The victim of endless pranks turns the tables on his nemesis—Chadwick Musselman decides it’s time to get revenge in this hilarious school story. Chadwick Musselman has spent years being terrorized by Terry Vance, aka the Nile Crocodile. His luck changes when it appears that Terry has flunked the fifth grade—Chadwick will swagger into sixth grade as a ruler of the school without him. Sadly, Terry has no intention of ending his reign of terror, and Chadwick decides to turn the tables and finally get revenge! In Chadwick's Epic Revenge by Lisa Doan, a battle of wits, pranks, misunderstandings, and embarrassing moments abound in this quirky and uproarious novel.

In this philosophy classic, which was first published in 1951, E. R. Dodds takes on the traditional view of Greek culture as a triumph of rationalism. Using the analytical tools of modern anthropology and psychology, Dodds asks, "Why should we attribute to the ancient Greeks an immunity from 'primitive' modes of thought which we do not find in any society open to our direct observation?" Praised by reviewers as "an event in modern Greek scholarship" and "a book which it would be difficult to over-praise," The Greeks and the Irrational was Volume 25 of the Sather Classical Lectures series.

From its ancient incarnation as a song to recent translations in modern languages, Homeric epic remains an abiding source of inspiration for both scholars and artists that transcends temporal and linguistic boundaries. The Cambridge Guide to Homer examines the influence and meaning of Homeric poetry from its earliest form as ancient Greek song to its current status in world literature, presenting the information in a synthetic manner that allows the reader to gain an understanding of the different strands of Homeric studies. The volume is structured around three main themes: Homeric Song and Text; the Homeric World, and Homer in the World. Each section starts with a series of 'macropedia' essays arranged thematically that are accompanied by shorter complementary 'micropedia' articles. The Cambridge Guide to Homer thus traces the many routes taken by Homeric epic in the ancient world and its continuing relevance in different periods and cultures.

After a wild plan by his parents left Jack stranded in the Caribbean, the Berenson family decided to lay out some rules. Jack's mom and dad agreed they wouldn't take so many risks. Jack agreed he'd try to live life without worrying quite so much. Then Jack's parents thought up another get-rich-quick scheme. Now the family's driving around Kenya. An animal attack is about to send Jack up a tree?alone, with limited supplies. As Jack attempts to outsmart a ferocious honey badger and keep away from an angry elephant, he'll have plenty of time to wonder if the Berenson Family Decision-Making Rules did enough to keep him out of trouble.

The cheapest family in the world decides to go on an off-brand cruise in this wacky mystery/adventure story. Mr. Pennypacker is cheap. But Mrs. Pennypacker has wrestled money for a vacation from his tightfisted grip, and the family is on their way to a Disney cruise. Charlie Pennypacker is thrilled to be going somewhere—an eleven story luxury cruise liner, 212-foot water slide, and an all-night buffet awaits! So Charlie thinks. The vacation is actually a Wisney cruise, which means a dilapidated fishing boat, fake Disney characters, no water slide, eggs for every meal, and his enemy Gunter Hwang, who has been brought along for thirty dollars a day. On top of that, the captain is on the run from sinister men in dark suits. It's a Caribbean game of cat and mouse involving wits, interrogations, a hidden room, races against time, and clever deceptions. As Mr. Pennypacker would say, you can't get this kind of adventure on those other overpriced cruises.

Oral epic poetry is still performed by Turkic singers in Central Asia. On trips to the region, Karl Reichl collected heroic poems from the Uzbek, Kazakh, and Karakalpak oral traditions. Through a close analysis of these Turkic works, he shows that they are typologically similar to heroic poetry in Old English, Old High German, and Old French and that they can offer scholars new insights into the oral background of these medieval texts.Reichl draws on his research in Central Asia to discuss questions regarding performance as well as the singers' training, role in society, and repertoire. He asserts that heroic poetry and epic are primarily concerned with the interpretation of the past in song: the courageous deeds of ancestors, the search for tribal and societal roots, and the definition and transmission of cultural values. Reichl finds that in these traditions the heroic epic is part of a generic system that includes historical and eulogistic poetry as well as heroic lays, a view that has diachronic implications for medieval poetry.Singing the Past reminds readers that because much medieval poetry was composed for oral recitation, both the Turkic and the medieval heroic poems must always be appreciated as poetry in performance, as sound listened to, as words spoken or sung.