“I lost my sock!” says Fox. “Have you seen it?” So begins Ox’s ridiculous attempts to help Fox find his missing sock. He presents each new option just before the page turn so the reader has a moment to decide for him or herself whether Ox has, in fact, found Fox’s sock. At its heart, I Lost My Sock! is the story of a funny misunderstanding between friends. But it’s also about pattern, color, and shape recognition; comparing and contrasting; and object identification. Mastery of these skills enriches a child’s vocabulary, prepares him to understand letters and numbers, and helps him gain a better sense of the world around him. Elio’s bold, geometric character designs further reinforce the early math concepts hinted at in this book.

Based on the real-life lost socks of author Claire Falloon and her family, We Lost a Sock tells of a family’s search through New York City to find an elusive lost sock. Is it up? Is it down? Is it on the train downtown? With the help of Ice Cube, their Pomeranian pup, and some knowledgeable NYC critters, they can find it if they try! A fun visual frolic filled with an entertaining array of New York characters, We Lost a Sock is for every mother, father, sister, brother, or baby who has ever lost a sock.

Jodie has a bad habit of always losing her socks. This doesn't bother her until she loses her sock puppet, a gift her parents got her for her fifth birthday. She unwittingly goes on a sock-finding adventure with her stuffed toy companion and it eventually leads her to a surprising discovery.

The worlds of new music and historically informed performance might seem quite distant from one another. Yet, upon closer consideration, clear points of convergence emerge. Not only do many contemporary performers move easily between these two worlds, but they often do so using a shared ethos of flexibility, improvisation, curiosity, and collaboration—collaboration with composers past and present, with other performers, and with audiences. Bringing together expert scholars and performers considering a wide range of issues and case studies, Historical Performance and New Music—the first book of its kind—addresses the synergies in aesthetics and practices in historical performance and new music. The essays treat matters including technologies and media such as laptops, printing presses, and graphic notation; new music written for period instruments from natural horns to the clavichord; personalities such as the pioneering singer Cathy Berberian; the musically “omnivorous” ensembles A Far Cry and Roomful of Teeth; and composers Luciano Berio, David Lang, Molly Herron, Caroline Shaw, and many others. Historical Performance and New Music presents pathbreaking ideas in an accessible style that speaks to performers, composers, scholars, and music lovers alike. Richly documented and diverse in its methods and subject matter, this book will open new conversations about contemporary musical life.

"By thinking harder about how it would feel to consume less, we might just make ourselves and our planet a lot better." cover.

Is there anything more mysterious—and frustrating—than the disappearance of a sock? Investigating this common phenomenon from a quasi-scientific perspective, Dr. Perditus Pedale postulates a number of explanations, with many theoretical, historical, and contemporary asides. Though written in jest, the book addresses a conundrum that genuinely puzzles many. Included are interviews with passersby, comments from other authorities, and delightful illustrations—all created by Dr. Pedale, the domestic naturalist.

Now in paperback after six hardback printings, the damn funny...wild collection of bracingly intelligent essays about topics that aren't quite as intelligent as Chuck Klosterman'(Esquire). Following the success of Fargo Rock City, Klosterman, a senior writer at Spin magazine, is back with a hilarious and savvy manifesto for a youth gone wild on pop culture and media, taking on everything from Guns'n'Roses tribute bands to Christian fundamentalism to internet porn. 'Maddeningly smart and funny' - Washington Post'