After a three-year voyage, Doctor Dolittle sets his Puddlesby garden to rights and and makes it the site of an animal-run zoo. With the help of his friends, he also tackles a mystery at nearby Moorsden Manor.

The adventures of a kind-hearted doctor, who is fond of animals and understands their language. Seeing that many of his animal friends want to live with him, Dr. Dolittle changes his zoo collection from rather unusual animals to native ones and immediately runs into trouble.

Doctor Dolittle heads for the high seas in perhaps the most amazing adventure ever experienced by man or animal. Told by nine-and-a-half-year-old Tommy Stubbins, crewman and future naturalist, the voyages of Doctor Dolittle and his company lead them to Spidermonkey Island. Along with his faithful friends, Polynesia the parrot and Chee-Chee the monkey, Doctor Dolittle survives a perilous shipwreck and lands on the mysterious floating island. There he meets the wondrous Great Glass See Snail who holds the key to the greatest mystery of all.

Just in time for the major motion picture Dolittle starring Robert Downey Jr.—soaring into theaters on January 17, 2020! Journey into the world of Doctor Dolittle, the kind and eccentric naturalist who can speak with animals. Working with original author Hugh Lofting’s son, these books have been fully updated for the modern reader, all while retaining the full charm of the originals. Rediscover the children’s literature classic with three novels from the beloved series! The Doctor has returned home at last to Puddleby-on-the-Marsh. In Doctor Dolittle’s Zoo, he immediately sets to work expanding his menagerie, including a home for crossbred dogs. This brings with it a multitude of tales, all related in Doctor Dolittle’s Puddleby Adventures, including a mystery solved by Kling, the Dog Detective. Finally, in Doctor Dolittle’s Garden the Doctor delves into the languages of insects, culminating in a surprise visit from the Giant Lunar Moth!

Annotation Dr. Dolittle--and many students of animal communication--are wrong: animals cannot use language. This fascinating book explains why. Can animals be taught a human language and use it to communicate? Or is human language unique to human beings, just as many complex behaviors of other species are uniquely theirs? This engrossing book explores communication and cognition in animals and humans from a linguistic point of view and asserts that animals are not capable of acquiring or using human language. Stephen R. Anderson explains what is meant by communication, the difference between communication and language, and the essential characteristics of language. Next he examines a variety of animal communication systems, including bee dances, frog vocalizations, bird songs, and alarm calls and other vocal, gestural, and olfactory communication among primates. Anderson then compares these to human language, including signed languages used by the deaf. Arguing that attempts to teach human languagesor their equivalents to the great apes have not succeeded in demonstrating linguistic abilities in nonhuman species, he concludes that animal communication systems--intriguing and varied though they may be--do not include all the essential properties of human language. Animals can communicate, but they can't talk. "Written in a playful and highly accessible style, Anderson's book navigates some of the difficult territory of linguistics to provide an illuminating discussion of the evolution of language."--Marc Hauser, author of "Wild Minds: What Animals Really Think.

In writing the story of our adventures in the Moon I, Thomas Stubbins, secretary to John Dolittle, M.D. (and son of Jacob Stubbins, the cobbler of Puddleby-on-the-Marsh), find myself greatly puzzled. It is not an easy task, remembering day by day and hour by hour those crowded and exciting weeks. It is true I made many notes for the Doctor, books full of them. But that information was nearly all of a highly scientific kind. And I feel that I should tell the story here not for the scientist so much as for the general reader. And it is in that I am perplexed. For the story could be told in many ways. People are so different in what they want to know about a voyage. I had thought at one time Jip could help me; and after reading him some chapters as I had first set them down I asked for his opinion. I discovered he was mostly interested in whether we had seen any rats in the Moon. I found I could not tell him. I didn’t remember seeing any; and yet I am sure there must have been some—or some sort of creature like a rat. Then I asked Gub-Gub. And what he was chiefly concerned to hear was the kind of vegetables we had fed on. (Dab-Dab snorted at me for my pains and said I should have known better than to ask him.) I tried my mother. She wanted to know how we had managed when our underwear wore out—and a whole lot of other matters about our living conditions, hardly any of which I could answer. Next I went to Matthew Mugg. And the things he wanted to learn were worse than either my mother’s or Jip’s: Were there any shops in the Moon? What were the dogs and cats like? The good Cats’-meat-Man seemed to have imagined it a place not very different from Puddleby or the East End of London. No, trying to get at what most people wanted to read concerning the Moon did not bring me much profit. I couldn’t seem to tell them any of the things they were most anxious to know. It reminded me of the first time I had come to the Doctor’s house, hoping to be hired as his assistant, and dear old Polynesia the parrot had questioned me. “Are you a good noticer?” she had asked. I had always thought I was—pretty good anyhow. But now I felt I had been a very poor noticer. For it seemed I hadn’t noticed any of the things I should have done to make the story of our voyage interesting to the ordinary public. The trouble was of course attention. Human attention is like butter: you can only spread it so thin and no thinner. If you try to spread it over too many things at once you just don’t remember them. And certainly during all our waking hours upon the Moon there was so much for our ears and eyes and minds to take in it is a wonder, I often think, that any clear memories at all remain. The one who could have been of most help to me in writing my impressions of the Moon was Jamaro Bumblelily, the giant moth who carried us there. But as he was nowhere near me when I set to work upon this book I decided I had better not consider the particular wishes of Jip, Gub-Gub, my mother, Matthew or any one else, but set the story down in my own way. Clearly the tale must be in any case an imperfect, incomplete one. And the only thing to do is to go forward with it, step by step, to the best of my recollection, from where the great insect hovered, with our beating hearts pressed close against his broad back, over the near and glowing landscape of the Moon.

Discusses how animals are capable of interacting intelligently through vocal and physical methods, drawing on work with prairie dogs to present evidence of animal communication methods and how they can be imitated by human researchers.