There are so many neat things to see, and so many strange things to find. These explorers are prepared for anything . . . except each other! When Bear and Boy meet in the woods, they're scared at first. Really scared. But soon these kings of the wild realize that no mountain is too big to conquer if you have a friend to climb it by your side.Praise for To the Sea"A whale's tale that dives deep and surfaces with useful lessons about making, keeping, and helping friends." -Kirkus Reviews "An unusual and appealing story about friendship." -School Library Journal

    Into these quiet, NOISY woods, readers follow two frisky wolf pups yip-yap-yowling and grr-ruff-ruff-racing as they find their way back to their pack. Children will love calling out the interesting animal sounds throughout this enchanting, fast-paced chase through a lush forest.And young readers will come to know more about forest creatures and their interconnected lives, in this creative story by poet and naturalist Michael J. Rosen, who was inspired by the one-hundred-acre wood where he lives. The two final pages of the book include facts about each of the animals featured in this caper.Annie Won's signature luminous artwork lights the way, showcasing the animals and their habitat with glowing warmth."The rhythmic, lyrical text builds cumulatively from page to page. . . . Lovely realistic paintings in earthy hues of greens, browns, and yellows evoke hectic daytime woodland activity before eventually settling down to a soothing nighttime conclusion."--Kirkus "Highly recommended as a title to introduce children to the wonder of nature, well supported with beautiful illustrations."--School Library Journal

    I was a dancer.”In this rich, expansive, spirited memoir, Jacques d’Amboise, one of America’s most celebrated classical dancers, and former principal dancer with the New York City Ballet for more than three decades, tells the extraordinary story of his life in dance, and of America’s most renowned and admired dance companies. He writes of his classical studies beginning at the age of eight at The School of American Ballet. At twelve he was asked to perform with Ballet Society; three years later he joined the New York City Ballet and made his European debut at London’s Covent Garden. As George Balanchine’s protégé, d’Amboise had more works choreographed on him by “the supreme Ballet Master” than any other dancer, among them Tchaikovsky Pas de Deux; Episodes; A Midsummer’s Night’s Dream; Jewels; Raymonda Variations.He writes of his boyhood—born Joseph Ahearn—in Dedham, Massachusetts; his mother (“the Boss”) moving the family to New York City’s Washington Heights; dragging her son and daughter to ballet class (paying the teacher $7.50 from hats she made and sold on street corners, and with chickens she cooked stuffed with chestnuts); his mother changing the family name from Ahearn to her maiden name, d’Amboise (“It’s aristocratic. It has the ‘d’ apostrophe. It sounds better for the ballet, and it’s a better name”).We see him. a neighborhood tough, in Catholic schools being taught by the nuns; on the streets, fighting with neighborhood gangs, and taking ten classes a week at the School of American Ballet . . . being taught professional class by Balanchine (he was “small, unassuming, he radiated energy and total command”) and by other teachers of great legend: Anatole Oboukhoff, premier danseur of the Maryinsky Theatre (“Such a big star,” said Balanchine, “people followed him, like a prince with servants”); and Pierre Vladimiroff, Pavlova’s partner (“So light on feather feet”). Vladimiroff drilled into his students, “You must practice, practice, practice. Onstage, forget everything! Just listen to the music and dance.” D’Amboise writes about Balanchine’s succession of ballerina muses who inspired him to near-obsessive passion and led him to create extraordinary ballets, dancers with whom d’Amboise partnered—Maria Tallchief; Tanaquil LeClercq, a stick-skinny teenager who blossomed into an exquisite, witty, sophisticated “angel” with her “long limbs and dramatic, mysterious elegance . . .”; the iridescent Allegra Kent; Melissa Hayden; Suzanne Farrell, who Balanchine called his “alabaster princess,” her every fiber, every movement imbued with passion and energy; Kay Mazzo; Kyra Nichols (“She’s perfect,” Balanchine said. “Uncomplicated—like fresh water”); and Karin von Aroldingen, to whom Balanchine left most of his ballets. D’Amboise writes about dancing with and courting one of the company’s members, who became his wife for fifty-three years, and the four children they had . . . On going to Hollywood to make Seven Brides for Seven Brothers and being offered a long-term contract at MGM (“If you’re not careful,” Balanchine warned, “you will have sold your soul for seven years”) . . . On Jerome Robbins (“Jerry could be charming and complimentary, and then, five minutes later, attack, and crush your spirit—all to see how it would influence the dance movements”).D’Amboise writes of the moment when he realizes his dancing career is over and he begins a new life and new dream teaching children all over the world about the arts through the magic of dance. A riveting, magical book, as transformative as dancing itself.

    But Josh Reegan tests even her good graces when they meet outside her Arlington, Virginia, dance studio in 1951. He's attractive, yet his cynicism and cockiness are hard to tolerate. A journalist and former World War II Air Force pilot, Josh considers ballroom dancing a frivolous waste of time. Although Rachel's confident nature is a refreshing challenge, he wouldn't tangle with her if his newspaper hadn't assigned him to cover her studio's competition in New York City. Between the melodrama of ballroom antics and the real drama of political corruption, Rachel and Josh have their hands full. The last thing either of them expects is mutual need and support. But once they stop dancing around the truth, the results are unforgettable.

    It communicates through movement, not words, and its history lies almost entirely abroad -- in Russia, Italy, and France. In Celestial Bodies, dance critic Laura Jacobs makes the foreign familiar, providing a lively, poetic, and uniquely accessible introduction to the world of classical dance. Combining history, interviews with dancers, technical definitions, descriptions of performances, and personal stories, Jacobs offers an intimate and passionate guide to watching ballet and understanding the central elements of choreography. Beautifully written and elegantly illustrated with original drawings, Celestial Bodies is essential reading for all lovers of this magnificent art form.

    Henry doesn't quite seem to get the hang of any of it.Herman hates seeing his best friend so sad. So he decides to plot a very secret, very special surprise and do whatever it takes to make sure Henry has the best vacation ever!This fabulously funny story about friends who stick together is chronicled through vibrant illustrations and lift-the-flaps.Awards for Herman's LetterA Winter 2014-2015 Kids' Indie Next Pick

    For anyone who's ever wanted to escape real life and live in a nostalgic dream come true, this poignant picture book captures the universal timelessness of treehouses and celebrates all the creativity and adventure they spark.

    

    The animals say they have never seen him.  Maybe he’s a badger, a moose, a polar bear, or a wolf, they tell him.  But this spunky little rabbit thinks they are just fooling him.On Christmas Eve, Big Snowshoe finds a way to see the animals' Santa when a Snowy Owl in a red cap swoops down with a pack full of presents.  Never again will an excited Little Snow doubt that there is an animals' Santa.

    Marco the fox has a lot of questions, like: how deep does the sun go when it sinks into the sea? And why do birds have such lizardy feet? But none of the other foxes share his curiosity. So when a magnificent ship adorned with antlers and with a deer for a captain arrives at the dock looking for a crew, Marco volunteers, hoping to find foxes who are as inquisitive as he is that can answer his questions. The crew finds adventure and intrigue on their journey. And, at last, Marco finds the answer to his most important question of all: What’s the best way to find a friend you can talk to?

    When a compassionate goddess actually grants his wish, Routa commits himself to the lazy, carefree, all-you-can-nap lifestyle of a pampered pup-complete with a beautiful owner and all the delicious food he can eat! But as Routa grows...and grows...and grows...he realizes something is terribly wrong. With his enormous body, razor-sharp teeth, and fierce visage, it's painfully obvious that he was reincarnated not as a dog but as a giant wolf. And not just any wolf-the legendary wolf king Fenrir!

    Ballet is among the most beautiful forms of expression ever devised: an exquisite mix of sight and sound, stunning, aesthetics, and awesome technique. Ballet For Dummies is for anyone who wants to enjoy all that the dance forms offers - as an onlooker who wants to get a leg up on the forms you're likely to see or as an exercise enthusiast who understands that the practice of ballet can help you gainMore strength Greater flexibility Better body alignment Confidence in movement Comfort through stress reduction Infinite grace - for life From covering the basics of classical ballet to sharing safe and sensible ways to try your hand (and toes) at moving through the actual dance steps, this expert reference shows you how toBuild your appreciation for ballet from the ground up. Choose the best practice space and equipment. Warm up to your leap into the movements. Locate musical options for each exercise. Look for certain lifts in a stage performance. Tell a story with gestures. Picture a day in the life of a professional ballet dancer. Identify best-loved classic and contemporary ballets. Speak the language of ballet. Today you can find a ballet company in almost every major city on earth. Many companies have their own ballet schools - some for training future professionals, and others for interested amateurs. As you fine-tune your classical ballet technique - or even if you just like to read about it - you'll become better equipped to fully appreciate the great choreography and many styles of the dance. Ballet For Dummies raises the curtain on a world of beauty, grace, poise, and possibility!

    When Roland finds the perfect companion in Milton (Good listener! Enjoys music! Also alone!), he is overjoyed. It's okay that Milton is just a pine cone; they have so much in common. But clues start popping up in the woods, suggesting someone else might be missing their best pine cone friend. Roland must decide if it's worth leaving someone else in their loneliness to keep Milton in his life.

    This memoir, first published in 1990 and reissued with a new preface by the author, recounts Farrell's transformation from a young girl in Ohio dreaming of greatness to the realization of that dream on stages all over the world. Central to this transformation was her relationship with George Balanchine, who invited her to join the New York City Ballet in the fall of 1961 and was in turn inspired by her unique combination of musical, physical, and dramatic gifts. He created masterpieces for her in which the limits of ballet technique were expanded to a degree not seen before. By the time she retired from the stage in 1989, Farrell had achieved a career that is without precedent in the history of ballet. One third of her repertory of more than 100 ballets were composed expressly for her by such notable choreographers as Balanchine, Jerome Robbins, and Maurice Bejart. Farrell recalls professional and personal attachments and their attendant controversies with a down-to-earth frankness and common sense that complements the glories and mysteries of her artistic achievement.  Suzanne Farrell has staged Balanchine’s ballets in New York, Boston, Seattle, and Miami and for the Vienna Opera Ballet, the Kirov, and the Bolshoi. She is the subject of an Academy Award nominated documentary, Suzanne Farrell--Elusive Muse.

    Featured are more than 70 dancers from companies including American Ballet Theatre, New York City Ballet, Alvin Ailey American Dance Theater, Martha Graham Dance Company, Boston Ballet, Royal Danish Ballet, The Royal Ballet, Abraham in Motion, and many more. Accompanying the photographs are intimate and inspiring words from the dancers, as well as from choreographers and artistic directors on what dance means to them.