May Baldwin (1862-1950) was a prolific British author primarily of books for children. Her works include: A Popular Girl: A Tale of School Life in Germany (1901), A Plucky Girl; or, The Adventures of 'Miss Nell' (1902), Sibyl; or, Old School Friends (1903), The Sunset Rock: A Story for Girls (1903), That Awful Little Brother (1904), The Girls of St. Gabriel's; or, Life at a French School (1905), Peg's Adventures in Paris (1906), Dora: A High School Girl (1906), The Follies of Fifi (1907), Mysie: A Highland Lassie (1907), Holly House and Ridges Row: A Tale of London Old and New (1908), Golden Square High School (1908), Barbara Bellamy: A Public School Girl (1909), Sarah's School Friend (1910), Two Schoolgirls of Florence (1910), A Schoolgirl of Moscow (1911), The Girls' Eton (1911), Corah's School Chums (1912), Hilda's Experiences (1913), A Schoolgirl's Diary: The Story of Her Holiday Beyond the Seas (1914), Phyllis McPhilemy: A School Story (1915), Mrs. Manning's Wards (1916), Miss Peter (1917), Three Pickles in and out of School (1921), A Schoolgirl of the Blue (1923) and The Twins Make Good (1928).

This final book in the New York Times-bestselling Fairyland series finds September accidentally crowned the Queen of Fairyland. But there are others who believe they have a fair and good claim on the throne, so there is a Royal Race--whoever wins will seize the crown. Along the way, beloved characters including the Wyverary, A-Through-L, the boy Saturday, the changelings Hawthorn and Tamburlaine, the wombat Blunderbuss, and the gramophone Scratch are caught up in the madness. And September's parents have crossed the universe to find their daughter. Who will win? What will become of September, Saturday, and A-Through-L? The answers will surprise you, and are as bewitching and bedazzling as fans of this series by Catherynne M. Valente have come to expect.

The Optical Unconscious is a pointed protest against the official story of modernism and against the critical tradition that attempted to define modern art according to certain sacred commandments and self-fulfilling truths. The account of modernism presented here challenges the vaunted principle of "vision itself." And it is a very different story than we have ever read, not only because its insurgent plot and characters rise from below the calm surface of the known and law-like field of modernist painting, but because the voice is unlike anything we have heard before. Just as the artists of the optical unconscious assaulted the idea of autonomy and visual mastery, Rosalind Krauss abandons the historian's voice of objective detachment and forges a new style of writing in this book: art history that insinuates diary and art theory, and that has the gait and tone of fiction. The Optical Unconscious will be deeply vexing to modernism's standard-bearers, and to readers who have accepted the foundational principles on which their aesthetic is based. Krauss also gives us the story that Alfred Barr, Meyer Shapiro, and Clement Greenberg repressed, the story of a small, disparate group of artists who defied modernism's most cherished self-descriptions, giving rise to an unruly, disruptive force that persistently haunted the field of modernism from the 1920s to the 1950s and continues to disrupt it today. In order to understand why modernism had to repress the optical unconscious, Krauss eavesdrops on Roger Fry in the salons of Bloomsbury, and spies on the toddler John Ruskin as he amuses himself with the patterns of a rug; we find her in the living room of Clement Greenberg as he complains about "smart Jewish girls with their typewriters" in the 1960s, and in colloquy with Michael Fried about Frank Stella's love of baseball. Along the way, there are also narrative encounters with Freud, Jacques Lacan, Georges Bataille, Roger Caillois, Gilles Deleuze, and Jean-François Lyotard. To embody this optical unconscious, Krauss turns to the pages of Max Ernst's collage novels, to Marcel Duchamp's hypnotic Rotoreliefs, to Eva Hesse's luminous sculptures, and to Cy Twombly's, Andy Warhol's, and Robert Morris's scandalous decoding of Jackson Pollock's drip pictures as "Anti-Form." These artists introduced a new set of values into the field of twentieth-century art, offering ready-made images of obsessional fantasy in place of modernism's intentionality and unexamined compulsions.

The New York Times bestseller and basis for the Tony-winning hit musical, soon to be a major motion picture starring Cynthia Erivo and Ariana Grande With millions of copies in print around the world, Gregory Maguire’s Wicked is established not only as a commentary on our time but as a novel to revisit for years to come. Wicked relishes the inspired inventions of L. Frank Baum’s 1900 novel, The Wonderful Wizard of Oz, while playing sleight of hand with our collective memories of the 1939 MGM film starring Margaret Hamilton (and Judy Garland). In this fast-paced, fantastically real, and supremely entertaining novel, Maguire has populated the largely unknown world of Oz with the power of his own imagination. Years before Dorothy and her dog crash-land, another little girl makes her presence known in Oz. This girl, Elphaba, is born with emerald-green skin—no easy burden in a land as mean and poor as Oz, where superstition and magic are not strong enough to explain or overcome the natural disasters of flood and famine. Still, Elphaba is smart, and by the time she enters Shiz University, she becomes a member of a charmed circle of Oz’s most promising young citizens. But Elphaba’s Oz is no utopia. The Wizard’s secret police are everywhere. Animals—those creatures with voices, souls, and minds—are threatened with exile. Young Elphaba, green and wild and misunderstood, is determined to protect the Animals—even if it means combating the mysterious Wizard, even if it means risking her single chance at romance. Ever wiser in guilt and sorrow, she can find herself grateful when the world declares her a witch. And she can even make herself glad for that young girl from Kansas. Recognized as an iconoclastic tour de force on its initial publication, the novel has inspired the blockbuster musical of the same name—one of the longest-running plays in Broadway history. Popular, indeed. But while the novel’s distant cousins hail from the traditions of magical realism, mythopoeic fantasy, and sprawling nineteenth-century sagas of moral urgency, Maguire’s Wicked is as unique as its green-skinned witch.

This book tells how Baroness Orczy creates the fictitious character of the Scarlet Pimpernel. In this book, Baroness Orczy explores how she creates the character of Scarlet Pimpernel, the other characters, and the story world. The author, in this book, links the creation of the character of the Pimpernel to her love for Britain.