traditional material into a coherent narrative in a colorful, invented "old English" idiom that preserves some flavor of the ballads, and adapts it for children. The novel is notable for taking the subject of Robin Hood, which had been increasingly popular through the 19th century, in a new direction that influenced later writers, artists, and filmmakers through the next century.[1]Pyle had been submitting illustrated poems and fairy tales to New York publications since 1876, and had met with success. The Merry Adventures of Robin Hood was the first novel he attempted. He took his material from Middle Age ballads and wove them into a cohesive story, altering them for coherence and the tastes of his child audience. For example, he included "Robin Hood and the Curtal Friar" in the narrative order to reintroduce Friar Tuck. He needed a cooperative priest for the wedding of outlaw Allan a Dale (Pyle's spelling of the original Alan-a-Dale) to his sweetheart Ellen. In the original "A Gest of Robyn Hode", the life is saved of an anonymous wrestler who had won a bout but was likely to be murdered because he was a stranger. Pyle adapted it and gave the wrestler the identity of David of Doncaster, one of Robin's band in the story "Robin Hood and the Golden Arrow." In his novelistic treatment of the tales, Pyle thus developed several characters who had been mentioned in only one ballad, such as David of Doncaster or Arthur a Bland. Pyle's book continued the 19th-century trend of portraying Robin Hood as a heroic outlaw who robs the rich to feed the poor; this portrayal contrasts with the Robin Hood of the ballads, where the protagonist is an out-and-out crook, whose crimes are motivated by personal gain rather than politics or a desire to help others.[1] For instance, he modified the ballad "Robin Hood's Progress to Nottingham", changing it from Robin killing fourteen foresters for not honoring a bet to Robin defending himself against a band of armed robbers. Pyle has Robin kill only one man, who shoots at him first. Tales are changed in which Robin steals all that an ambushed traveler carried, such as "Robin Hood and the Bishop of Hereford", so that the victim keeps a third and another third is dedicated to the poor. Pyle did not have much concern for historical accuracy, but he renamed the queen-consort in the story "Robin Hood and Queen Katherine" as Eleanor (of Aquitaine). This made her compatible historically with King Richard the Lion-Hearted, with whom Robin eventually makes peace. The novel was first published by Scribner's in 1883, and met with immediate success,[1] ushering in a new era of Robin Hood stories. It helped solidify the image of a heroic Robin Hood, which had begun in earlier works such as Walter Scott's 1819 novel Ivanhoe. In Pyle's wake, Robin Hood has become a staunch philanthropist protecting innocents against increasingly aggressive villains.[1] Along with the publication of the Child Ballads by Francis James Child, which included most of the surviving Robin Hood ballads, Pyle's novel helped increase the popularity of the Robin Hood legend in the United States. The Merry Adventures also had an effect on subsequent children's literature. It helped move the Robin Hood legend out of the realm of penny dreadfuls and into the realm of respected children's books.[2] After Pyle, Robin Hood became an increasingly popular subject for children's books: Louis Rhead's Bold Robin Hood and His Outlaw Band (1912) and Paul Creswick's Robin Hood (1917), illustrated by Pyle's pupil N. C.

    793; Jack and his sister have been kidnapped by Vikings and taken to the court of Ivar the Boneless and his terrifying half-troll wife; but things get even worse when Jack finds himself on a dangerous quest to find the magical Mimir's Well in a far-off land, with his sister's life forfeit if he fails.Other threats include a willful mother Dragon, a giant spider, and a troll-boar with a surprising personality -- to say nothing of Ivar the Boneless and his wife, Queen Frith, a shape-shifting half-troll, and several eight foot tall, orange-haired, full-time trolls. But in stories by award-winner Nancy Farmer, appearances do deceive. She has never told a richer, funnier tale, nor offered more timeless encouragement to young seekers than "Just say no to pillaging."

    But now magic is fading: drain cleaner is cheaper than a spell, and magic carpets are used for pizza delivery. Fifteen-year-old foundling Jennifer Strange runs Kazam, an employment agency for magicians—but it’s hard to stay in business when magic is drying up. And then the visions start, predicting the death of the world’s last dragon at the hands of an unnamed Dragonslayer. If the visions are true, everything will change for Kazam—and for Jennifer. Because something is coming. Something known as . . . Big Magic.

    As much as he'd love to sing the praises of his book (he is very vain), he wouldn't want you to hear about his brave 11-year old heroes, Cass and Max-Ernest. Or about how a mysterious box of vials, the Symphony of Smells, sends them on the trail of a magician who has vanished under strange (and stinky) circumstances. And he certainly wouldn't want you to know about the hair-raising adventures that follow and the nefarious villains they face. You see, not only is the name of this book secret, the story inside is, too. For it concerns a secret. A Big Secret.

    Each message brings her closer to believing that only she can prevent a tragic death. Until the final note makes her think she’s too late.

    When this apocalypse happens, the gods must battle the monsters--wolves the size of the sun, serpents that span the seabeds, all bent on destroying the world.The gods died a long time ago.Matt Thorsen knows every Norse myth, saga, and god as if it was family history--because it is family history. Most people in the modern-day town of Blackwell, South Dakota, in fact, are direct descendants of either Thor or Loki, including Matt's classmates Fen and Laurie Brekke.However, knowing the legends and completely believing them are two different things. When the rune readers reveal that Ragnarok is coming and kids--led by Matt--will stand in for the gods in the final battle, he can hardly believe it. Matt, Laurie, and Fen's lives will never be the same as they race to put together an unstoppable team to prevent the end of the world.

    But he is wrong. Uncle Jonathan and his next-door neighbor, Mrs. Zimmermann, are both magicians! Lewis is thrilled. At first, watching magic is enough. Then Lewis experiments with magic himself and unknowingly resurrects the former owner of the house: a woman named Selenna Izard. It seems that Selenna and her husband built a timepiece into the walls—a clock that could obliterate humankind. And only the Barnavelts can stop it!

    . . well, they should know better than to go, since this is a middle-grade adventure novel. But they go anyway. Why not? Once there, they stumble upon The Game of Sunken Places, a board game that mirrors a greater game in which they have suddenly become players. Soon the boys are dealing with attitudinal trolls, warring kingdoms, and some very starchy britches. Luckily, they have wit, deadpan observation, and a keen sense of adventure on their side.

    A family moves into an old, abandoned house. Jules's parents love the house, but Jules is frightened and feels a sense of foreboding. When she sees a pale face in an upstairs window, though, she can't stop wondering about the eerie presence on the top floor—in a room with a locked door. Could it be someone who lived in the house a century earlier? Her fear replaced by fascination, Jules is determined to make contact with the mysterious figure and help unlock the door. Past and present intersect as she and her ghostly friend discover—and change—the fate of the family who lived in the house all those many years ago.

    But things do not turn out as they had expected. The sole survivors of a terrible shipwreck, they wash ashore to learn that the danger has only begun. Their new world will test their courage, cleverness, endurance, and faith as they struggle to survive and create a civilization of their own in the wilderness. Note: This Townsend Library classic has been carefully edited to be more accessible to today's students. It includes a brief author's biography and an afterword that provides important context about the work.