The artist Ed Kluz has a fascination for the sites of lost buildings. Kluz grew up in the wilds of the Yorkshire Dales, surrounded by the landscape of the past, and the sense of remoteness he felt there sparked an interest in forgotten places, such as country houses and follies. Once-celebrated houses that were abandoned to ruin, burned or deliberately destroyed have now become the haunting subject matter of his distinctive collages. Kluz is meticulous in his research. He spends hours at a site, sketching, taking photographs and generally 'getting to the heart of a place'. Then, in a process in which he likens himself to a collector of fragments or relics, he gathers all the material he can find before adding a little invention of his own to revive or reimagine the house. His highly original works are a combination of watercolor and layers of delicate painted collage elements, the tension between color and texture achieving a sense of depth and light. Kluz's lost houses conjure up the vanished buildings in all their pomp, perched on stark, treeless plains under threatening skies, as if briefly illuminated in the glare of lightening or the beam of an arc light. In his introduction to the book, the art and architectural historian Tim Knox describes Kluz's views of houses, with their concentration on the filigree architecture and silhouette of building itself, as heirs to the highly finished perspective drawings produced by professional architectural artists in the early nineteenth century, but he also draws parallels with the bold graphic tradition of Eric Ravilious and Edward Bawden. Kluz himself, too, explains that his aim is to evolve the long tradition of country-house painting - a tradition that began in Britain in the sixteenth century and continued into the 1800s, only declining with the advent of photography. Over recent decades, public interest in lost country houses has been growing; there are an increasing number of books and websites devoted to the theme. In his search for information about his often elusive subjects, Kluz has made full use of these sources, presenting in this book a wide range of materials - engravings, paintings, plans, maps, written accounts and his own preparatory sketches - before the final spread in each chapter unveils the finished collage. Ten English houses are featured in depth, among them the Tudor palace of Holdenby House in Northamptonshire, the magnificent mansion of Hamstead Marshall in Berkshire, Vanbrugh's Claremont in Surrey, and the grandiosely Gothic Fonthill Abbey in Wiltshire. Each house is introduced by the architectural historian Olivia Horsfall Turner, who details its history and fate. As Knox concludes, one yearns to have all the houses back, 'But in a sense we have, in Kluz's scenographic visions.'

Hi-Lo Chapter Books for Children. This series of short novels was designed to engage a broad spectrum of struggling readers. No longer will upper-elementary students have to read material junior to their maturity and interests. Characters are age appropriate and come from diverse cultures and backgrounds. Science fiction, sports, paranormal, realistic life, historical fiction, and fantasy are just a few of the many genres. Books are no higher than a 1.5 reading level, with illustrations on every spread that support visual literacy and draw kids into the text. No way will Tiggs and Jess be able to raise $700 for soccer camp. Time is running out. Tiggs may be replaced as keeper on her team, something she does not want to happen. At the last minute, the girls are asked to clean an old and possibly haunted house. The job will pay exactly what they need. But what they find inside may keep them trapped there ... forever.

A young boy describes how he and his parents feel when they leave their old house and move to a new house in another town.

Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.

When Theo Kendall inherits the house where his cousin was murdered he believes it will bring him closer to the truth about her death. But bleak Fenn House is lonely and uncomfortable and he struggles to understand the dangerous secrets that surround him and his family and how somehow it all connects with the death of his cousin Charmery.

When Julia and her walking house come to town, she likes everything about her new neighborhood except how quiet it is! So Julia puts a sign up: "Julia's House for Lost Creatures." Soon she's hosting goblins, mermaids, fairies, and even a dragon. Quiet isn't a problem anymore for Julia...but getting her housemates to behave themselves is! The simple, sweet text of this picture book by New York Times Best-Selling Zita the Spacegirl author/illustrator Ben Hatke is perfectly balanced by his lush, detailed, immersive watercolor illustrations.

Pixar's blockbuster UP meets Coraline in this atmospheric and emotional story.