The Indian in the Cupboard. I think this may be the book in question. Are the children named after varities of apples too? If so, try Jean McDevitt's Mr. See more on Solved Mysteries. I don't believe it's Mr. The story is more about the house, and I'm not sure if there are any children. Could this be The Little House - the line drawings sound familiar, the main colours are red and green, the house gets battered and bruised but is eventually renovated and at the end a new family find it is just the house for them Hi, I'm the requestor for the above stumper.
It is not The Little House by Burton. Somewhat similar, but the house is never in the city. There is definitely an emphasis on apples with regard to the house. A pple Tree House Did the stumper ever check out Mr. Apple's Family by Jean McDevitt? Best in Children's Books printed an excerpt from Mr. Could this be Sneaker Hill , by Jane Little? There's an Aunt Miranda, who's studying for a certificate in witchcraft.
There are some suspicious other witches, who don't know her niece and son! Aunt Miranda can't cook, so I remember some parts about her inedible meals, and the witches meet in the woods. Something to check, anyway Sneaker Hill was written for year olds, so it is not a Young Adult book, and the plot elements don't match the stumper requester's memories. Susan Derry spends her spring holiday with her cousin Mathew and Aunt Miranda. There is no witch named Lanie, no magic stone, and Susan discovers that Aunt Miranda is studying witchcraft at the end of chapter 2, when Mathew tells her.
Aunt Miranda cooks delicious meals, but because she's an inexperienced witch, they don't turn out exactly as she had planned she conjures fortune cakes instead of cookies. The witches meet in a cavern inside Sneaker Hill, not in the woods. Could it be ' Sarah's Unicorn '? Not sure if thats what you were after. It was a storybook from the 50's or 60's.
It also had astory about a lady who put her cakes in a hatbox. I've checked all the doubleday books and did not find any of these stories This anthology contains the Van Witsen story about a little boy who will only eat cheese for breakfast, peas for lunch, and chocolate pudding for dinner, nothing else, until while playing like a doggy and rolling around on the floor under the table, someone drops a bit of a new food into his mouth. He chews, he swallows, and he likes it! Part of the Sheldon Basic Reading Series for fourth grade level.
Includes a glossary and word list. Sorry, can't attest to the other stories. Found this collection by Doubleday on the "Find in a Library" website. Goose's Hatbox Cake, which I've been searching for for years and it also has the cheese, peas, and chocolate pudding story. A search online also turned up several copies for sale! A few more details: The book is from the early 50's. I remember a picture of the letter sent to the animal kid from his parents on their trip, propped up on the mantel over the fireplace, unread.
The kid s wander through the forest asking each animal "Can you read my letter? I can't imagine why this book is haunting me I wrote originally that the book was yellow. It was actually light purple. I am sorry for the confusion. I'm afraid I don't know the title of the anthology, but perhaps this bit of information might help. We also had this book for my son when he was little. The lion story apparantly was also sold separately and has previously been solved here as Tony and His Friends Golden Book. I don't believe this anthology was a Golden Book product, and I'm sorry that I don't remember its title, but perhaps the inquirer could do a search on Tony and His Friends , since that particular title is known - I beleive - and find the anthology's title through publishing records that way.
The monkey and the bee, by L. Play ball, by I. Your stories are the first two in the book! Another bird the same, and another-till he is bald! Wilks, Mike, The ultimate alphabet , I'm positive you're thinking of this book - each letter has incredible detailed pictures - with hundreds and hundreds of objects for each letter - i think the "s" page has over I see there is now an "annotated ultimate alphabet".
Wonder if this is Animalia , by Graeme Base? Grahame Base, Animalia , Extremely detailed illustrations picturing, for example, crimson cats with crayfish, coke cans, candles, cacti, camels, castles and more in the background in an oversize book, along with captions for each page such as "Lazy Lions Lounging In the Local Library". This must be Animalia, a beautiful alphabet book by Graeme Base. Graeme Base, Anamalia , Richly illustrated, finely detailed, mysterious in tone, but beautiful to the eye, this book is the first to come to my mind when someone asks for an alphabet book illustrated with paintings.
Graeme Base, Animalia , This book has incredibly detailed illustrations for each letter of the alphabet, and each picture features as many items beginning with that letter as possible. It sounds like Animalia. I can't find the title. Mary Engelbreit is the illustrator.
The concept here is a common one for ABC books, dating back at least a century. But I'm voting for The Ultimate Alphabet as the solution to this stumper, as it is less well known as Animalia , with more objects detailed in the drawings, and no catchy captions that the stumper requester might have remembered. Animalia was published earlier than but it has beautifully intricate illustration. All of the illustrations are associated with a letter of the alphabet.
Mitsumasa Anno, Anno's Alphabet , Could it be Anno's Alphabet? The letters were carved, I think, and the drawings very intricate. Each letter of the alphabet accompanies a full-page picture puzzle of an object whose name begins with that letter: I've looked into both titles suggested and am reasonably sure neither is the one. I do not recall any words whatsoever on the pages and the paintings were very realistic - like still life. The scale of the book was similar to Anamalia , being taller than wide.
If you want to rule out Animalia , check your memory of this: But on the "D" page, for Dr. Who fans everywhere, there is a Dalek in the background. No other alphabet book in my memory has that! Leonard Baskin, Hosie's Alphabet , Here's the card catalog description: This is one of her Jo-Beth and Mary Rose mysteries they are sisters. They go looking for their cousin on an island. There is an amusement park involved the cover has them riding in a roller coaster car heading into a mountain cave.
THE FIRST BOOK.
It was published and I don't remember the main character being with a sister. I think either her relatives or family friends ran the amusement park. The whole mystery wraps up in an amusement park I think there's a theatre production in one of them Some info on the series can be found on Wikipedia. No - I've read the Jenny books, and they're not it. Also, I'm positive these were dressed, upright cats, and that the book wasn't aimed at children. Another forum suggested The Cinematic Cat: A Cat's Guide to the Great Movies by Bob Bruno might be the book I want, as the front cover is very close to what I described, but I need to see the back cover to be really sure.
Does anyone have copy they can take a picture of for me? Helen Earle Gilbert author , Marge Opitz illustrator. I've found copies that bear a copyright date of and , so it's probably an older book that was reprinted numerous times. I don't know if this is the book you're looking for, but it's worth a look! Please see the Solved Mysteries "G" page for more information. I remember that the alien's ship was disguised as an ice cream cart, but don't know the details because I never quite finished the book. There are sequels I've never read, as well.
Sayre, April Pulley, Crocodile Listens, Even though this title is from , it fits the description. I think it might be the one. I don't think it can be Sayre's Crocodile Listens. I had a crocodile book that sounds very similar in the early 80s, and it was not that one. The book discusses the life cycle of the American Alligator, and man's threat to its existence. The cover of this book is a soft green color, sort of mottled or textured looking, not a flat or solid color. Pictured is an alligator, with a fern in the foreground, palmetto fronds in back, and some clumps of long grasses.
If this isn't the one you're looking for, a couple of others that might be at least worth a glace are "The Life Cycle of the Crocodile" by Paula Hogan , or "The Crocodile and Alligator" part of the "Animals in the Wild" series from Scholastic by Vincent Serventy Cover of the Hogan book is brown, with picture of crocodile in circle at top, and the word "Crocodile" printed 3 times at bottom.
Cover of the Serventy book shows a photo of an alligator, lying on a rock or bank, reflected in the water. Title is printed on a yellow band at top of page. This is a possibility, if the book you remember was from a school book fair and was for fairly young readers. This book was published by Troll. I found a picture of the old cover here: The newer cover is different but I don't know about the inside illustrations.
One of my favorites! I am quite sure this is the one you are looking for. Unfortunately, it's not the Isis series, which I read and loved at about the same time I read the stumper book. This one didn't have a Guardian taking care of the girl, and didn't get into the generations of recent-Earth folks settling into the planet. But thanks for the Isis reference - I didn't know there was a third one!
It sounds a little like one of H. Hoover's books, but I don't remember the plots well enough to pull the correct title out of my hat! It's this book; it takes place on the planet Xilan, and the main characters are Gareth the Xilan colonist and Lee one of the explorers. Try a web search of "puppet storybook" and see if any of those books look familiar.
Some of them had a very distinctive 3-d cover made from vinyl and the rest of the book seems to match your description. You are looking for the Golden Press books with the black covers! The illustrations are actual photos of posed dolls and the cover shows a holographic-like 3D image. I have a few of these books they were favorites of mine too! The Emperor's New Clothes was published in About that holographic cover We had Hansel and Gretel when I was a child, and my mother said that it could be played on a record player. I don't remember it ever working very well, but it would be interesting to check out the possibility if anyone has a copy and still owns a turntable.
These were by Golden Press, and had lenticular 3D pictures set into the covers. The illustrations were photographs of dolls in scenes and were done by Shiba Productions. Could it be Sing Down the Moon? It was about the Navajos being captured by the Spaniards, I think. Claude Aubry, Agouhanna , I'm sure this is the book you are looking for! Young Agouhanna, an Iroquois chief's son, does not enjoy hunting and running with the other boys.
Little Doe, a female childhood playmate, and White Eagle, his best friend, try to encourage him as the time of his manhood trial draws near. White Eagle remains near him in the forest and Little Doe demands to pass the ordeal test along with Agouhanna. I will definitely check out Agouhanna , but I don't think it's the one I'm looking for. I don't remember anything about a girl trying to pass the manhood challenge.
One other thing I remembered that I'm pretty sure was from this book is that the boy was unusually close to his mother, past the time of normal childhood closeness. She may have been the one who suggested that he hide the supplies in the woods, or might have helped him to gather them.
Thanks for any suggestions! Archie the Boston Terrier and his owners move to a new neighborhood. Across the street lives a big dog. Afraid that the big dog will eat Archie, Archie's owners put up a fence. When the big dog comes running over, Archie jumps over the fence.
The big dog chases Archie, and then the two dogs lie down and rest together and become friends. Watty Piper, The Road in Storyland, The story about an old woman who is transformed into a woodpecker for refusing to give a beggar a piece of pie made quite an impression on me too when I read it about 50 years ago, and was the subject of a previously solved book stumper. Platt and Munk seems to have cornered the market on this one!!
On this site- in archives, it is cited in three of their books. In this last one it is called The Woodpecker, if memory serves me. I have the book-somewhere! Can't locate it right now. I am sure your solution is one of these last two books. Given the Hauman's woodcut type pictures, I think the second title might be your best bet!! Stumpers R and W seem to be looking for the same volume. Thankyou for the tips but I know that the name of the book is Aesop's Fables and it a collection of fables, the one about the woodpecker is just one of many.
The children are awoken by the dream boat that takes them off to the magical land of Lazibonia! Through the pyramid of rice pudding to the only place where roast chickens fly straight into your mouth, cheeses are scattered like stones and gingerbread cottages really exist so that the residents can simply lie around. Cooked fish swim in the milk river, honey roast hams run around ready to be carved for lunch. Fountains abound to deliver your favourite drink on a whim. Need to loosen your belt?
Clothes grow on trees and the grass is made of every imaginable colour of hair ribbon. Activity of any kind is frowned upon but if you want to learn you can start at the top and work your way down to kindergarten where you can just have fun all day! Sounds like the Mushroom Planet books. Most of the activity takes place on their planet, but one alien did come to Earth--Mr. Bass--and he manages to get two boys to build a spaceship and take a hen along to save his homeworld.
Egg yolks fill in some missing piece in their diet and the population is saved. Zena Henderson, The Anything Box. This is an anthology of stories I read a few years ago from the library so I can't check the details but I think it had a story in it similar to what you're seeking. The story I recall had aliens landing on earth and living in a refugee-type camp while negotiations were ongoing among the officials.
A young boy made friends with a young alien, the mothers got to know one another as well, and the humans accidentally discovered that the aliens required something in their diet to survive that was no longer available on their home planet- it may have been salt they were using on a hard-boiled egg at a picnic. The other book that comes to mind is Eleanor Cameron's Mushroom Planet series- in those books the boys travel to the Mushroom Planet and leave behind a chicken as the people of the planet are dying from lack of sulfur and need the eggs to survive.
They need salt water, not only to live but to be able to reproduce. To me, it is one of Henderson's best stories. Henderson's other collection of short stories is called Holding Wonder. Her "People" stories were anthologized as InGathering about ten years ago. It's awfully similar, though among other differences, the beginning and ending have shooting stars, not fireworks. One amateur reviewer said it helped expand his idea of masculinity greatly, too.
Bernard waber, Lyle, Lyle Crocodile , I remember those books, they were grand. There are a series of them, just in case you were only exposed to one of them. I'm suggesting this only because his name is Al. Enright, W J Pat. Al Alligator and how he learned to play the banjo. Mircea Vasiliu, Where is Alfred?
This book is about a girl named Susan who lives in a city and has a pet alligator named Alfred that loves to eat dog biscuits. One day he falls out of his high-rise window into a treetop. Susan looks all over for him and eventually discovers him in the tree, but all attempts to rescue Alfred fail until Susan has the idea to tie dog biscuits to balloons which are then tied to the end of a fishing pole and extended out of a window. Alfred leans out to take a bite and when he does, he floats gently down to the ground. Susan makes Alfred a roof garden and soon neighbors with a pet turtle and another alligator move in and Alfred makes new friends.
Sure sounds like the Tweedlebugs from Sesame Street - not sure of the book's title, though. This sounds like the children's poem "Southbound on the Freeway" by May Swenson. Perhaps her poem was expanded on in another book? The aliens are not named in this poem The poem can be found in the anthology Reflections on a Gift of Watermelon Pickle , which is still in print. Herbert Kenny, Dear Dolphin, The author name doesn't match what the requester remembers, but I''m fairly certain this is the book.
Gargantua and Pantagruel
It's an Alice in Wonderland sort of story with a young girl, Ann e , who follows a dolphin into the sea and runs into a pirate who lives in a sunken shipwreck. I loved this book when I was a child, and got to re-read it again when I visited my parents' house last year. Not exactly a solution, but the story about the diamond necklace sounds suspiciously similar to an old radio play from " The Unexpected " series, called " The Winfield Diamond. Liggett, the butler, who offers her the position of secretary to the elderly Mr.
She is later given the location and combination to the safe by Mr. Winfield, with instructions to remove the diamond and ship it to a buyer. She removes the diamond, intending to steal it, but is caught by the butler and ordered to return the diamond and leave the house immediately. Then, of course, the "unexpected" twist - on her way home, she hears a news broadcast that the diamond has been stolen by an international jewel thief, Light-Fingered Liggett, with the aid of a female accomplice posing as the old man's secretary. She ends up in prison, while Liggett gets away with the diamond.
Of course, the genders are switched from the story you recall, but perhaps it is some variation of this one? It has a jingly eye on the last page, and each animal is placed to have this jiggle eye as its own eye. There is a bird, a fish, a dog, an owl, a lamb, a duck and a squirrel. Holling, The Book of Indians , , copyright. This book contains four chapters about the home life of Indians from various regions of the country, and eight chapters relating the adventures of specific Indian children.
The book includes six color plates, plus line drawings by H. The cover features a stylized drawing of a thunderbird or eagle below the title. Some editions have a blue cloth cover with either orange or black print, others have red cloth with black print. The dust jacket shows a full-color picture of an Indian Chief in feather headdress riding a horse. Inside the front and back covers are maps, showing where the various tribes lived.
I've never seen a full color version of this, only one with black and white illustrations by the author, but the text is definitely Edward Lear! This is one of Edward Lear 's alphabet poems. I am sure there are many published versions of this set of limericks. The alphabet limericks were written by Edward Lear. Lear Edward, Edward Lear's A nonsense alphabet , , reprint. There is a version of Lear's alphabet illustrated by Richard Scarry , published by Doubleday in Peter Dickinson, The Weathermonger , , copyright. Could you be thinking of The Weathermonger?
Its one of a trilogy the other two being Heartsease and The Devils Children - in it the UK has returned to a pre-technological way of life - technology and machines are seen as evil there is a scene in which lightening attacks a car which the protagonists are trying to use The source of the anti-tech is not an alien, but Merlin, who has awoken but is kept drugged, but several of the other details, and the publicaton date all fit so I thought it was worth suggesting.
Louise Lawrence, The Power of stars. This is a long shot, but the book may be one I posted as a stumper myself, and this was the solution. The Louise Lawrence book sounds like it might be the book I'm thinking of--I've ordered an old copy and will let you know once I review it. In the meantime, many thanks for your tip! I have made an interlibrary loan request for one but would really like to purchase the book. An Abstract 'Me' Solved: Will You Come to My Party. The story I remember concerned a witch chasing children - the witch got hurt and returned to her home to put cobwebs on her wounds.
Can't recall any other details sorry. What could Go Wrong? It was a book about a little girl named Dana? The book had photographs instead of hand illustrations. The Land of Green Ginger. Don't think this is the one, but your description reminded me of a chapter in a Christian children's book about tales from Africa. The stories had a Biblical slant, but were often upbeat. This sounds like a telling of an African folktale - all the animals are white or grey, then there's a cave where they all go to get new coats. Zebra is eating so doesn't go until it's too late - there's only pieces of black left.
He makes a coat, but when he puts it on it bursts at the seams because he has eaten so much. Thus he is white striped with black. For one retelling see Greedy Zebra by Hadithi , though that's late enough that it's not the one this requester is looking for. Doubt this is it, but it does remind me of a Peanuts strip where Sally is setting up a fish tank, telling her brother Charlie Brown her reasons is that "This is the Age of Aquariums"! It's still a cute bit. Childrens literature text book from late 60s. Radko Doone, Nuvat the Brave: An Eskimo Robinson Crusoe , , copyright.
The tale of a crippled Eskimo boy who becomes trapped on an ice floe while seal hunting. He is carried to an uninhabited island where he must survive alone for two years before being rescued. An excerpt from the book that I found online talks about how the dogs liked him because he was gentle with them, and how they all obeyed his voice. Sounds like it might be the book you are looking for. A children's lit textbook from the s has this description for Nuvat: Despised and disheartened, Nuvat is carried off on a floe.
He maintains life for two years, completely alone except for his dogs. Cave, Two Were Lef t. Radko Doone, Nuvat the Brave. Cave, Two Were Left , , copyright. This is Cave's "Two Were Left. Cave published something like a thousand stories in his 94 years of life, and this short piece may be his best-known one. I don't know for sure if he has the dog with him on the ice floe, but he did have a dog a big, black dog named Kakk.
Even Nuvat's father had to admit that he was the best trainer of puppies in the village - but he had no dog team of his own, because, as a cripple, he was not allowed to hunt with the men. I've submitted this twice before, but it hasn't shown up in either of the last two updates, so here's hoping third time's a charm! My mother had a copy that got destroyed when her home was flooded. I sent a query to the Library of Congress and they suggested you. Published by Grosset and Dunlap. Front cover is white, featuring a 3D image on a lenticular plate. Picture is of a large letter "A" in yellow, with red and white scalloped borders in front of a little house, with a little boy leaning out through the triangular part at the top, as through a window, and a little girl in front of him, pulling a wagon that contains a red-and-white striped beach ball.
There is also another printing as a "Winker Puppet Storybook" that has a pink cover with a 3D lenticular plate of the boy flying in a little airplane. Amos the Duck Can't Talk There was a book that my mom used to read to me in the '60's that I can't find. In the book all the other ducks kept saying, "Amos can't talk, Amos can't talk. Sound like an ugly duckling story but not sure. Any help out there? Bradbury, Bianca, Amos Learns to Talk: The Story of a Little Duck , The Story of a Little Duck ,, reprint.
A Rand McNally Elf Book about a little duckling Amos who goes around visiting the other animals on the farm to find out how they talk, because he thinks the quacking of his brothers and sisters sounds funny. When he gets lost, he discovers just how wonderful his mother's "Quack Quack" sounds. Val Teal, Angel Child, It's the story of a boy and girl who find an angel baby dangling from a tree. They take care of the angel baby until one day they push him on the swing.
His wings unfold and he flies away. They are sad to lose their angel child, but they go into the house to discover that their mother has just had a baby, an angel child of their own. The publication date is older than you suggested, but I was given this book in the 70's, so I suspect my copy is a later reprint that only shows the original date. Mike Wilks, The Ultimate Alphabet.
- Primary Handbook for Timpani: A Beginning Method.
- !
- tandjfoods.com: Aesop - Word Games / Hobbies & Games: Books;
- Aesop's Wolves: Bedtime Stories (Annotated in Scrambled Words) Skill Level - Beginner.
- Gargantua and Pantagruel / by Francois Rabelais;
- Be Positive! Think Positive! Feel Positive! Surviving Primary School: (Childrens books ages 9-13).
If your book had very realistic detailed oil paintings that were a bit surreal, this may be your book. Go to the author's website to see reproduction of the cover and some pages to be sure. Graeme Base, Animalia, This is a strong possibility. Each letter of the alphabet is represented by a complex painting containing many objects beginning with that letter, plus a short verse describing the animal beginning with the corresponding letter.
B is for Butterfly, of course. Base, Graeme, Animalia, Animalia would be a distinct possibility. There are gorgeous, elaborate illustrations for every letter in the alphabet Graeme Base, Animalia. There are probably several books that fit this description, but Animalia is my favorite Mike Wilks, The Ultimate Alphabet, If there were literally hundreds of items in each picture, it could well be The Ultimate Alphabet.
The paintings are landscape-format, and each one faces a page with a paragraph or so listing some of the items to be found in it. In total, the book contains 7, namable items in the 26 pictures, ranging from 30 X to 1, S. The pictures are very crisply painted, and of course tremendously detailed. This book has a blue cover and stories for each of the seasons. I know you said it wasn't The Golden Book, but there are several editions. I have this one with pictures by Richard Scarry and it matches your description perfectly, including the cover description.
You can see it at http: Animal with sweet tooth, series There was a book series I think it was a series that I read as a child in the 80's. The characters were animals and I think it was a Berenstein Bears type series. The one I remember in particular was about an animal dealing with a sweet tooth problem and it may have caused him bad dreams. All the cover images can be viewed at http: A visit to Doc Grizzly results in an explanation of how the body works - complete with diagrams of the nervous, circulatory, digestive, muscular, and skeletal systems - and the proper foods to fuel it.
Doc Grizzly prescribes an exercise program and Mama replaces the junk food with healthy snacks. There isn't anything about bad dreams, but there is another book in the series - The Berenstain Bears and the Bad Dream - that does. That one doesn't have anything to do with sweets, though - it's more an explanation of how dreams are made up of bits of things you remember from earlier in the day.
Richard Hefter, various titles. Could this maybe be the Sweet Pickles series? They're less of a story than the Berenstain Bears, but like those books, they have a moral at the end. Thanks for the help, but it's not the sweet pickles series and not the berenstein bears. It was not as juvenile as the sweet pickles appears- it seemed more like the berenstein bears type illustration. I read them through my school's scholastic book fair sales I think. The year had to be around Like I said, similar in size and illustration to the berensteins, just not the berensteins.
Maybe a little edgier, if that is possible. The collection of songs formed by Clairambault shows that the seventeenth and eighteenth centuries were no purer than the sixteenth. Some of the most ribald songs are actually the work of Princesses of the royal House. It is, therefore, altogether unjust to make Rabelais the scapegoat, to charge him alone with the sins of everybody else. He spoke as those of his time used to speak; when amusing them he used their language to make himself understood, and to slip in his asides, which without this sauce would never have been accepted, would have found neither eyes nor ears.
Let us blame not him, therefore, but the manners of his time. Besides, his gaiety, however coarse it my appear to us — and how rare a thing is gaiety! Where does he tempt one to stray from duty? Where, even indirectly, does he give pernicious advice? Whom has he led to evil ways? Does he ever inspire feelings that breed misconduct and vice, or is he ever the apologist of these? Many poets and romance writers, under cover of a fastidious style, without one coarse expression, have been really and actively hurtful; and of that it is impossible to accuse Rabelais.
Women in particular quickly revolt from him, and turn away repulsed at once by the archaic form of the language and by the outspokenness of the words. But if he be read aloud to them, omitting the rougher parts and modernizing the pronunciation, it will be seen that they too are impressed by his lively wit as by the loftiness of his thought. It would be possible, too, to extract, for young persons, without modification, admirable passages of incomparable force.
But those who have brought out expurgated editions of him, or who have thought to improve him by trying to rewrite him in modern French, have been fools for their pains, and their insulting attempts have had, and always will have, the success they deserve. His dedications prove to what extent his whole work was accepted. Beside these dedications we must set the privilege of Francis I.
Of course, in these the popes had not to introduce his books of diversions, which, nevertheless, would have seemed in their eyes but very venial sins. The Sciomachie of , an account of the festivities arranged at Rome by Cardinal du Bellay in honour of the birth of the second son of Henry II. These are no unknown or insignificant personages, but the greatest lords and princes of the Church.
They loved and admired and protected Rabelais, and put no restrictions in his way. Why should we be more fastidious and severe than they were? Their high contemporary appreciation gives much food for thought. There are few translations of Rabelais in foreign tongues; and certainly the task is no light one, and demands more than a familiarity with ordinary French.
It would have been easier in Italy than anywhere else. Italian, from its flexibility and its analogy to French, would have lent itself admirably to the purpose; the instrument was ready, but the hand was not forthcoming. Neither is there any Spanish translation, a fact which can be more easily understood. Yet Rabelais forces comparison with Cervantes, whose precursor he was in reality, though the two books and the two minds are very different.
They have only one point in common, their attack and ridicule of the romances of chivalry and of the wildly improbable adventures of knight-errants. Perhaps it was better he should not have been influenced by him, in however slight a degree; his originality is the more intact and the more genial.
On the other hand, Rabelais has been several times translated into German. In the present century Regis published at Leipsic, from to , with copious notes, a close and faithful translation. The first one cannot be so described, that of Johann Fischart, a native of Mainz or Strasburg, who died in He was a Protestant controversialist, and a satirist of fantastic and abundant imagination.
It is not a translation, but a recast in the boldest style, full of alterations and of exaggerations, both as regards the coarse expressions which he took upon himself to develop and to add to, and in the attacks on the Roman Catholic Church. According to Jean Paul Richter, Fischart is much superior to Rabelais in style and in the fruitfulness of his ideas, and his equal in erudition and in the invention of new expressions after the manner of Aristophanes. He is sure that his work was successful, because it was often reprinted during his lifetime; but this enthusiasm of Jean Paul would hardly carry conviction in France.
Instead of a creator, he is but an imitator.
Those who take the ideas of others to modify them, and make of them creations of their own, like Shakespeare in England, Moliere and La Fontaine in France, may be superior to those who have served them with suggestions; but then the new works must be altogether different, must exist by themselves. Shakespeare and the others, when they imitated, may be said always to have destroyed their models. These copyists, if we call them so, created such works of genius that the only pity is they are so rare.
This is not the case with Fischart, but it would be none the less curious were some one thoroughly familiar with German to translate Fischart for us, or at least, by long extracts from him, give an idea of the vagaries of German taste when it thought it could do better than Rabelais. It is dangerous to tamper with so great a work, and he who does so runs a great risk of burning his fingers.
England has been less daring, and her modesty and discretion have brought her success. It is in every way exceedingly valuable, and superior to that of Nicot, because instead of keeping to the plane of classic and Latin French, it showed an acquaintance with and mastery of the popular tongue as well as of the written and learned language.
As a foreigner, Cotgrave is a little behind in his information. He is not aware of all the changes and novelties of the passing fashion. The Pleiad School he evidently knew nothing of, but kept to the writers of the fifteenth and the first half of the sixteenth century.
So Rabelais had already crossed the Channel, and was read in his own tongue. Somewhat later, during the full sway of the Commonwealth — and Maitre Alcofribas Nasier must have been a surprising apparition in the midst of Puritan severity — Captain Urquhart undertook to translate him and to naturalize him completely in England.
Thomas Urquhart belonged to a very old family of good standing in the North of Scotland. After studying in Aberdeen he travelled in France, Spain, and Italy, where his sword was as active as that intelligent curiosity of his which is evidenced by his familiarity with three languages and the large library which he brought back, according to his own account, from sixteen countries he had visited.
THE SECOND BOOK.
On his return to England he entered the service of Charles I. Next year, after the death of his father, he went to Scotland to set his family affairs in order, and to redeem his house in Cromarty. But, in spite of another sojourn in foreign lands, his efforts to free himself from pecuniary embarrassments were unavailing. After receiving permission to spend five months in Scotland to try once more to settle his affairs, he came back to London to escape from his creditors.
And there he must have died, though the date of his death is unknown. It probably took place after , the date of the publication of the two first books, and after having written the translation of the third, which was not printed from his manuscript till the end of the seventeenth century. His life was therefore not without its troubles, and literary activity must have been almost his only consolation. His writings reveal him as the strangest character, fantastic, and full of a naive vanity, which, even at the time he was translating the genealogy of Gargantua — surely well calculated to cure any pondering on his own — caused him to trace his unbroken descent from Adam, and to state that his family name was derived from his ancestor Esormon, Prince of Achaia, B.
A Gascon could not have surpassed this. Gifted as he was, learned in many directions, an enthusiastic mathematician, master of several languages, occasionally full of wit and humour, and even good sense, yet he gave his books the strangest titles, and his ideas were no less whimsical. His style is mystic, fastidious, and too often of a wearisome length and obscurity; his verses rhyme anyhow, or not at all; but vivacity, force and heat are never lacking, and the Maitland Club did well in reprinting, in , his various works, which are very rare. Yet, in spite of their curious interest, he owes his real distinction and the survival of his name to his translation of Rabelais.
The first two books appeared in The original edition, exceedingly scarce, was carefully reprinted in , only a hundred copies being issued, by an English bibliophile T heodore M artin , whose interesting preface I regret to sum up so cursorily. The success which attended this venture suggested to Motteux the idea of completing the work, and a second edition, in two volumes, appeared in , with the translation of the fourth and fifth books, and notes.
The continuation by Motteux, who was also the translator of Don Quixote, has merits of its own. It is precise, elegant, and very faithful. If Urquhart does not constantly adhere to the form of the expression, if he makes a few slight additions, not only has he an understanding of the original, but he feels it, and renders the sense with a force and a vivacity full of warmth and brilliancy. His own learning made the comprehension of the work easy to him, and his anglicization of words fabricated by Rabelais is particularly successful.
The necessity of keeping to his text prevented his indulgence in the convolutions and divagations dictated by his exuberant fancy when writing on his own account. His style, always full of life and vigour, is here balanced, lucid, and picturesque. Never elsewhere did he write so well. And thus the translation reproduces the very accent of the original, besides possessing a very remarkable character of its own.
Such a literary tone and such literary qualities are rarely found in a translation. Holland, too, possesses a translation of Rabelais. This Dutch translation was published at Amsterdam in , by J. Only a Dutch scholar could identify the translator, and state the value to be assigned to his work. Besides its force and brilliancy, its gaiety, wit, and dignity, its abundant richness is no less remarkable.
No French writer has used so few, and all of them are of the simplest. There is not one of them that is not part of the common speech, or which demands a note or an explanation. Where does it all come from? As a fact, he had at his command something like three languages, which he used in turn, or which he mixed according to the effect he wished to produce. First of all, of course, he had ready to his hand the whole speech of his time, which had no secrets for him.
Provincials have been too eager to appropriate him, to make of him a local author, the pride of some village, in order that their district might have the merit of being one of the causes, one of the factors of his genius. Every neighbourhood where he ever lived has declared that his distinction was due to his knowledge of its popular speech. But these dialect-patriots have fallen out among themselves. To which dialect was he indebted? Was it that of Touraine, or Berri, or Poitou, or Paris? It is too often forgotten, in regard to French patois — leaving out of count the languages of the South — that the words or expressions that are no longer in use to-day are but a survival, a still living trace of the tongue and the pronunciation of other days.
Rabelais, more than any other writer, took advantage of the happy chances and the richness of the popular speech, but he wrote in French, and nothing but French. That is why he remains so forcible, so lucid, and so living, more living even — speaking only of his style out of charity to the others — than any of his contemporaries. It has been said that great French prose is solely the work of the seventeenth century.
There were nevertheless, before that, two men, certainly very different and even hostile, who were its initiators and its masters, Calvin on the one hand, on the other Rabelais. Rabelais had a wonderful knowledge of the prose and the verse of the fifteenth century: Their words, their turns of expression came naturally to his pen, and added a piquancy and, as it were, a kind of gloss of antique novelty to his work. He fabricated words, too, on Greek and Latin models, with great ease, sometimes audaciously and with needless frequency. These were for him so many means, so many elements of variety.
Sometimes he did this in mockery, as in the humorous discourse of the Limousin scholar, for which he is not a little indebted to Geoffroy Tory in the Champfleury; sometimes, on the contrary, seriously, from a habit acquired in dealing with classical tongues. Again, another reason of the richness of his vocabulary was that he invented and forged words for himself.
Following the example of Aristophanes, he coined an enormous number of interminable words, droll expressions, sudden and surprising constructions. What had made Greece and the Athenians laugh was worth transporting to Paris. With an instrument so rich, resources so endless, and the skill to use them, it is no wonder that he could give voice to anything, be as humorous as he could be serious, as comic as he could be grave, that he could express himself and everybody else, from the lowest to the highest.
He had every colour on his palette, and such skill was in his fingers that he could depict every variety of light and shade. We have evidence that Rabelais did not always write in the same fashion. The Chronique Gargantuaine is uniform in style and quite simple, but cannot with certainty be attributed to him. His letters are bombastic and thin; his few attempts at verse are heavy, lumbering, and obscure, altogether lacking in harmony, and quite as bad as those of his friend, Jean Bouchet. He had no gift of poetic form, as indeed is evident even from his prose.
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And his letters from Rome to the Bishop of Maillezais, interesting as they are in regard to the matter, are as dull, bare, flat, and dry in style as possible. Without his signature no one would possibly have thought of attributing them to him. He is only a literary artist when he wishes to be such; and in his romance he changes the style completely every other moment: There is throughout the whole the evidence of careful and conscious elaboration. Hence, however lucid and free be the style of his romance, and though its flexibility and ease seem at first sight to have cost no trouble at all, yet its merit lies precisely in the fact that it succeeds in concealing the toil, in hiding the seams.
He could not have reached this perfection at a first attempt. He must have worked long at the task, revised it again and again, corrected much, and added rather than cut away. The aptness of form and expression has been arrived at by deliberate means, and owes nothing to chance. Apart from the toning down of certain bold passages, to soften their effect, and appease the storm — for these were not literary alterations, but were imposed on him by prudence — one can see how numerous are the variations in his text, how necessary it is to take account of them, and to collect them.
A good edition, of course, would make no attempt at amalgamating these. That would give a false impression and end in confusion; but it should note them all, and show them all, not combined, but simply as variations. After Le Duchat, all the editions, in their care that nothing should be lost, made the mistake of collecting and placing side by side things which had no connection with each other, which had even been substituted for each other. The result was a fabricated text, full of contradictions naturally.
But since the edition issued by M. It would also be possible to reverse the method. It would be interesting to take his first text as the basis, noting the later modifications. This would be quite as instructive and really worth doing. Perhaps one might then see more clearly with what care he made his revisions, after what fashion he corrected, and especially what were the additions he made. No more striking instance can be quoted than the admirable chapter about the shipwreck.
It was not always so long as Rabelais made it in the end: As a rule, when an author recasts some passage that he wishes to revise, he does so by rewriting the whole, or at least by interpolating passages at one stroke, so to speak. Nothing of the kind is seen here. Rabelais suppressed nothing, modified nothing; he did not change his plan at all.
What he did was to make insertions, to slip in between two clauses a new one. He expressed his meaning in a lengthier way, and the former clause is found in its integrity along with the additional one, of which it forms, as it were, the warp. It was by this method of touching up the smallest details, by making here and there such little noticeable additions, that he succeeded in heightening the effect without either change or loss. In the end it looks as if he had altered nothing, added nothing new, as if it had always been so from the first, and had never been meddled with.
It was modelled and remodelled, repaired, touched up, and yet it has all the appearance of having been created at a single stroke, or of having been run like molten wax into its final form. Something should be said here of the sources from which Rabelais borrowed. He was not the first in France to satirize the romances of chivalry.
The romance in verse by Baudouin de Sebourc, printed in recent years, was a parody of the Chansons de Geste. In the Moniage Guillaume, and especially in the Moniage Rainouart, in which there is a kind of giant, and occasionally a comic giant, there are situations and scenes which remind us of Rabelais. The kind of Fabliaux in mono-rhyme quatrains of the old Aubery anticipate his coarse and popular jests.
But all that is beside the question; Rabelais did not know these. Nothing is of direct interest save what was known to him, what fell under his eyes, what lay to his hand — as the Facetiae of Poggio, and the last sermonnaires. While gathering his materials wherever he could find them, he was nevertheless profoundly original.
On this point much research and investigation might be employed. But there is no need why these researches should be extended to the region of fancy. Gargantua has been proved by some to be of Celtic origin. Very often he is a solar myth, and the statement that Rabelais only collected popular traditions and gave new life to ancient legends is said to be proved by the large number of megalithic monuments to which is attached and name of Gargantua.
It was, of course, quite right to make a list of these, to draw up, as it were, a chart of them, but the conclusion is not justified. The name, instead of being earlier, is really later, and is a witness, not to the origin, but to the success and rapid popularity of his novel. No one has ever yet produced a written passage or any ancient testimony to prove the existence of the name before Rabelais. To place such a tradition on a sure basis, positive traces must be forthcoming; and they cannot be adduced even for the most celebrated of these monuments, since he mentions himself the great menhir near Poitiers, which he christened by the name of Passelourdin.
That there is something in the theory is possible. Perrault found the subjects of his stories in the tales told by mothers and nurses. He fixed them finally by writing them down. Floating about vaguely as they were, he seized them, worked them up, gave them shape, and yet of scarcely any of them is there to be found before his time a single trace. So we must resign ourselves to know just as little of what Gargantua and Pantagruel were before the sixteenth century.
In a book of a contemporary of Rabelais, the Legende de Pierre Faifeu by the Angevin, Charles de Bourdigne, the first edition of which dates from and the second — both so rare and so forgotten that the work is only known since the eighteenth century by the reprint of Custelier — in the introductory ballad which recommends this book to readers, occur these lines in the list of popular books which Faifeu would desire to replace:. If the rhyme had not suggested the phrase — and the exigencies of the strict form of the ballade and its forced repetitions often imposed an idea which had its whole origin in the rhyme — we might here see a dramatic trace found nowhere else.
The name of Pantagruel is mentioned too, incidentally, in a Mystery of the fifteenth century. These are the only references to the names which up till now have been discovered, and they are, as one sees, of but little account. On the other hand, the influence of Aristophanes and of Lucian, his intimate acquaintance with nearly all the writers of antiquity, Greek as well as Latin, with whom Rabelais is more permeated even than Montaigne, were a mine of inspiration.
The proof of it is everywhere. Pliny especially was his encyclopaedia, his constant companion. And there is a great deal more of this kind to be discovered, for Rabelais does not always give it as quotation. The method is amusing, but it is curious to account of it. The question of the Chronique Gargantuaine is still undecided. Is it by Rabelais or by someone else?
Both theories are defensible, and can be supported by good reasons. In the Chronique everything is heavy, occasionally meaningless, and nearly always insipid. Can the same man have written the Chronique and Gargantua, replaced a book really commonplace by a masterpiece, changed the facts and incidents, transformed a heavy icy pleasantry into a work glowing with wit and life, made it no longer a mass of laborious trifling and cold-blooded exaggerations but a satire on human life of the highest genius?
Still there are points common to the two. Besides, Rabelais wrote other things; and it is only in his romance that he shows literary skill. The conception of it would have entered his mind first only in a bare and summary fashion. It would have been taken up again, expanded, developed, metamorphosed. That is possible, and, for my part, I am of those who, like Brunet and Nodier, are inclined to think that the Chronique, in spite of its inferiority, is really a first attempt, condemned as soon as the idea was conceived in another form.
As its earlier date is incontestable, we must conclude that if the Chronique is not by him, his Gargantua and its continuation would not have existed without it. This should be a great obligation to stand under to some unknown author, and in that case it is astonishing that his enemies did not reproach him during his lifetime with being merely an imitator and a plagiarist. So there are reasons for and against his authorship of it, and it would be dangerous to make too bold an assertion. One fact which is absolutely certain and beyond all controversy, is that Rabelais owed much to one of his contemporaries, an Italian, to the Histoire Macaronique of Merlin Coccaie.
Its author, Theophilus Folengo, who was also a monk, was born in , and died only a short time before Rabelais, in But his burlesque poem was published in It was in Latin verse, written in an elaborately fabricated style. It is not dog Latin, but Latin ingeniously italianized, or rather Italian, even Mantuan, latinized. The contrast between the modern form of the word and its Roman garb produces the most amusing effect.
In the original it is sometimes difficult to read, for Folengo has no objection to using the most colloquial words and phrases. The subject is quite different. It is the adventures of Baldo, son of Guy de Montauban, the very lively history of his youth, his trial, imprisonment and deliverance, his journey in search of his father, during which he visits the Planets and Hell. The narration is constantly interrupted by incidental adventures.
Occasionally they are what would be called to-day very naturalistic, and sometimes they are madly extravagant. The tempest is there, and the invocation to all the saints. Rabelais improves all he borrows, but it is from Folengo he starts. He does not reproduce the words, but, like the Italian, he revels in drinking scenes, junkettings, gormandizing, battles, scuffles, wounds and corpses, magic, witches, speeches, repeated enumerations, lengthiness, and a solemnly minute precision of impossible dates and numbers.
The atmosphere, the tone, the methods are the same, and to know Rabelais well, you must know Folengo well too. Detailed proof of this would be too lengthy a matter; one would have to quote too many passages, but on this question of sources nothing is more interesting than a perusal of the Opus Macaronicorum. It was translated into French only in — Paris, Gilley Robinot. This translation of course cannot reproduce all the many amusing forms of words, but it is useful, nevertheless, in showing more clearly the points of resemblance between the two works — how far in form, ideas, details, and phrases Rabelais was permeated by Folengo.
Besides, Rabelais was fed on the Italians of his time as on the Greeks and Romans. Panurge, who owes much to Cingar, is also not free from obligations to the miscreant Margutte in the Morgante Maggiore of Pulci. Had Rabelais in his mind the tale from the Florentine Chronicles, how in the Savonarola riots, when the Piagnoni and the Arrabiati came to blows in the church of the Dominican convent of San-Marco, Fra Pietro in the scuffle broke the heads of the assailants with the bronze crucifix he had taken from the altar?
A well-handled cross could so readily be used as a weapon, that probably it has served as such more than once, and other and even quite modern instances might be quoted. But other Italian sources are absolutely certain. There are few more wonderful chapters in Rabelais than the one about the drinkers. It is not a dialogue: Here are the first lines of it: Chi gioca, chi gioca — uh, uh!
Io — Ed io. And thus it goes on with fire and animation for pages. Rabelais probably translated or directly imitated it. He changed the scene; there was no giuooco della pugna in France. He transferred to a drinking-bout this clatter of exclamations which go off by themselves, which cross each other and get no answer. He made a wonderful thing of it. Who does not remember the fantastic quarrel of the cook with the poor devil who had flavoured his dry bread with the smoke of the roast, and the judgment of Seyny John, truly worthy of Solomon?
It comes from the Cento Novelle Antiche, rewritten from tales older than Boccaccio, and moreover of an extreme brevity and dryness. They are only the framework, the notes, the skeleton of tales. The subject is often wonderful, but nothing is made of it: Rabelais wrote a version of one, the ninth. The scene takes place, not at Paris, but at Alexandria in Egypt among the Saracens, and the cook is called Fabrac.
But the surprise at the end, the sagacious judgment by which the sound of a piece of money was made the price of the smoke, is the same. Now the first dated edition of the Cento Novelle which were frequently reprinted appeared at Bologna in , and it is certain that Rabelais had read the tales.
A still stranger fact of this sort may be given to show how nothing came amiss to him. He must have known, and even copied the Latin Chronicle of the Counts of Anjou. It is accepted, and rightly so, as an historical document, but that is no reason for thinking that the truth may not have been manipulated and adorned. The Counts of Anjou were not saints. They were proud, quarrelsome, violent, rapacious, and extravagant, as greedy as they were charitable to the Church, treacherous and cruel. Yet their anonymous panegyrist has made them patterns of all the virtues.
Now in it there occurs the address of one of the counts to those who rebelled against him and who were at his mercy. Rabelais must have known it, for he has copied it, or rather, literally translated whole lines of it in the wonderful speech of Gargantua to the vanquished. His contemporaries, who approved of his borrowing from antiquity, could not detect this one, because the book was not printed till much later. But Rabelais lived in Maine. In Anjou, which often figures among the localities he names, he must have met with and read the Chronicles of the Counts in manuscript, probably in some monastery library, whether at Fontenay-le-Comte or elsewhere it matters little.
There is not only a likeness in the ideas and tone, but in the words too, which cannot be a mere matter of chance. He must have known the Chronicles of the Counts of Anjou, and they inspired one of his finest pages. One sees, therefore, how varied were the sources whence he drew, and how many of them must probably always escape us.
When, as has been done for Moliere, a critical bibliography of the works relating to Rabelais is drawn up — which, by the bye, will entail a very great amount of labour — the easiest part will certainly be the bibliography of the old editions. That is the section that has been most satisfactorily and most completely worked out. Brunet said the last word on the subject in his Researches in , and in the important article in the fifth edition of his Manuel du Libraire iv. The facts about the fifth book cannot be summed up briefly.
It was printed as a whole at first, without the name of the place, in , and next year at Lyons by Jean Martin. It has given, and even still gives rise to two contradictory opinions. First of all, if he had left it complete, would sixteen years have gone by before it was printed?
Then, does it bear evident marks of his workmanship? Is the hand of the master visible throughout? Antoine Du Verdier in the edition of his Prosopographie writes: The scholar of Valence might be Guillaume des Autels, to whom with more certainty can be ascribed the authorship of a dull imitation of Rabelais, the History of Fanfreluche and Gaudichon, published in , which, to say the least of it, is very much inferior to the fifth book.
Louis Guyon, in his Diverses Lecons, is still more positive: I was at Paris when it was written, and I know quite well who was its author; he was not a doctor. Yet everyone must recognize that there is a great deal of Rabelais in the fifth book. He must have planned it and begun it. Remembering that in he had published, not as an experiment, but rather as a bait and as an announcement, the first eleven chapters of the fourth book, we may conclude that the first sixteen chapters of the fifth book published by themselves nine years after his death, in , represent the remainder of his definitely finished work.
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High-interest topics, real-world applications, and helpful images engage readers as they develop important math skills. Fun at the Dojo: Monuments of Washington, D. Tickets for the Talent Show: Understand Place Value Fun at the Dojo: Cody Helps at the Race: Exploring Acadia National Park: Food from Around the World: The History of New York City: Multiplication at the Marina: Running for Class President: Number and Operations and Fractions The books included in this collection give a clear introduction to fractions for third-grade math students.
Through visual representations and engaging text, readers will develop an understanding of fractions as equal parts of a whole number. The books illustrate and explain important fractional concepts, including recognizing, generating, and comparing fractions. What Happens at an Orchard? These facts and more are waiting for readers to discover as they explore the ways math and geography skills can be used together.
Engaging and informative text about each continent is paired with age-appropriate math problems, which allow readers to practice addition, subtraction, multiplication, and division. Full-color photographs highlight impressive locations around the world—from the cities of Europe to the deserts of Africa. Britannica Beginner Bios These accessible, appealing biographies chronicle successful and inspiring individuals from a wide variety of fields, introducing their life stories to readers who are most likely only somewhat familiar with their names, accomplishments, and professions.
By learning about these individuals, readers will recognize that greatness can manifest itself in many different ways: Each figure achieved renown only after perseverance and hard work, which will inspire students to follow their lead. This series, aimed at grades , seeks to fill this need. All in all, the series is a good choice for easier biographies…Recommended.
Heroic Diarist of the Holocaust H. Strong —Booklist introductions to strong women. Great Entrepreneurs in U. This biographical series explores six important U. Walker, and Milton Hershey. Each biography supports the social studies curriculum through an in-depth examination of important historical figures and innovations. Worthwhile high interest introductions to significant figures in U. Aung San Suu Kyi: Bill and Melinda Gates: La hora de comer Mealtime. What Are Money and Banks? What Are Jobs and Earnings? Helping at the Book Sale: Martin Luther King Jr.
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Joey Pigza loses control Author: Gantos, Jack Reading Level: IBM Macintosh What type of media? Use next sequential barcode number from last order What symbology and check digit do you use? All materials are sent unattached unless otherwise indicated. Books processed as instructed are not returnable. If no option is marked, the standard option, listed first in each column, will be used. All Dewey numbers for this order to be q Abridged Dewey number standard option q End abridged Dewey number—please provide number of places after decimal point: If you purchased your cataloging attached, clear label protectors will be applied to all barcode and spine labels on books.
I Can Make a Difference. Spotlight On American History. Spotlight On Ecology and Life Science. Spotlight On Immigration and Migration. The True History of the Wild West. Champions of College Football. Master of Cracking Codes. Represent and Solve Problems Involving Multiplication. Ingenious Physicist and Father of Relativity. Artists Through the Ages. Inventions That Changed the World. Earth and Space Science. Top of the Food Chain. Eye to Eye with Animals. Amazing Snakes of the Southwest and West Coast. Giants on the Road. Monsters of the Animal Kingdom.
Snakes on the Hunt. Looking at Texts Critically. Spotlight On Ancient Civilizations: Real Life Sea Monsters.
Scrambled Stories: Aesop's Foxes (Annotated & Narrated in Scrambled Words) Skill Level - Beginner
Poems Just for Me. Represent and Solve Problems Involving Addition. Animals and Their Environments. Animals in My World. Heroic Diarist of the Holocaust. The Scientific Method in Action. Jewish Immigrants Seek Safety in America Spotlight On Native Americans. Lo que aprendo The Things I Learn. Lugares en mi comunidad Places in My Community. The World of Horses. Life in the Freezer. Documents of American Democracy. Arturo and the Hidden Treasure. The Animals of Asia. A Home in the Biome. Work with Addition and Subtraction Equations.
Understand and Apply Properties of Operations. At the Hardware Store: Numbers and Operations in Base Behind the Northern and Southern Lights. Solve Problems Involving Measurement. Exploring Food Chains and Food Webs. First African American President. The Greatest Records in Sports. Role-Playing for Fun and Profit. First Shots of the American Revolution, The. How Animals Shaped History. Bugs That Feed on People. Betsy Ross and the Creation of the American Flag. Graphic African American History. Air Force Combat Control Team.
Marine Corps Special Operations Command. Develop Understanding of Fractions and Numbers. Creatures of the Forest Habitat. Trabajadores de la comunidad Community Helpers. No Taxation Without Representation, The. The Human Body in 3D. Big Bang Science Experiments. Buenos modales Manners Matter. Bugs That Live Underground. Represent and Interpret Data. Chinese Laborers in America , The. Adventures in the Great Outdoors. Big Animals, Small Animals.
Sherlock Bones Looks at the Environment. Represent and Solve Problems Involving Division. Life in the Middle Ages. Enfoque en Texas Spotlight On Texas. Patriotic Symbols and Landmarks. Community Helpers and Their Tools. Add Within 20Math Masters: Cooking Around the World. Holiday Cooking for Kids! What It Means to Be from Texas. Represent and Solve Problems Involving Subtraction. Reason with Shapes and Their Attributes, The. Spotlight On Kids Can Code. Las casas de los animales Inside Animal Homes.
Spotlight On the 13 Colonies: Birth of a Nation. Spotlight On New York. Influences from Many Cultures. Wonderful World of Colors. Behind the Scenes with Coders. Warriors Around the World. Maps of the Environmental World. Places in My Community. Understand Concepts of Area. Ancient Cultures and Civilizations.