This charming picture book celebrates all our differences while questioning the idea that there is only one way to be “normal.” Pip is a normal pig who does normal stuff: cooking, painting, and dreaming of what she’ll be when she grows up. But one day a new pig comes to school and starts pointing out all the ways in which Pip is different. Suddenly she doesn’t like any of the same things she used to...the things that made her Pip. A wonderful springboard for conversations with children, at home and in the classroom, about diversity and difference.

The hilarious, colorful #1 New York Times bestselling phenomenon that every kid wants! Gift a copy to someone you love today. Poor Duncan just wants to color. But when he opens his box of crayons, he finds only letters, all saying the same thing: His crayons have had enough! They quit! Blue crayon needs a break from coloring all those bodies of water. Black crayon wants to be used for more than just outlining. And Orange and Yellow are no longer speaking—each believes he is the true color of the sun. What can Duncan possibly do to appease all of the crayons and get them back to doing what they do best? With giggle-inducing text from Drew Daywalt and bold and bright illustrations from Oliver Jeffers, The Day the Crayons Quit is the perfect gift for new parents, baby showers, back-to-school, or any time of year! Perfect for fans of Don't Let the Pigeon Drive the Bus by Mo Willems and The True Story of the Three Little Pigs by Jon Sciezka and Lane Smith. Praise for The Day the Crayons Quit: Amazon’s 2013 Best Picture Book of the Year A Barnes & Noble Best Book of 2013 Goodreads’ 2013 Best Picture Book of the Year Winner of the E.B. White Read-Aloud Award * “Hilarious . . . Move over, Click, Clack, Moo; we’ve got a new contender for the most successful picture-book strike.” –BCCB, starred review “Jeffers . . . elevates crayon drawing to remarkable heights.” –Booklist “Fresh and funny.” –The Wall Street Journal "This book will have children asking to have it read again and again.” –Library Media Connection * “This colorful title should make for an uproarious storytime.” –School Library Journal, starred review * “These memorable personalities will leave readers glancing apprehensively at their own crayon boxes.” –Publishers Weekly, starred review “Utterly original.” –San Francisco Chronicle

A “gripping historical drama” that tells the story of young Elizabeth Tudor’s journey to the throne—and her fierce rivalry with her half sister (School Library Journal). Imprisonment. Betrayal. Lost love. Murder. What more must a princess endure? Elizabeth Tudor’s teenage and young adult years during the turbulent reigns of Edward and then Mary Tudor are hardly those of a fairy-tale princess. Her mother has been beheaded by Elizabeth's own father, Henry VIII. Her jealous half sister, Mary, has her locked away in the Tower of London. And her only love interest betrays her in his own quest for the throne… Told in the voice of the young Elizabeth and ending when she is crowned queen, this novel in the exciting Young Royals series explores the relationship between two sisters who became mortal enemies. New York Times-bestselling author Carolyn Meyer has written an intriguing historical tale that reveals the deep-seated rivalry between a determined girl who became Elizabeth I, one of England's most powerful monarchs—and the sister who tried everything to stop her.

Autobiography has seen enormous expansions and challenges over the past decades. One of these expansions has been in comics, and it is an expansion that pushes back against any postmodern notion of the death of the author/subject, while also demanding new approaches from critics. Drawing from Life: Memory and Subjectivity in Comic Art is a collection of essays about autobiography, semi-autobiography, fictionalized autobiography, memory, and self-narration in sequential art, or comics. Contributors come from a range of academic backgrounds including English, American studies, comparative literature, gender studies, art history, and cultural studies. The book engages with well-known figures such as Art Spiegelman, Marjane Satrapi, and Alison Bechdel; with cult-status figures such as Martin Vaughn-James; and with lesser-known works by artists such as Frédéric Boilet. Negotiations between artist/writer/body and drawn/written/text raise questions of how comics construct identity, and are read and perceived, requiring a critical turn towards theorizing the comics' viewer. At stake in comic memoir and semi-autobiography is embodiment. Remembering a scene with the intent of rendering it in sequential art requires nonlinear thinking and engagement with physicality. Who was in the room and where? What was worn? Who spoke first? What images dominated the encounter? Did anybody smile? Man or mouse? Unhinged from the summary paragraph, the comics artist must confront the fact of the flesh, or the corporeal world, and they do so with fascinating results.