New York Times bestselling author/artist tells the story of two best friends who are opposites in almost every way! Big is an elephant, Little is a mouse. Big enjoys soft music, warm weather, and small bites of savory foods. But Little prefers a loud drum jam, icy skiing weather, and mass quantities of sweets! Can two who are so different be best friends? This charming, rhyming concept book about opposites reminds us that in the end, best friends can be different as night and day--and they don't need to change for anyone!

Look out for Julie's new book, The Almost Legendary Morris Sisters. From the beloved and bestselling memoirist comes a funny and affecting look at making the most of our friendships in an age of isolation. With her inimitable wit and disarming warmth, Julie Klam shares with us her experiences, advice, and insight in Friendkeeping, a candid, hilarious look at some of the most meaningful and enjoyable relationships in our lives: our friendships. After her bestselling You Had Me at Woof, about relationships with dogs, Klam now turns her attention to human relationships to great effect. She examines everything—from the curious world of online friendship to the intersection of friendship and motherhood. She even explores how to hang on to our friendships in the toughest circumstances: when schadenfreude rears its ugly head or when we don’t like our friend’s mate. Klam relays a mix of brand-new and time-tested wisdom—she finds that longtime friends really can grow up without growing apart; that communication is key; that friendship is one of life’s great, free sources of happiness; that you’re not a friend, just a doormat, if you don’t get back what you give—and her discoveries range from amusing to deeply important. Charming, bracingly honest, and compulsively readable, Friendkeeping is an irresistible book, a treat that you’ll want to share with your best friends right away. Brimming with keen observations and laugh-out-loud moments, it’s delivered in the lively, accessible voice that Julie Klam’s readers have come to know and love.

Nook is small and shy, and she likes to sit in the cozy, comfy space of a hollow tree watching others play. When someone comes along to take Nook's space, she feels lost and afraid, until she discovers she has friends looking out for her in ways she never imagined! This gentle story explores shyness and sensory needs, and inspires kindness, inclusion, and friendship.

Hamlin Garland’s Main-Travelled Roads is recognized as one of the early landmarks of American literary realism. But Garland’s shift in mid-career from the harsh verisimilitude of Prairie Folks and Prairie Songs to a romanticizing of the Far West, and from ardent espousal of the principles of “veritism” to violent denunciations of naturalism, is a paradox which has long puzzled literary historians. In tracing the evolution of Garland’s work, the various reactions of his stories under the influence of editorial comment and of contemporary critical reaction, Jean Holloway suggests that the Garland apostasy was an illusion produced by his very intellectual immobility amidst the swirling currents of American thought. His extensive correspondence with Gilder of the Century, Alden of Harper’s Monthly, McClure of McClure’s, and Bok of the Ladies’ Home Journal is adduced in support of the thesis that the writer’s choices of subject and of treatment were psychologically forced rather than conditioned primarily by literary theory. As a subject for biography, however, Garland has an appeal far beyond the scope of his literary influence. The friendships of this gregarious peripatetic with the famous began with Howells, Twain, Whitman, and Stephen Crane, stretched down the years to include such younger men as Bret Harte and Carl Van Doren, and crossed the seas to embrace such British literary lions as Barrie, Shaw, and Kipling. Garland’s fervent espousal of “causes”—the Single Tax Movement, psychic experimentation, Indian rights-brought him into close contact with other prominent men—Henry George, Theodore Roosevelt, and William Jennings Bryan. These public figures form the incidental characters in Garland’s spate of autobiographical works. Yet it is the central figure of his own story which has become permanently identified with the “Middle Border,” that region “between the land of the hunter and the harvester” which Augustus Thomas defined as “wherever Hamlin Garland is.” In A Son of the Middle Border Garland nostalgically recreated his boyhood on the frontier and, regardless of the detractions of literary critics, preserved for posterity an important segment of American social history.