A week on Granddaddys Farm is a historical fiction for children with the setting in July of 1943 on a farm among the hills of West Virginia. It is based on the childhood experiences of the author and portrays life on the farm experienced by typical families living without electricity, gas, or running water. In Millies visit she helps her grandparents and Aunt Susie with chores, such as carrying wood for cooking, pumping water from a well, and picking and canning vegetables. She meets her cousins, plays in the woods and stream, and has fun adventures. The religious beliefs held by the family are evident throughout the visit as Millies grandfather tells stories about his life as a circuit-riding preacher in the 1800s. Her aunt expresses words of wisdom for life that are long remembered.

Matt has returned to Grandpa's Farm for his Easter holidays ready to help sow the seed for the next harvest. A beautifully written story in verse about the joys and sorrows of life on an Australian farm.

This multigenerational children's story evokes memories of fresh baked bread, wood stoves, fishing holes and family values. Polka music, earthy wisdom, and a strong work ethic reflect the wonderful culture found in Central Wisconsin, sharing traditions with young readers. Grandpa's Farm is written by Kenneth Danczyk and his family, is a warm and amusing tale of one boy's life on a rural farm in Stevens Point, Wisconsin. With the talent of a local high school student Natasha Flatoff, the 16 original oil paintings vibrantly depict the love, laughter, and life of a hard working and fun-filled family. For ages 4-8 and everyone in between.

A boy and his pet dragon visit Grandpa's farm. They see chicks, kittens, a pig, and even a blue pony! This pre-primer book contains high-frequency and sight words. Teacher resources include reading activities to strengthen phonemic awareness, phonics, vocabulary, fluency, and comprehension. Beginning Reader with word list.

(Re)Imagining the world: Children’s Literature’s Response to Changing Times considers how writers of fiction for children imagine ‘the world’, not one universal world, but different worlds: imaginary, strange, familiar, even monstrous worlds. The chapters in this collection discuss how fiction for children engages with some of the changes brought about by new technologies, information literacy, consumerism, migration, politics, different family structures, cosmopolitanism, new and old monsters. They also invite us to think about how memory shapes our understanding of the past, and how fiction engages our emotions, our capacity to empathise, and our desire to discover, and what the future may hold. The contributors bring different perspectives from education, postcolonial studies, literary criticism, cultural studies, childhood studies, postmodernism, and the social sciences. With a wide coverage of texts from different countries, and scholarly and lively discussions, this collection is itself a testament to the power of the human imagination and the significance of children’s literature in the education of young people. ​

Wright Morris's "Nebraska Trilogy" (1946-49) embodies his attempt to capture and come to terms with his past. According to David Madden, in his study Wright Morris, "In The Inhabitants [a picture collection] the emphasis is on the artifacts inhabited and on the land; in The Home Place [narrative and pictures], on the inhabitants themselves; and in The World in the Attic, on what the land and the people signify to one man, Clyde Muncy, writer and self-exiled Nebraskan. . . . What was only suggested to Muncy in The Home Place is further developed, although not entirely resolved, in The World in the Attic. . . . [In it], Morris achieves the kind of objective conceptualization that is characteristic of his best novels. The first half of the book is impressionistic, a series of reminiscences like The Home Place; but the second half has a novelist narrative line. In The Home Place, the past, saturated in the immediate present, is merely alluded to. In The World in the Attic, however, the past is specifically and dramatically related to the present."