This unauthorized companion to George Orwell’s Animal Farm is a controversial parable about September 11th by one of fiction’s most inventive and provocative writers Written in 14 days shortly after the September 11th attacks, Snowball’s Chance is an outrageous and unauthorized companion to George Orwell’s Animal Farm, in which exiled pig Snowball returns to the farm, takes charge, and implements a new world order of untrammeled capitalism. Orwell’s “All animals are equal, but some animals are more equal than others” has morphed into the new rallying cry: “All animals are born equal—what they become is their own affair.” A brilliant political satire and literary parody, John Reed’s Snowball’s Chance caused an uproar on publication in 2002, denounced by Christopher Hitchens, and barely dodging a lawsuit from the Orwell estate. Now, a decade later, with America in wars on many fronts, readers can judge anew the visionary truth of Reed’s satirical masterpiece.

Fiction. Reed's first novel, A Still Small Voice, received high praise from an array of writers and critics. Paul Auster called it "a fine first novel by a young writer of great promise." SNOWBALL'S CHANCE is far more than a scathing sequel to George Orwell's Animal Farm, although it assuredly does count as that rarest of things: a successful sequel to a classic work. In a brilliantly conceived and executed riposte to the marketplace's unthinking cheerleaders, Reed's Snowball, the Pig ousted from the Animal Farm for rationality, returns to bring marketeering to the farm. "While reading SNOWBALL'S CHANCE, one plays this terrifying guessing game of animal clef: Which animal am I? Which animal is my neighbour? Which animal is my enemy? Written in lucid, wise, funny, fable-prose, this book brings to mind Spiegelman's Maus--the use of a playful metaphor to reveal horrible, frightening truths we might otherwise refuse to see. A scary, engrossing novel, a sustained triumph"--Johnathan Ames.

The only book devoted solely to chronicling the historic VIII Olympic Winter Games at Squaw Valley and Lake Tahoe.

Pull on your mittens and head outside with Lois Ehlert for a snowball day Grab some snow and start rolling. With a few found objects, like buttons and fabric and seeds, and a little imagination, you can create a whole family out of snow. "Ehlert uses collages of cut paper and vibrant, textured objects to dazzling effect in her tribute to building a snowman--and snowgirl and snowcat. Her inventive designs extend the reader's perspective and tweak the limits of the picture-book format."--Publishers Weekly

Drawing on unpublished documents and oral histories, an illustrated examination of an iconic artwork of an artist who has made a lifework of tactical evasion. One wintry day in 1983, alongside other street sellers in the East Village, David Hammons peddled snowballs of various sizes. He had neatly laid them out in graduated rows and spent the day acting as obliging salesman. He called the evanescent and unannounced street action Bliz-aard Ball Sale, thus inscribing it into a body of work that, from the late 1960s to the present, has used a lexicon of ephemeral actions and self-consciously “black" materials to comment on the nature of the artwork, the art world, and race in America. And although Bliz-aard Ball Sale has been frequently cited and is increasingly influential, it has long been known only through a mix of eyewitness rumors and a handful of photographs. Its details were as elusive as the artist himself; even its exact date was unrecorded. Like so much of the artist's work, it was conceived, it seems, to slip between our fingers—to trouble the grasp of the market, as much as of history and knowability. In this engaging study, Elena Filipovic collects a vast oral history of the ephemeral action, uncovering rare images and documents, and giving us singular insight into an artist who made an art of making himself difficult to find. And through it, she reveals Bliz-aard Ball Sale to be the backbone of a radical artistic oeuvre that transforms such notions as “art,” “commodity,” “performance,” and even “race” into categories that shift and dissolve, much like slowly melting snowballs.

Snowball—an aptly named bundle of feline fluff—is thankful to be spending her first Christmas in the comfort of Weber Haus, the Victorian B&B run by Miss Tilly. Emily Diemer, who cooks for the guests, dotes on Snowball, but she’s not thrilled about another new arrival at the B&B: Miss Tilly’s nephew, Lukas. Which is odd, because Snowball’s animal instincts tell her that Lukas and Emily should definitely be friends. Everything Emily needs is in this quaint community—including, she hopes, the chance to open her own bakery one day. She doesn’t think much of Lukas for leaving his aging aunt to struggle while he jets around the world taking photographs. But now that he’s here, helping to spruce up the property and getting mixed up in Snowball’s antics, she begins to soften a little. Until she learns what he has planned . . . Lukas is going to sell Weber Haus so that Miss Tilly can retire. But Snowball is certain that this B&B, and these people, are supposed to be her forever home. Somehow she has to get these stubborn humans to see things through the wisdom of a cat’s eye and a kitten’s loyal, loving heart . . . “Expertly crafted . . . the perfect Christmas treat.” —Booklist (Starred Review)

The only book to document artist Andy Goldsworthy's most astonishing & largest ephemeral work to date -- thirteen huge snowballs, each weighing about a ton -- removed from the wilderness & placed on the streets of London in a unique symbolic confrontation.