‘Grandfather and I saw eye to eye on the matter of pets, and whenever Grandmother decided it was time to get rid of a tame white rat or a squirrel, I would conceal them in a hole in the jackfruit tree.' Instead of having brothers and sisters to grow up with in India, young Ruskin had several odd companions, including a monkey, a tortoise, a python and a Great Indian Hornbill. His grandfather was responsible for all this wildlife, and their home in Dehra became a centre of action and laughter as a variety of creatures were brought home—the furry, feathered, fierce and friendly—all under one roof. Bursting with delightful illustrations, this chapter book features endearing characters and hilarious episodes, making it a perfect introduction to the wonderful world of Ruskin Bond!

Tells about the kinds of animals that can be pets and describes how to take care of them.

Fifteen favorite bedtime stories relate the adventures of the gentleman rabbit, his Littletail family, Jane Fuzzy-Wuzzy, and others.

A selection of eleven of the gentleman rabbit's adventures, including "Uncle Wiggily and the Dentist, " "Uncle Wiggily's Accident, " and "Uncle Wiggily and the Lost Chipmunk."

A superb storyteller who keeps his readers in thrall’—Statesman In When Darkness Falls, Ruskin Bond emerges yet again as a master storyteller: a deceptively effortless style, an eye for the extraordinary in seemingly humdrum lives, and a deep empathy with his characters—even when they belong to the supernatural realm. We meet the war veteran Markham whose deformation ends in tragedy; Susanna, the merry widow who loved each of her seven husbands to death; and Kundan Singh, the reckless rake whom women find irresistible. There are also fascinating stories from the author’s childhood, about the eccentric characters and memorable animals of old Dehradun. Told with Bond’s classic wit, these charming stories will enchant and delight in equal measure.

Since its emergence in the seventeenth century as a distinctive cultural system, children's literature has had a culturally inferior status resulting from its existence in a netherworld between the literary system and the educational system. In addition to its official readership—children—it has to be approved of by adults. Writers for children, explains Zohar Shavit, are constrained to respond to these multiple systems of often mutually contradictory demands. Most writers do not try to bypass these constraints, but accept them as a framework for their work. In the most extreme cases an author may ignore one segment of the readership. If the adult reader is ignored, the writer risks rejection, as is the case of popular literature. If the writer utilizes the child as a pseudo addressee in order to appeal to an adult audience, the result can be what Shavit terms an ambivalent work. Shavit analyzes the conventions and the moral aims that have structured children's literature, from the fairy tales collected and reworked by Charles Perrault and the Brothers Grimm—in particular, “Little Red Riding Hood”—through the complex manipulations of Lewis Carroll in Alice's Adventures in Wonderland, to the subversion of the genre's canonical requirements in the chapbooks of the eighteenth century, and in the formulaic Nancy Drew books of the twentieth century. Throughout her study Shavit, explores not only how society has shaped children's literature, but also how society has been reflected in the literary works it produces for its children.