This book considers how a combination of place-based writing and location responsive technologies produce new kinds of literary experiences. Building on the work done in the Ambient Literature Project (2016–2018), this books argues that these encounters constitute new literary forms, in which the authored text lies at the heart of an embodied and mediated experience. The visual, sonic, social and historic resources of place become the elements of a live and emergent mise-en-scène. Specific techniques of narration, including hallucination, memory, history, place based writing, and drama, as well as reworking of traditional storytelling forms combine with the work of app and user experience design, interaction, software authoring, and GIS (geographical information systems) to produce ambient experiences where the user reads a textual and sonic literary space. These experiences are temporary, ambiguous, and unpredictable in their meaning but unlike the theatre, the gallery, or the cinema they take place in the everyday shared world. The book explores the potentiality of a new literary form produced by the exchange between location-aware cultural objects, writers and readers. This book, and the work it explores, lays the ground for a new poetics of situated writing and reading practices.

The enigmatic origins of the stranger that Farmer Bailey hits with his truck and brings home to recuperate seem to have a mysterious relation to the weather. Could he be Jack Frost? "The author-illustrator has woven a thread of fantasy in and around his realistic illustrations to give the reader, once again, a story that stays in the imagination." -- Horn Book

This thematically arranged anthology incorporates poetry, drama, fiction, and the essay. Four introductory chapters illustrate ways of responding to and writing about literature, with numerous examples of student writing. Eight thematic chapters follow, with a balance of new and traditional voices, including less frequently anthologized selections from canonical writers as well as many works by women, minorities, and writers from other countries. A final chapter presents three poets for in-depth study: Elizabeth Bishop, Robert Frost, and Gwendolyn Brooks.

The magic and wonder of winter’s first snowfall is perfectly captured in Ezra Jack Keat’s Caldecott Medal-winning picture book. Young readers can enjoy this celebrated classic as a full-sized board book, perfect for read-alouds of all kinds and a great gift for the holiday season. In 1962, a little boy named Peter put on his snowsuit and stepped out of his house and into the hearts of millions of readers. Universal in its appeal, this story beautifully depicts a child's wonder at a new world, and the hope of capturing and keeping that wonder forever. This big, sturdy edition will bring even more young readers to the story of Peter and his adventures in the snow. Ezra Jack Keats was also the creator of such classics as Goggles, A Letter to Amy, Pet Show!, Peter’s Chair, and A Whistle for Willie. (This book is also available in Spanish, as Un dia de nieve.) Praise for The Snowy Day: “Keats made Peter’s world so inviting that it beckons us. Perhaps the busyness of daily life in the 21st century makes us appreciate Peter even more—a kid who has the luxury of a whole day to just be outside, surrounded by snow that’s begging to be enjoyed.” —The Atlantic "Ezra Jack Keats's classic The Snowy Day, winner of the 1963 Caldecott Medal, pays homage to the wonder and pure pleasure a child experiences when the world is blanketed in snow."—Publisher's Weekly

Style and Reader Response: Minds, media, methods profiles the diversity of theoretical and methodological approaches in reception-oriented research in stylistics. Collectively, the chapters investigate how real readers, players, audiences, and viewers respond to, experience, and interpret texts. Contributions to the book investigate discourse types such as contemporary literature, poetry, political speeches, digital fiction, art exhibitions, and online news discourse. The volume also exemplifies the variety of empirical approaches in reception research, with contributors drawing on a range of methods including discussion groups, interviews, questionnaires, and think-aloud protocols with data analysed from both online and offline sources. Style and Reader Response makes an important contribution to an emerging paradigm within stylistics in which verifiable insights from readers are used to generate new models and new understandings of texts across media, with each essay demonstrating the centrality of empirical research for theoretical, methodological, and/or analytical advancements within and beyond stylistics.

Jan Brett's bestselling snowy "Goldilocks" retelling is now available in this popular large, durable format. Painted in her signature style, the familiar story and depiction of playful Arctic animals and birds dressed in colorful Inuit costumes make this classic tale a perfect choice for Jan’s youngest fans.

Based on the idea that conversational interaction between students and teachers in the classroom is the best way to learn, this book focuses on classroom talk about book-related topics. The teachers represented in the book initiate literature discussion groups, book clubs, and literature circles, and students share the thoughts and feelings that reading a book stimulates, and discover literature's potential to illuminate life. Chapters in the book and their authors are: (1) "Not by Chance: Creating Classrooms That Invite Responses to Literature" (Janet Hickman); (2) "What Teachers Need to Know about the Literary Craft" (Maryann Eeds and Ralph L. Peterson); (3) "'What Did Leo Feed the Turtle?' and Other Nonliterary Questions" (E. Wendy Saul); (4) "The Books Make a Difference in Story Talk" (Miriam G. Martinez and Nancy L. Roser); (5) "Teacher Book Clubs: Making Multicultural Connections" (Diane Lapp and others); (6) "Preparing Focus Units with Literature: Crafty Foxes and Authors' Craft" (Joy F. Moss); (7) "Promoting Meaningful Conversations in Student Book Clubs" (Taffy E. Raphael and others); (8) "Language Charts: A Record of Story Time Talk" (Nancy L. Roser and others); (9) "Enriching Response to Literature with Webbing" (Karen Bromley); (10) "Talking about Books with Young Children" (Lea M. McGee); (11) "Fostering Talk about Poetry" (Amy A. McClure); (12) "Leading Grand Conversations" (Deborah Wells); (13) "'So What Do I Do?': The Role of the Teacher in Literature Circles" (Kathy G. Short and Gloria Kauffman); (14) "Following Children's Leads through Talk Story: Teachers and Children Work to Construct Themes" (Kathryn H. Au); (15) "Collaborative Story Talk in a Bilingual Kindergarten" (Jennifer Battle); (16) "Our Journey toward Better Conversations about Books" (Veronica Gonzalez and others); (17) "Exploring Literature through Drama" (Lee Galda and Jane West); (18) "Responding to Literature as Art in Picture Books" (Barbara Z. Kiefer); (19) "Writing as a Way of.