A doll, Edith, and her friend, Little Bear, persuade Mr. Bear not to move from the New York City by cleaning the littered streets of their own neighborhood.

Mr. Bear thinks that he needs to take Edith ("The Lonely Doll") and Little Bear away from their beloved New York City to escape the dirty air and streets. But Edith and Little Bear don't want to move to the country, so they take up the cause of cleaning up the city. They carry signs protesting the city's dirty condition as they march in front of City Hall. Later, they find themselves on the evening television news, much to the shagrin of Mr. Bear. But even with their publicity, the protest does not seem to draw the attention of the city's Mayor. So Edith and Little Bear write a letter and send it directly to the Mayor. And the Mayor sends a letter back, urging Edith and Little Bear to do a little bit every day to clean up the city themselves, and to keep watch for any polluters. Edith and Little Bear follow the Mayor's advice, and they begin to clean up their neighborhood themselves. They even report a nearby building's very dirty plume of smoke rising from a chimney. Mr. Bear, seeing how much Edith and Little Bear care for their home and their streets, happily decides they can remain in their home in the city.

When Mr. Bear decides to move them out of the dirty city, Edith and Little Bear try to clean up the town so they can stay.

Toys--those celebrated childhood cohorts and lead actors in children's imaginative play--have a fantastic history of heroism in fiction. From teddy bears that guard sleeping babies to plastic soldiers and cowboys who lay siege to wooden block castles, toys are often the heroes of the stories children inspire authors to tell. In this collection of new essays, scholars from a great range of disciplines examine fictional toys as protectors of the children they love, as heroes of their own stories, and as champions for the greater good in the writings of A.A. Milne, Hans Christian Andersen, William Joyce, John Lasseter and many others.

A glamorous, haunted life unfolds in the mesmerizing biography of the woman behind a classic children's book In 1957, a children's book called The Lonely Doll was published. With its pink-and-white-checked cover and photographs featuring a wide-eyed doll, it captured the imaginations of young girls and made the author, Dare Wright, a household name. Close to forty years after its publication, the book was out of print but not forgotten. When the cover image inexplicably came to journalist Jean Nathan one afternoon, she went in search of the book-and ultimately its author. Nathan found Dare Wright living out her last days in a decrepit public hospital in Queens, New York. Over the next five years, Nathan pieced together a glamorous life. Blond, beautiful Wright had begun her career as an actress and model and then turned to fashion photography before stumbling upon her role as bestselling author. But there was a dark side to the story: a brother lost in childhood, ill-fated marriage plans, a complicated, controlling mother. Edith Stevenson Wright, herself a successful portrait painter, played such a dominant role in her daughter's life that Dare was never able to find her way into the adult world. Only through her work could she speak for herself: in her books she created the happy family she'd always yearned for, while her self-portraits betrayed an unresolved tension between sexuality and innocence, a desire to belong and painful isolation. Illustrated with stunning photographs, The Secret Life of the Lonely Doll tells the unforgettable story of a woman who, imprisoned by her childhood, sought to set herself free through art.

From James Agee to W. G. Sebald, there has been an explosion of modern documentary narratives and fiction combining text and photography in complex and fascinating ways. However, these contemporary experiments are part of a tradition that stretches back to the early years of photography. Writers have been integrating photographs into their work for as long as photographs have existed, producing rich, multilayered creations; and photographers have always made images that incorporate, respond to, or function as writing. On Writing with Photography explores what happens to texts—and images—when they are brought together. From the mid-nineteenth century to the present, this collection addresses a wide range of genres and media, including graphic novels, children’s books, photo-essays, films, diaries, newspapers, and art installations. Examining the works of Herman Melville, Don DeLillo, Claude McKay, Man Ray, Dare Wright, Guy Debord, Zhang Ailing, and Roland Barthes, among others, the essays trace the relationship between photographs and “reality” and describe the imaginary worlds constructed by both, discussing how this production can turn into testimony of personal and collective history, memory and trauma, gender and sexuality, and ethnicity. Together, these essays help explain how writers and photographers—past and present—have served as powerful creative resources for each other. Contributors: Stuart Burrows, Brown U; Roderick Coover, Temple U; Adrian Daub, Stanford U; Marcy J. Dinius, DePaul U; Marianne Hirsch, Columbia U; Daniel H. Magilow, U of Tennessee, Knoxville; Janine Mileaf; Tyrus Miller, U of California, Santa Cruz; Leah Rosenberg, U of Florida; Xiaojue Wang, U of Pennsylvania.

A comprehensive guide to more than 4400 picture books for preschool through second grade children, classified under 543 subjects and indexed by author, title, and illustrator.