While Mom and Dad do nothing but daydream at the picnic, the young boy keeps very active noticing all kinds of things going on around them.

It is 1959. The class of 4A at Rose Horn's convent school in Dublin has discovered boys. And dating. And kissing. Rose dreams of love. And of exchanging her thick lisle stockings and bulky school uniform for the daring black chiffon numbers of Hollywood stars. When her mother discovers Rose's secret trysts with Frank Fennelly, she banishes her to spend summer in the depths of Kerry - far from temptation, she believes.But beneath the peaceful exterior of Fenit village, with its close community and simple pleasures, lurks a wild place of social undercurrents. Here Rose meets heart-throb Mikey Daw, and she is drawn into the adult world of broken promises, hidden secrets and bitter tragedy.

What prompts children to tell stories? What does the word "story" mean to a child at two or five years of age? The Folkstories of Children, first published in 1981, features nearly five hundred stories that were volunteered by fifty children between the ages of two and ten and transcribed word for word. The stories are organized chronologically by the age of the teller, revealing the progression of verbal competence and the gradual emergence of staging and plot organization. Many stories told by two-year-olds, for example, have only beginnings with no middle or end; the "narrative" is held together by rhyme or alliteration. After the age of three or four, the same children tell stories that feature a central character and a narrative arc. The stories also exhibit each child's growing awareness and management of his or her environment and life concerns. Some children see their stories as dialogues between teller and audience, others as monologues expressing concerns about fate and the forces of good and evil. Brian Sutton-Smith discusses the possible origins of the stories themselves: folktales, parent and teacher reading, media, required writing of stories in school, dreams, and play. The notes to each chapter draw on this context as well as folktale analysis and child development theory to consider why and how the stories take their particular forms. The Folkstories of Children provides valuable evidence and insight into the ways children actively and inventively engage language as they grow.

Opposites attract when a straitlaced lawyer and whimsical party planner must fake-date as co-parents of a rambunctious Irish wolfhound in the second book of this im-paw-ssibly charming small-town romance series. Connor Wyeth has a plan for everything. But when he adopts Maximus, an unruly Irish wolfhound mix, he gets more than he bargained for. If he doesn't act fast, the big dopey mutt is going to destroy his house. The only person Max ever listens to is the volunteer who used to walk him at the shelter—a perennially upbeat woman whose day job is planning princess parties for little kids. Connor couldn't ever imagine that she'd be able to tame such a beast as Max, but he's desperate enough to try anything. Deenie Mitchell isn't looking forward to spending more time with uptight, rules-oriented Connor—no matter how attractive he is. But when her sister announces her engagement, Deenie realizes he's the perfect person to impress her type-A family. When she learns he needs a plus-one for his law firm's work events, an unlikely alliance is formed. But as they play the perfect couple, the friendship—and the feelings—that are forming start to feel all too real. Opposites may attract, but can the man with a plan for everything and the misfit who makes her own rules ever find common ground?!--~b~--

While it is often acknowledged that Margaret Atwood's novels are rife with allusions from the oral tradition of myth, legends, fables, and fairy tales, the implications of her liberal usage bear study. The essays in this volume have been written by some of the most influential Margaret Atwood scholars internationally, each exploring Atwood’s use of primal, indeed archetypal, narratives to illuminate her fiction and poetry. These essays interact with all types of such narratives, from fairy tales and legends, to Greek, Roman, Biblical, and pagan mythologies, to contemporary processes of myth and tale creation. And, as the works in this collection demonstrate, Atwood’s use of myths and fairy tales allows for an abundance of old, yet fresh material for contemporary readers. By reconciling, yet by also revisioning, the archetypal motifs, characters, and narratives, Atwood’s writings present a familiar, yet unique, reading experience.

In June of 1939, the United States played host to two very special guests. British monarchs King George VI and Queen Elizabeth were coming to America. As it was the first visit ever by reigning British royalty, it was a chance for America to build a stronger relationship with the British, especially in those challenging times. On the domestic side, many people didn't have jobs, housing, or food. Internationally, Adolf Hitler, Germany's leader, was threatening the countries around him and war loomed on the horizon. But First Lady Eleanor Roosevelt saw the visit as an opportunity for America to set aside its cares for a while and extend a warm welcome and hand of friendship to the royal guests. As part of the festivities, Eleanor hosts an all-American picnic that includes hot dogs, a menu item that shocks some people.

A quirky, thrilling, darkly-funny page-turner that explores the fuzzy lines between sanity and insanity, magic and reality, love and duty. It’s 1969. An eight-year-old girl, Elizabeth Squire, has a choice to make: to be disabled by the circumstances of her own botched birth or to become extraordinary. In Buffy Cram’s captivating new novel, Elizabeth narrates the story of her childhood in the late sixties, describing how she came to be at a Vancouver halfway house at the age of nineteen. Once Upon an Effing Time chronicles the sometime-exploitative relationship between Elizabeth and Margaret, her mother, and the bizarre and criminal misadventures they have after running away from Ontario’s cheese belt and their “Big Sad Story.” Attempting to bond with her neglectful mother, Elizabeth learns to adopt personas and live multiple lives, transforms into a fortune teller named MeMe who speaks primarily in Bob Dylan lyrics, and joins an American hippie doomsday cult. Elizabeth’s life is fragmented between ordinary childhood pleasures and indulging her mother’s conspiracy theories about the upcoming moon landing by hiding pamphlets in New York City public library books. Throughout, Buffy Cram weaves humour and heartbreak together to form an engaging narrative about cults—the cult of family, the cult of counterculture, the cult of Rock n’ Roll—and the role of story within those cults.