Robert's allergy to roses causes him to lose many jobs until one day a giant sneeze brings him good fortune.

In the late 1950s, Ted Geisel took on the challenge of creating a book using only 250 unique first-grade words, something that aspiring readers would have both the ability and the desire to read. The result was an unlikely children’s classic, The Cat in the Hat. But Geisel didn’t stop there. Using The Cat in the Hat as a template, he teamed with Helen Geisel and Phyllis Cerf to create Beginner Books, a whole new category of readers that combined research-based literacy practices with the logical insanity of Dr. Seuss. The books were an enormous success, giving the world such authors and illustrators as P. D. Eastman, Roy McKie, and Stan and Jan Berenstain, and beloved bestsellers such as Are You My Mother?; Go, Dog. Go!; Put Me in the Zoo; and Green Eggs and Ham. The story of Beginner Books—and Ted Geisel’s role as “president, policymaker, and editor” of the line for thirty years—has been told briefly in various biographies of Dr. Seuss, but I Can Read It All by Myself: The Beginner Books Story presents it in full detail for the first time. Drawn from archival research and dozens of brand-new interviews, I Can Read It All by Myself explores the origins, philosophies, and operations of Beginner Books from The Cat in the Hat in 1957 to 2019’s A Skunk in My Bunk, and reveals the often-fascinating lives of the writers and illustrators who created them.

A Lambda Literary Award Finalist from the author of Don’t Let Me Go. “[A] gripping tale of love, hate of differences and owning up to who you are.”—VOYA Robert Westfall’s life is falling apart—everywhere but in math class. That’s the one place where problems always have a solution. But in the world beyond high school, his father is terminally ill, his mother is squabbling with his interfering aunts, his boyfriend is unsupportive, and the career path that’s been planned for him feels less appealing by the day. Robert’s math teacher, Andrew McNelin, watches his best student floundering, concerned but wary of crossing the line between professional and personal. Gradually, Andrew becomes Robert’s friend, then his confidante. As the year progresses, their relationship—in school and out of it—deepens and changes. And as hard as he tries to resist, Andrew knows that he and Robert are edging into territory that holds incalculable risks for both of them. J.H. Trumble, author of the acclaimed Don’t Let Me Go, explores a controversial subject with extraordinary sensitivity and grace, creating a deeply human and honest story of love, longing, and unexpected connection. “The heart of the novel lies in the complicated, nuanced love between student and teacher. Andrew and Robert find solace in each other, daring to risk the consequences of their relationship being discovered.”—Publishers Weekly “Moving . . . poignant . . . characters you can’t help but root for.”—RT Book Reviews (4½ stars) “A page-turner.”—Instinct Magazine “The story of Andrew and Robert is one not to be forgotten.”—Chris Verleger, contributor, EDGE on th

What’s a better present than a classic Beginner Book? Six of them—for less than the price of two! Following on the success of The Big Blue Book of Beginner Books and The Big Green Book of Beginner Books, we’ve taken the complete text and art of P. D. Eastman’s Sam and the Firefly, Robert Lopshire’s I Want to Be Somebody New!, Marilyn Sadler’s The Very Bad Bunny, Mike McClintock’s Stop That Ball!, Al Perkins’s The Digging-est Dog, and Joan Heilbroner’s Robert the Rose Horse and bound them together in one sturdy hardcover omnibus. This is a perfect introduction to reading that will whet young readers’ appetites for additional books in the Beginner Book series.

Includes Part 1, Number 1: Books and Pamphlets, Including Serials and Contributions to Periodicals (January - June)

The Mythology of the Animal Farm in Children’s Literature: Over the Fence analyzes the ways in which myths about farmed animals’ lives are perpetuated in children’s materials. Specifically, this book investigates the use of five recurring thematic devices in about eighty books for young children published during the past five decades. The close readings of texts and images draw on a wide range of fields, including animal theory, psychoanalytic and Marxian literary criticism, child development theory, histories of farming and domestication, and postcolonial theory. In spite of the underlying seriousness of the project, the material lends itself to humorous and not overly heavy-handed explications that provide insight into the complex workings of a literary genre based on the covering up of real animal lives.