A historical novel of a young boy who travels across the country in a wagon train during the mids and his reflective letters to his younger brother. True holiday and animal stories about dogs, cats, birds, and even a reindeer that touched people's lives in significant ways. When Charlie's brother, Joe, is called up to fight in World War II, he promises to write letters to ten-year-old Charlie as often as he can.
An action-packed adventure about friendship, sacrifice, family, and the drive to take on Everest, despite the incredible risk. The Newbery Honor book about one girl's epic journey in the mountains. Judson Moon won the presidential election of at age In a magic kingdom where your name is your destiny, year-old Rump is the butt of everyone's jokes. But when he finds an old spinning wheel, his luck seems to change.
Travis Underwood is tired of his gym teacher calling him a wimp and sick of being teased by bodybuilder Rocco. Will a summer membership to the YMCA help him get in shape? Known for their courage, self confidence, speed, and willingness to face adversity, the riders of the Pony Express quickly became legendary heroes in their time. Now dramatic oil paintings capture the spirit, strength, and stamina of one young rider, Johnny Free. Greg Heffley's on a losing streak. Will a roll of the dice turn things around, or is Greg's life destined to be just another hard-luck story? In this collection of true stories of animal mischief, several rascally critters get up to no good, including a dog that goes for a joyride in its owner's car and a cat that steals the neighbors' underwear.
In a compelling and original saga, told from the point of view of a young Ojibwa girl in , Omaykayas draws readers into the life of her Native American family. Joe and Ravi might be from very different places, but they're both stuck in the same place: school. This bewitching first novel is a puzzle, wrapped in a mystery, disguised as an adventure, and delivered as a work of art. In a memoir as compelling as his novels, Newbery Honor author Gary Paulsen tells the story of his intimate relationship with Minnesota's north woods and the dog team he trained for the Iditarod dogsled race across Alaska.
Armani Curtis can think about only one thing: her tenth birthday. With the cold weather and the stress of the approaching holiday season, the Heffleys decide to escape to a tropical island resort for some much-needed rest and relaxation. But they soon discover that paradise isn't everything it's cracked up to be.
Tales from American folklore filled with eerie horror and dark revenge that will make you jump with fright! Walking through the misty Florida woods one morning, twelve-year-old Rob Horton is stunned to encounter a tiger—a real-life, very large tiger—pacing back and forth in a cage. Scholars had assumed, for example, that with the exception of a single correction in spelling, O Pioneers! Collations revealed nearly a hundred word changes, thus providing information not only necessary to establish a critical text and to interpret how Cather composed, but also basic to interpreting how her ideas about art changed as she matured.
Cather's revisions and corrections on typescripts and page proofs demonstrate that she brought to her own writing her extensive experience as an editor. Word changes demonstrate her practices in revising; other changes demonstrate that she gave extraordinarily close scrutiny to such matters as capitalization, punctuation, paragraphing, hyphenation, and spacing.
Knowledgeable about production, Cather had intentions for her books that extended to their design and manufacture. For example, she specified typography, illustrations, page format, paper stock, ink color, covers, wrappers, and advertising copy. To an exceptional degree, then, Cather gave to her work the close textual attention that modern editing practices respect, while in other ways she challenged her editors to expand the definition of "corruption" and "authoritative" beyond the text, to include the book's whole format and material existence.
Believing that a book's physical form influenced its relationship with a reader, she selected type, paper, and format that invited the reader response she sought. The heavy texture and cream color of paper used for O Pioneers! By the same principle, she expressly rejected the anthology format of assembling texts of numerous novels within the covers of one volume, with tight margins, thin paper, and condensed print. Given Cather's explicitly stated intentions for her works, printing and publishing decisions that disregard her wishes represent their own form of corruption, and an authoritative edition of Cather must go beyond the sequence of words and punctuation to include other matters: page format, paper stock, typeface, and other features of design.
The volumes in the Cather Edition respect those intentions insofar as possible within a series format that includes a comprehensive scholarly apparatus. For example, the Cather Edition has adopted the format of six by nine inches, which Cather approved in Bruce Rogers's elegant work on the Houghton Mifflin Autograph Edition, to accommodate the various elements of design.
While lacking something of the intimacy of the original page, this size permits the use of large, generously leaded type and ample margins—points of style upon which the author was so insistent. In the choice of paper, we have deferred to Cather's declared preference for a warm, cream antique stock. Today's technology makes it difficult to emulate the qualities of hot-metal typesetting and letterpress printing. In comparison, modern phototypesetting printed by offset lithography tends to look anemic and lacks the tactile quality of type impressed into the page.
Kathryn Kuhlman: Her Spiritual Legacy and Its Impact on My Life - PDF Free Download
The version of the Fournier typeface employed in the original edition of Shadows , were it available for phototypesetting, would hardly survive the transition. Instead, we have chosen Linotype Janson Text, a modern rendering of the type used by Rogers.
The subtle adjustments of stroke weight in this reworking do much to retain the integrity of earlier metal versions. Therefore, without trying to replicate the design of single works, we seek to represent Cather's general preferences in a design that encompasses many volumes.
Kathryn Kuhlman: Her Spiritual Legacy and Its Impact on My Life
In each volume in the Cather Edition, the author's specific intentions for design and printing are set forth in textual commentaries. These essays also describe the history of the texts, identify those that are authoritative, explain the selection of copy-texts or basic texts, justify emendations of the copy-text, and describe patterns of variants. The textual apparatus in each volume—lists of variants, emendations, explanations of emendations, and end-of-line hyphenations— completes the textual story.
Historical essays provide essential information about the genesis, form, and transmission of each book, as well as supply its biographical, historical, and intellectual contexts. Illustrations supplement these essays with photographs, maps, and facsimiles of manuscript, typescript, or typeset pages. Finally, because Cather in her writing drew so extensively upon personal experience and historical detail, explanatory notes are an especially important part of the Cather Edition.
By providing a comprehensive identification of her references to flora and fauna, to regional customs and manners, to the classics and the Bible, to popular writing, music, and other arts—as well as relevant cartography and census mate-rial—these notes provide a starting place for scholarship and criticism on subjects long slighted or ignored. Within this overall standard format, differences occur that are informative in their own right. The straightforward textual history of O Pioneers! The Cather Edition reflects the individuality of each work while providing a standard of reference for critical study.
Let me alone. Claude rose and dressed,—a simple operation which took very little time. He crept down two flights of stairs, feeling his way in the dusk, his red hair standing up in peaks, like a cock's comb. He went through the kitchen into the adjoining washroom, which held two porcelain stands with running water. Everybody had washed before going to bed, apparently, and the bowls were ringed with a dark sediment which the hard, alkaline water had not dissolved.
Shutting the door on this disorder, he turned back to the kitchen, took Mahailey's tin basin, doused his face and head in cold water, and began to plaster down his wet hair. Old Mahailey herself came in from the yard, with her apron full of corn-cobs to start a fire in the kitchen stove. She smiled at him in the foolish fond way she often had with him when they were alone.
You goin' to the circus before breakfast? Don't you make no noise, else you'll have 'em all down here before I git my fire a-goin'. The sun popped up over the edge of the prairie like a broad, smiling face; the light poured across the close-cropped August pastures and the hilly, timbered windings of Lovely Creek ,—a clear little stream with a sand bottom, that curled and twisted playfully about through the south section of the big Wheeler ranch.
It was a fine day to go to the circus at Frankfort , a fine day to do anything; the sort of day that must, somehow, turn out well.
About a Girl
Claude backed the little Ford car out of its shed, ran it up to the horse-tank, and began to throw water on the mud-crusted wheels and windshield. While he was at work the two hired men, Dan and Jerry, came shambling down the hill to feed the stock. Jerry was grumbling and swearing about something, but Claude wrung out his wet rags and, beyond a nod, paid no attention to them. Somehow his father always managed to have the roughest and dirtiest hired men in the country working for him. Claude had a grievance against Jerry just now, because of his treatment of one of the horses.
Molly was a faithful old mare, the mother of many colts; Claude and his younger brother had learned to ride on her.
This man Jerry, taking her out to work one morning, let her step on a board with a nail sticking up in it. He pulled the nail out of her foot, said nothing to anybody, and drove her to the cultivator all day.
Now she had been standing in her stall for weeks, patiently suffering, her body wretchedly thin, and her leg swollen until it looked like an elephant's. She would have to stand there, the veterinary said, until her hoof came off and she grew a new one, and she would always be stiff. Jerry had not been discharged, and he exhibited the poor animal as if she were a credit to him.
Mahailey came out on the hilltop and rang the breakfast bell.
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After the hired men went up to the house, Claude slipped into the barn to see that Molly had got her share of oats. She was eating quietly, her head hanging, and her scaly, dead-looking foot lifted just a little from the ground. When he stroked her neck and talked to her she stopped grinding and gazed at him mournfully. She knew him, and wrinkled her nose and drew her upper lip back from her worn teeth, to show that she liked being petted. She let him touch her foot and examine her leg.