It's never dull in the library! Silly stories and lively characters teach book basics, from how a book is made to understanding the Dewey Decimal System.

This book is full of wonderful WORDS and beautiful PICTURES! And it's EXCITING! And it's FUNNY! It might be the BEST BOOK EVER—if we could decide whose book it is. Redd and Bloo explore the way a book is made and accidentally build a friendship, too, in this tale told only in dialogue. Travis Foster and Ethan Long offer a hilarious story about the joy of reading, which brings people together in unexpected ways, proving that each book truly belongs to . . . the people who love it. Plus, this is the fixed format version, which looks almost identical to the print edition.

What would an anatomy of the book look like? There is the main text, of course, the file that the author proudly submits to their publisher. But around this, hemming it in on the page or enclosing it at the front and back of the book, there are dozens of other texts — page numbers and running heads, copyright statements and errata lists — each possessed of particular conventions, each with their own lively histories. To consider these paratexts — recalling them from the margins, letting them take centre stage — is to be reminded that no book is the sole work of the author whose name appears on the cover; rather, every book is the sum of a series of collaborations. It is to be reminded, also, that not everything is intended for us, the readers. There are sections that are solely directed at others — binders, librarians, lawyers — parts of the book that, if they are working well, are working discreetly, like a theatrical prompt, whispering out of the audience's ear-shot Book Parts is a bold and imaginative intervention in the fast growing field of book history: it pulls the book apart. Over twenty-two chapters, Book Parts tells the story of the components of the book: from title pages to endleaves; from dust jackets to indexes — and just about everything in between. Book Parts covers a broad historical range that runs from the pre-print era to the digital, bringing together the expertise of some of the most exciting scholars working on book history today in order to shine a new light on these elements hiding in plain sight in the books we all read.

The author teaches readers about a book and its parts by relating them to a life of a child.

I just don't know what's going onOr why it has to beBut every day it's something worseWhat's happening to me?So begins this uproarious new story from the best-selling creator of No Jumping on the Bed!,Green Wilma, and other popular books. The young narrator has discovered a disturbing trend: There's fuzz in his belly button his toes are peeling and something just fell out of his nose. The last straw is a loose tooth, which convinces him of the awful truth his parts are coming unglued!Parts deals with a subject of deepest interest to every young child: the stuff our bodies shed. Parents will appreciate the reassuring message that it's all quite normal, while Tedd Arnold's comical illustrations and rhyming text are guaranteed to make young readers laugh their heads off.

This book uses mathematical models of language to explain why there are certain gaps in language: things that we might expect to be able to say but can't. For instance, why can we say I ran for five minutes but not *I ran all the way to the store for five minutes? Why is five pounds of books acceptable, but *five pounds of book not acceptable? What prevents us from saying *sixty degrees of water to express the temperature of the water in a swimming pool when sixty inches of water can express its depth? And why can we not say *all the ants in my kitchen are numerous? The constraints on these constructions involve concepts that are generally studied separately: aspect, plural and mass reference, measurement, and distributivity. In this book, Lucas Champollion provides a unified perspective on these domains, connects them formally within the framework of algebraic semantics and mereology, and uses this connection to transfer insights across unrelated bodies of literature and formulate a single constraint that explains each of the judgments above.

A memoir-driven realistic graphic novel about Tyler, a child who is diagnosed with ADHD and has to discover for himself how to best manage it. Tyler’s brain is different. Unlike his friends, he has a hard time paying attention in class. He acts out in goofy, over-the-top ways. Sometimes, he even does dangerous things—like cut up a bus seat with a pocketknife or hang out of an attic window. To the adults in his life, Tyler seems like a troublemaker. But he knows that he’s not. Tyler is curious and creative. He’s the best artist in his grade, and when he can focus, he gets great grades. He doesn’t want to cause trouble, but sometimes he just feels like he can’t control himself. In Button Pusher, cartoonist Tyler Page uses his own childhood experiences to explore what it means to grow up with ADHD. From diagnosis to treatment and beyond, Tyler’s story is raw and enlightening, inviting you to see the world from a new perspective.