In this hilarious children’s book, a cat who refuses to take a bath learns important lessons about personal responsibility. Pippin the cat won’t take a bath. And since he refuses to wash himself, all kinds of funny (and stinky!) things start happening to him. In fun and lighthearted situations, Pippin learns that his actions not only affect himself, but others, too. Will his parents and classmates get him to change his mind? Pippin No Lickin’ teaches children lessons about personal responsibility and the importance of listening to parents for their own health and safety. Pippin’s adventures even teach colors to very young readers along the way! Parents and children alike will enjoy this tale featuring the charming and memorable cat, Pippin.

The John F. Kennedy Center for the Performing Arts presents the Stuart Ostrow production of "Pippin," a musical comedy by Roger O. Hirson, music & lyrics by Stephen Schwartz, starring Eric Berry, Jill Clayburgh, Leland Palmer, Irene Ryan, Ben Vereen, and John Rubinstein, with Patrick Hines, Shane Nickerson, scenery designed by Tony Walton, costumes by Patricia Zipprodt, lighting designed by Jules Fisher, musical direction by Stanley Lebowsky, orchestrations by Ralph Burns, dance arrangements by John Berkman, sound designed by Abe Jacob, hair styles by Ernest Adler, directed and choreographed by Bob Fosse.

When Pippin, a fawn abandoned by her mother, cries out for help, she is found by author Isobel Springett. After carrying the tiny fawn back to her home, Isobel places Pippin next to Kate, a Great Dane who has never had puppies of her own. What follows is a remarkable and unlikely friendship. Kate successfully raises Pippin to be an independent deer, and Pippin always returns from the forest to visit her best friend. With simple text and stunning photographs, Kate and Pippin, and their one-of-a-kind friendship, come to life in an irresistible way!

This nuanced reassessment transforms our understanding of Horace Pippin, casting the artist and his celebrated paintings as more complex than has previously been recognized

A Robert F. Sibert Honor Book Winner of the Schneider Family Book Award An ALA-ALSC Notable Children's Book Winner of the NCTE Orbis Pictus Award for Outstanding Nonfiction for Children As a child in the late 1800s, Horace Pippin loved to draw: He loved the feel of the charcoal as it slid across the floor. He loved looking at something in the room and making it come alive again in front of him. He drew pictures for his sisters, his classmates, his co-workers. Even during W.W.I, Horace filled his notebooks with drawings from the trenches . . . until he was shot. Upon his return home, Horace couldn't lift his right arm, and couldn't make any art. Slowly, with lots of practice, he regained use of his arm, until once again, he was able to paint--and paint, and paint! Soon, people—including the famous painter N. C. Wyeth—started noticing Horace's art, and before long, his paintings were displayed in galleries and museums across the country. Jen Bryant and Melissa Sweet team up once again to share this inspiring story of a self-taught painter from humble beginnings who despite many obstacles, was ultimately able to do what he loved, and be recognized for who he was: an artist.

In this pathbreaking book one of America’s most distinguished philosophers brilliantly explores the status and authority of law and the nature of political allegiance through close readings of three classic Hollywood Westerns: Howard Hawks’ Red River and John Ford’s The Man Who Shot Liberty Valance and The Searchers.Robert Pippin treats these films as sophisticated mythic accounts of a key moment in American history: its “second founding,” or the western expansion. His central question concerns how these films explore classical problems in political psychology, especially how the virtues of a commercial republic gained some hold on individuals at a time when the heroic and martial virtues were so important. Westerns, Pippin shows, raise central questions about the difference between private violence and revenge and the state’s claim to a legitimate monopoly on violence, and they show how these claims come to be experienced and accepted or rejected.Pippin’s account of the best Hollywood Westerns brings this genre into the center of the tradition of political thought, and his readings raise questions about political psychology and the political passions that have been neglected in contemporary political thought in favor of a limited concern with the question of legitimacy.

After finding a harmonica in the street, a young pig becomes an accomplished musician, but when his loving family falls asleep every time he plays, he runs away in search of a more appreciative audience.