On the page facing each letter, an illustration by a celebrated illustrator or graphic artist presents that artist's visual response.Among the diverse contributions are letters from Jane Goodall, Neil Gaiman, Jerome Bruner, Shonda Rhimes, Ursula K. Le Guin, Yo-Yo Ma, Judy Blume, Lena Dunham, Elizabeth Gilbert, and Jacqueline Woodson, as well as a ninety-eight-year-old Holocaust survivor, a pioneering oceanographer, and Italy’s first woman in space. Some of the illustrators, cartoonists, and graphic designers involved are Marianne Dubuc, Sean Qualls, Oliver Jeffers, Maira Kalman, Mo Willems, Isabelle Arsenault, Chris Ware, Liniers, Shaun Tan, Tomi Ungerer, and Art Spiegelman.  This project is woven entirely of goodwill, generosity of spirit, and a shared love of books. Everyone involved has donated their time, and all profits will go to the New York Public Library systems.Preface by David Remnick, editor, The New Yorker; Edited and introduced by Maria Popova, who has been writing since 2006 about what she reads on Brain Pickings (brainpickings.org), which is now included in the Library of Congress archive of culturally valuable materials; Edited by Claudia Bedrick, publisher, editorial and art director of Enchanted Lion Books.

    It encourages a greater sensitivity to your world, inside and out. It serves as a haven for new ideas until they are strong and mature enough to face the harsh light of rational judgment. It gives you a quiet place to catch your breath and begin writing. Breathing In, Breathing Out is a book for the writer in each one of us, however lost, however buried. Ralph Fletcher takes a probing look into the nature of a writer's notebook, examining what it is, how writers use it, and what makes it tick. You will discover why writers like Naomi Shihab Nye and Dorothy Allison consider their notebooks so important to the work they create. You will also read snippets from Fletcher's notebook, where he reveals the "displayed self" of a writer whose innermost workings he knows best.To Fletcher, keeping a writer's notebook is as natural an activity as breathing so he has organized his book in a way that illuminates two basic aspects of the process. Breathing In refers to the way the notebook can serve as a receptacle for selected insights, lines, images, dreams, and fragments of conversations. In this way it helps you pay closer attention to your world. Breathing Out is intended to suggest the notebook as an ideal place to use what you have collected and spark your own original writing.This book is for new writers as well as those who may have once loved to write but have lost the spark along the way. It will help you find a natural rhythm for using a notebook and in the process start living the life of a writer.

    Foster gives tweens the tools they need to become thoughtful readers.With funny insights and a conversational style, he explains the way writers use symbol, metaphor, characterization, setting, plot, and other key techniques to make a story come to life.From that very first middle school book report to that first college course, kids need to be able to understand the layers of meaning in literature. Foster makes learning this important skill fun and exciting by using examples from How the Grinch Stole Christmas to The Adventures of Huckleberry Finn, from short stories and poems to movie scripts.This go-to guide unlocks all the hidden secrets to reading, making it entertaining and satisfying.

    Author Gemma Elwin Harris has lovingly compiled weighty questions from precocious grade school children—queries that have long dumbfounded even intelligent adults—and she’s gathered together a notable crew of scientists, specialists, philosophers, and writers to answer them.Authors Mary Roach and Phillip Pullman, evolutionary biologist Richard Dawkins, chef Gordon Ramsay, adventurist Bear Gryllis, and linguist Noam Chomsky are among the top experts responding to the Big Questions from Little People, (“Do animals have feelings?”, “Why can’t I tickle myself?”, “Who is God?”) with well-known comedians, columnists, and raconteurs offering hilarious alternative answers. Miles above your average general knowledge and trivia collections, this charming compendium is a book fans of the E.H. Gombrich classic, A Little History of the World, will adore.

     As the young boy becomes a man, he grows disillusioned with his work and his life.  So he returns to ask the old man to help him find The Present. The old man responds, “Only you have the power to find The Present for yourself.” Heeding the old man’s advice, the young man embarks on a worldwide search for this magical gift that remains unchanging in a changing world, and holds the secret to personal happiness and lifelong success. It is only after the young man has searched high and low and all but given up his relentless pursuit that he discovers The Present—and all of the promises it offers. Like the young man, you may find that it is the best gift you can ever give to yourself — and to those you care about.

    He also stunk. And if it was correct English to say he stinked, then he stinked as well…”It all starts when Chloe makes friends with Mr Stink, the local tramp. Yes, he smells a bit. But when it looks like he might be driven out of town, Chloe decides to hide him in the garden shed.Now Chloe's got to make sure no one finds out her secret. And speaking of secrets, there just might be more to Mr Stink than meets the eye… or the nose.

    Copy veteran Constance Hale is on a mission to make creative communication, both the lyrical and the unlawful, an option for everyone.With its crisp, witty tone, Sin and Syntax covers grammar’s ground rules while revealing countless unconventional syntax secrets (such as how to use—Gasp!—interjections or when to pepper your prose with slang) that make for sinfully good writing. Discover how to:*Distinguish between words that are “pearls” and words that are “potatoes”* Avoid “couch potato thinking” and “commitment phobia” when choosing verbs* Use literary devices such as onomatopoeia, alliteration, and metaphor (and understand what you're doing)Everyone needs to know how to write stylish prose—students, professionals, and seasoned writers alike. Whether you’re writing to sell, shock, or just sing, Sin and Syntax is the guide you need to improve your command of the English language.

    These were just some of the hardships for the people who stayed at home in World War Two - the blitzed Brits.

    One day she intercepted a note with an ugly racial caricature, and angrily declared that this was precisely the sort of thing that led to the Holocaust—only to be met by uncomprehending looks. So she and her students, using the treasured books Anne Frank: The Diary of a Young Girl and Zlata’s Diary: A Child’s Life in Sarajevo as their guides, undertook a life-changing, eye-opening, spirit-raising odyssey against intolerance and misunderstanding. They learned to see the parallels in these books to their own lives, recording their thoughts and feelings in diaries and dubbing themselves the “Freedom Writers” in homage to the civil rights activists “The Freedom Riders.”With funds raised by a “Read-a-thon for Tolerance,” they arranged for Miep Gies, the courageous Dutch woman who sheltered the Frank family, to visit them in California, where she declared that Erin Gruwell’s students were “the real heroes.” Their efforts have paid off spectacularly, both in terms of recognition—appearances on “Prime Time Live” and “All Things Considered,” coverage in People magazine, a meeting with U.S. Secretary of Education Richard Riley—and educationally. All 150 Freedom Writers have graduated from high school and are now attending college.With powerful entries from the students’ own diaries and a narrative text by Erin Gruwell, The Freedom Writers Diary is an uplifting, unforgettable example of how hard work, courage, and the spirit of determination changed the lives of a teacher and her students. The authors’ proceeds from this book will be donated to The Tolerance Education Foundation, an organization set up to pay for the Freedom Writers’ college tuition. Erin Gruwell is now a visiting professor at California State University, Long Beach, where some of her students are Freedom Writers.

    With passion and wit, Mary Oliver skillfully imparts expertise from her long, celebrated career as a disguised poet. She walks readers through exactly how a poem is built, from meter and rhyme, to form and diction, to sound and sense, drawing on poems by Robert Frost, Elizabeth Bishop, and others. This handbook is an invaluable glimpse into Oliver’s prolific mind??—??a must-have for all poetry-lovers.

    Now this new edition of The Read-Aloud Handbook imparts the benefits, rewards, and importance of reading aloud to children of a new generation. Supported by delightful anecdotes as well as the latest research, The Read-Aloud Handbook offers proven techniques and strategies—and the reasoning behind them—for helping children discover the pleasures of reading and setting them on the road to becoming lifelong readers.

    With "The Wimpy Kid Movie Diary," author Jeff Kinney shared his Hollywood experience on the set and explained to readers how a major motion picture gets made. That was just the beginning of the story. Now, in this revised and expanded edition, Jeff Kinney fills in the rest of the moviemaking process with more inside stories, new artwork, and exclusive images. Also included is a special sneak peek at "Rodrick Rules," the new movie coming in March 2011. This revised and expanded edition of "The Wimpy Kid Movie Diary" is the perfect companion to the bestselling series.A NEWER, REVISED AND EXPANDED EDITION OF THIS BOOK IS NOW AVAILABLE, The Wimpy Kid Movie Diary (DOG DAYS EDITION), ISBN 978-1419706424. INCLUDES 32 NEW PAGES ABOUT THE THIRD WIMPY KID MOVIE, DOG DAYS, PLUS AN ALL-NEW COVER ILLUSTRATION.

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner

    We love the performance, the big win, the ticking seconds of the clock as the game comes down to the wire. We watch games and cheer, sometimes to the point of obsession, but if we really wanted to see greatness--wanted to cheer for it, see it happen, understand what made it happen--we'd spend our time watching, obsessing on, and maybe even cheering the practices instead. This book puts practice on the front burner of all who seek to instill talent and achievement in others as well as in themselves. This is a journey to understand that practice, not games, makes champions.In this book, the authors engage the dream of better, both in fields and endeavors where participants know they should practice and also in those where many do not yet recognize the transformative power of practice. And it's not just whether you practice. How you practice may be a true competitive advantage. Deliberately engineered and designed practice can revolutionize our most important endeavors. The clear set of rules presented in Practice Perfect will make us better in virtually every performance of life. The "how-to" rules of practice cover such topics as rethinking practice, modeling excellent practice, using feedback, creating a culture of practice, making new skills stick, and hiring for practice.Discover new ways to think about practice. Learn how to design successful practice. Apply practice across a wide range of realms, both personal and professional The authors include specific activities to jump-start practice Doug Lemov is the best-selling author of Teach Like a ChampionA hands-on resource to practice, the rules within will help to create positive outliers and world-changing reservoirs of talent.

     The time-tested secrets this book discloses include Cicero’s three-step strategy for moving an audience to action—as well as Honest Abe’s Shameless Trick of lowering an audience’s expectations by pretending to be unpolished. But it’s also replete with contemporary techniques such as politicians’ use of “code” language to appeal to specific groups and an eye-opening assortment of popular-culture dodges—including The Yoda Technique, The Belushi Paradigm, and The Eddie Haskell Ploy. Whether you’re an inveterate lover of language books or just want to win a lot more anger-free arguments on the page, at the podium, or over a beer, Thank You for Arguing is for you. Written by one of today’s most popular language mavens, it’s warm, witty, erudite, and truly enlightening. It not only teaches you how to recognize a paralipsis and a chiasmus when you hear them, but also how to wield such handy and persuasive weapons the next time you really, really want to get your own way.