Randolph the Moose lives with his mother in the Great White North. After a chance encounter with the reindeer from Santa Claus' sleigh-pulling team, Randolph finds new joy in trail running as he trains to join the reindeer in Santa's flight school. But when the head elf places him at the workshop loading dock instead (due to his tremendous bulk), Randolph has to use his brains and work ethic to earn respect at his new job... and even save Christmas. Imagine Rudolf the red-nosed reindeer, except... • Randolph has a healthy self-image • Randolph has a more positive outlet for his feelings • Randolph runs, but not away from his problems • Randolph is pro-active, refusing to let Santa's workshop define him as a moose BE YOUR OWN MOOSE! "Randolph the Christmas Moose empowers kids to find the unique leader within themselves and to not allow stereotyping to limit their potential." --AUSTIN HIGHSMITH GARCES, author of The Miracle Tree and actor in Dolphin Tale 1 and 2 "Randolph the Christmas Moose, filled with humor and character building, shares a twist to a familiar tale to produce an important message about how children can be hard-working, determined and true to themselves." --ADAM DOVICO, educator and author of When Kids Lead, The Limitless School and Inside the Trenches "This is a charming and funny story that will not only entertain kids, but also help them understand that other people's opinions don't define them." --LINDSAY THOMPSON, filmmaker and writer for PBS' Arthur "Randolph the Christmas Moose addresses many important childhood themes, including acceptance, endurance and bullying, without sounding 'preachy.'" --SUE ELDER, Ed.D., public and elementary school librarian, educator and bibliophile Learn more at www.GerryGibsonAuthor.com From Loving Healing press www.LHPress.com

The gift of reading. There could not be a greater Christmas gift. Throughout history, I ask you what circumstances have compelled any and all would-be authors to put quills-to-parchments (or, in more recent generations, put fingertips-to-keyboards) to create their miasma of pages to be collected together and called a book? It s a good question and I haven t a clue as to any short, finite answer. I only know that there are lots and lots and lots of compelling circumstances. In my particular case, at an early age I found myself interested in the How? and Why? of things I had read about or heard about or saw. No doubt there have been others like me throughout history who have bumbled, stumbled and fumbled their way through life because they were looking through curious eyes - and not necessarily through practical, comprehending eyes. Let me tell you, one stumbles frequently when trying to get somewhere while looking upward rather than downward. But it is still a trip worth taking .and while looking upward. In the late 1940s I heard on our family entertainment center (which in the late1940s was only an RCA Victor radio) Gene Autry singing the song, Rudolph the Red-Nosed Reindeer, and I was fascinated by the lyrics of the song. Yet I wanted to know, But why did Rudolph s nose glow? No answers to that question were forthcoming and the question remained in the catacombs of my memory for all the years thereafter. Once I had retired from my career and began to write serialized Christmas stories, I plucked the glowing nose dilemma from its dormancy and began to ask, What if . In order to write this book s first Christmas story, The First Christmas Glowing, I felt compelled to examine (and for story purposes, hypothetically answer) the following What if s : - What if, say a hundred years ago or so, there had been a long-distance message runner making deliveries amongst neighboring villages in the Great Rift Valley of eastern Africa and what if, on one of his runs, the message-runner made a substantive discovery? - What if that substantive discovery, as found on the slope of an old volcano crater, would change Christmases forever and ever? - What if that discovery had something to do with the wing-flap speed of a certain kind of insect? - What if the message-runner put his substantive discovery into a small earthen jar and what if that jar over the course of the next sixty years found its way to a once well-traveled trunk in the home of the brother of a traveling circus entertainer named Maximillian? - What if Maximillian was the uncle of a young girl (his brother s daughter) who also lived in that home? - What if Uncle Max s young niece found the jar and years later would find herself positioned and prepared to come to the aid of one of the most important Christmasses of the 20th Century? - What if there are several other adventures along the way involving magic tricks, singing wolves, a Japanese fishing boat , and an intuitivie Inuit weatherman? - And, yes, what if there is a happy ending, and it is one that you know very well and certainly have even sung about? In order to write this book s second Christmas story, A Long-Distance Christmas Greeting, I had to answer a whole raft of completely different What if s . And that is because the second story has resulted from my memory of an incident that occurred in the mid 1950s. The remembered incident occurred somewhere on the east coast of the United States and involved some historical society or a university or a city council or something-or-other creating a time capsule, filled with objects. The objects were something like tooth paste, Argyle sox, automobile hubcaps, and square-dance instructions, all to be hermetically sealed, buried, and not opened for a hundred years or so... something to provide clear evidence as to how the residents of our country lived back in the 1950s. I liked that idea, but at the time I was curious about the assembling of

A charming and humorous board book from Sudipta Bardhan-Quallen and Noah Z Jones! Duck and Duck are preparing for a party, and each step of the way, Moose inadvertently messes things up. When he disappears in shame, Duck and Duck must go find him so he can join in the party -- which was for him! The slapstick physical humor of Duck, Duck, Moose will have little ones overcome with the giggles.

Meet Randolph. A dog like any other dog—but with a nose for murder . . . Harry is a man still mourning the loss of his beloved girlfriend, Imogen, who left him suddenly without a word. He’s also the owner of a plump, poetry-loving Lab, Randolph. Like most Manhattan dogs, Randolph spends his days sifting through a world of scents, his owner’s neuroses, and an overcrowded doggy run at the American Museum of Natural History. But now a bereft Harry has drifted into a circle of would-be occultists. Which might not be so bad if one of them wasn’t also a murderer. But which one? With 100,000 times the smelling power of a human being, Randolph can quickly detect the scents of guilt, anxiety, and avarice—and he has no lack of suspects, from a seductive con woman to an uncouth professor of the decorative arts. Now, to protect his hapless owner’s life, Randolph might have to do the unthinkable—and start training Harry to catch a killer. . . .

In more than twenty powerful films, Abenaki filmmaker Alanis Obomsawin has waged a brilliant battle against the ignorance and stereotypes that Native Americans have long endured in cinema and television. In this book, the first devoted to any Native filmmaker, Obomsawin receives her due as the central figure in the development of indigenous media in North America. ø Incorporating history, politics, and film theory into a compelling narrative, Randolph Lewis explores the life and work of a multifaceted woman whose career was flourishing long before Native films such as Smoke Signals reached the screen. He traces Obomsawin?s path from an impoverished Abenaki reserve in the 1930s to bohemian Montreal in the 1960s, where she first found fame as a traditional storyteller and singer. Lewis follows her career as a celebrated documentary filmmaker, citing her courage in covering, at great personal risk, the 1991 Oka Crisis between Mohawk warriors and Canadian soldiers. We see how, since the late 1960s, Obomsawin has transformed documentary film, reshaping it for the first time into a crucial forum for sharing indigenous perspectives. Through a careful examination of her work, Lewis proposes a new vision for indigenous media around the globe: a ?cinema of sovereignty? based on what Obomsawin has accomplished.