Contains primary source material.

“This evocative portrait elevates an everyday routine to a wonder-filled walk of discovery.”— School Library Journal (starred review) Before your city goes to sleep, you might head out for a walk into the almost-night, your dog at your side. Anything can happen on such a walk. And as you go down your street and around the corner, the windows around you light up one by one until you are walking through a maze of paper lanterns, each one granting you a brief, glowing snapshot of your neighbors as families come together and folks settle in for the night. In this American Library Association Notable Children’s Book, now in paperback, Julia Denos and E. B. Goodale have created a setting that feels both specific and universal. Through lyrical text and welcoming illustrations, they convey not only the idea of home and the magic of curiosity, but also how a sense of love and belonging is something to which every child is entitled.

Picture Windows Two faces staring out of two windows in two separate houses in two separate cities separated by more than fifty years interests, fascinates, and eventually obsesses the same observer, first when he was a young boy, then when he was a recently retired man. Precipitated by the discovery of a long-buried skeleton behind a recently demolished older house, a retired man investigated these two obsessions, separated by time and place, for possible meaning.

A collection of poems illustrated with drawings and circular pictures with parts that can be moved by a ribbon to reveal a new picture.

In this amusingly written yet serious report about housing developments, author John C. Keats discusses every aspect of life in a development. His account is supported by solid facts and figures and presented in personal terms to convey an existence that combines all of the worst aspects and none of the advantages of suburban living. “If you ever wondered what goes on under those regimented roofs, this book will tell you. And if you already know, it will make you want to get up and break something. Fortunately the book also tells you how to put the pieces back together.”

In this text a mother and baby look through a window at a wilderness. With each page the boy grows and the scene changes, by the time he is 20 the view is of a city. He gets married and has a child and moves to the country, where father and child look through the window at the wilderness outside.

From the Renaissance idea of the painting as an open window to the nested windows and multiple images on today's cinema, television, and computer screens: a cultural history of the metaphoric, literal, and virtual window. As we spend more and more of our time staring at the screens of movies, televisions, computers, and handheld devices—"windows" full of moving images, texts, and icons—how the world is framed has become as important as what is in the frame. In The Virtual Window, Anne Friedberg examines the window as metaphor, as architectural component, and as an opening to the dematerialized reality we see on the screen. In De pictura (1435), Leon Battista Alberti famously instructed painters to consider the frame of the painting as an open window. Taking Alberti's metaphor as her starting point, Friedberg tracks shifts in the perspectival paradigm as she gives us histories of the architectural window, developments in glass and transparency, and the emerging apparatuses of photography, cinema, television, and digital imaging. Single-point perspective—Alberti's metaphorical window—has long been challenged by modern painting, modern architecture, and moving-image technologies. And yet, notes Friedberg, for most of the twentieth century the dominant form of the moving image was a single image in a single frame. The fractured modernism exemplified by cubist painting, for example, remained largely confined to experimental, avant-garde work. On the computer screen, however, where multiple 'windows' coexist and overlap, perspective may have met its end. In this wide-ranging book, Friedberg considers such topics as the framed view of the camera obscura, Le Corbusier's mandates for the architectural window, Eisenstein's opinions on the shape of the movie screen, and the multiple images and nested windows commonly displayed on screens today. The Virtual Window proposes a new logic of visuality, framed and virtual: an architecture not only of space but of time.