Ichabod Crane is an eccentric investigator sent to Sleepy Hollow to probe a series of murders allegedly committed by a legendary Headless Horseman.

Ghosts and goblins abound in Sleepy Hollow. The haunting tales of the Headless Horseman entranced Ichabod Crane. During the day, he found the stories exciting. But at night he was afraid. His fear reached new heights the night he was chased by the mysterious ghost! Aligned to Common Core standards and correlated to state standards. Graphic Planet is an imprint of Magic Wagon, a division of ABDO.

A collection of timeless short stories by Washington Irving, this edition includes his two best-known classics, "The Legend of Sleepy Hollow" and "Rip Van Winkle."

In this graphic retelling, the new schoolmaster of Tarrytown, Ichabod Crane, chooses to ignore the stories of a headless ghost, and cross Sleepy Hollow to visit the beautiful Katrina.

A storyteller examines Irving’s “The Legend of Sleepy Hollow” and the lore that inspired it, as well as other local legends of the Hudson Valley. The story of Ichabod Crane and the Headless Horseman is one of America's best-known fables, but what other stories does the Hudson Valley hold? Imps cause mischief on the Hudson River, a white lady haunts Raven Rock, Major Andre’s ghost seeks redemption and real headless Hessians search for their severed skulls. These mysterious and spooky tales from the region’s past inspired Irving and continue to captivate the imagination to this day. “Kruk has been enchanting audiences with his dramatic, enticing storytelling ability for 20 years.” —Suzanne Rothberg, Tarrytown-Sleepy Hollow Patch

Hollywood Online provides a historical account of motion picture websites from 1993 to 2008 and their marketing function as industrial advertisements for video and other media in the digital age. The Blair Witch Project is the most important example of online film promotion in cinema history. Over the last thirty years only a small number of major and independent distributors have converted internet-created buzz into box-office revenues with similar levels of success. Yet readings of how the film's internet campaign broke new ground in the summer of 1999 tend to minimize, overlook or ignore the significance of other online film promotions. Similarly, claims that Blair initiated a cycle of imitators have been repeated in film publications and academic studies for more than two decades. This book challenges three major narratives in studies about online film marketing: Hollywood's major studios and independents had no significant relationship to the internet in the 1990s; online film promotions only took off after 1999 because of Blair; and Hollywood cashed-in by initiating a cycle of imitators and scaling up corporate activities online. Hollywood Online tests these assumptions by exploring internet marketing up to and including the film's success online (Pre-Blair, 1993-9), then by examining the period immediately after Blair (Post-Blair, 2000-8) which broadly coincides with the rise and decline of DVD, as well as the emergence of the social media sites MySpace, Facebook and Twitter.