Winner of the Children’s Literature Association’s 2014 Honor Book Award Crockett Johnson (born David Johnson Leisk, 1906–1975) and Ruth Krauss (1901–1993) were a husband-and-wife team that created such popular children's books as The Carrot Seed and How to Make an Earthquake. Separately, Johnson created the enduring children's classic Harold and the Purple Crayon and the groundbreaking comic strip Barnaby. Krauss wrote over a dozen children's books illustrated by others, and pioneered the use of spontaneous, loose-tongued kids in children's literature. Together, Johnson and Krauss's style—whimsical writing, clear and minimalist drawing, and a child's point-of-view—is among the most revered and influential in children's literature and cartooning, inspiring the work of Maurice Sendak, Charles M. Schulz, Chris Van Allsburg, and Jon Scieszka. This critical biography examines their lives and careers, including their separate achievements when not collaborating. Using correspondence, sketches, contemporary newspaper and magazine accounts, archived and personal interviews, author Philip Nel draws a compelling portrait of a couple whose output encompassed children's literature, comics, graphic design, and the fine arts. Their mentorship of now-famous illustrator Maurice Sendak (Where the Wild Things Are) is examined at length, as is the couple's appeal to adult contemporaries such as Duke Ellington and Dorothy Parker. Defiantly leftist in an era of McCarthyism and Cold War paranoia, Johnson and Krauss risked collaborations that often contained subtly rendered liberal themes. Indeed, they were under FBI surveillance for years. Their legacy of considerable success invites readers to dream and to imagine, drawing paths that take them anywhere they want to go.

When a little boy plants a carrot seed, everyone tells him it won't grow. But when you are very young, there are some things that you just know, and the little boy knows that one day a carrot will come up. So he waters his seed, and pulls the weeds, and he waits ... First published in 1945 and never out of print, this timeless combination of Ruth Krauss's simple text and Crockett Johnson's eloquent illustrations creates a triumphant and deeply satisfying story for readers of all ages.

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From beloved children’s book creator Crockett Johnson comes the timeless classic Harold and the Purple Crayon! This imagination-sparking picture book belongs on every child's digital bookshelf. One evening Harold decides to go for a walk in the moonlight. Armed only with an oversize purple crayon, young Harold draws himself a landscape full of wonder and excitement. Harold and his trusty crayon travel through woods and across seas and past dragons before returning to bed, safe and sound. Full of funny twists and surprises, this charming story shows just how far your imagination can take you. “A satisfying artistic triumph.” —Chris Van Allsburg, author-illustrator of The Polar Express Share this classic as a birthday, baby shower, or graduation gift!

What is a hole? A hole is when you step in it you go down A hole is for a mouse to live in. And, of course,a hole is to dig. This is the funniest book of definitions you'll ever read!

Continuing a two-year program to bring back twenty-two Maurice Sendak treasures long out of print, our second season of publication highlights one of the most successful author-illustrator pairings of all time. A pioneer of great children's literature, Ruth Krausspublished more than thirty books for children during a career that spanned forty years. Krauss and Sendak collaborated on eight books, and we are delighted to reintroduce four of these gems in brand-new editions, together with a favorite Maurice Sendak picture book.

Along with many small improvements, this revised edition contains van Yzeren's new proof of Pascal's theorem (§1.7) and, in Chapter 2, an improved treatment of order and sense. The Sylvester-Gallai theorem, instead of being introduced as a curiosity, is now used as an essential step in the theory of harmonic separation (§3.34). This makes the logi cal development self-contained: the footnotes involving the References (pp. 214-216) are for comparison with earlier treatments, and to give credit where it is due, not to fill gaps in the argument. H.S.M.C. November 1992 v Preface to the Second Edition Why should one study the real plane? To this question, put by those who advocate the complex plane, or geometry over a general field, I would reply that the real plane is an easy first step. Most of the prop erties are closely analogous, and the real field has the advantage of intuitive accessibility. Moreover, real geometry is exactly what is needed for the projective approach to non· Euclidean geometry. Instead of introducing the affine and Euclidean metrics as in Chapters 8 and 9, we could just as well take the locus of 'points at infinity' to be a conic, or replace the absolute involution by an absolute polarity.