In the hysterically funny sequel to Toad Rage, Limpy is on a quest to find toad heaven. A place where cane toads won’t be blown up with bike pumps or bashed over the head with folding chairs. Limpy’s determined to find this place if it takes him the rest of his life, but his plans are waylaid when he’s kidnapped by some sinister-looking humans and tossed into a bucket. Will Limpy be able to save cane toads? Will he be able to find toad heaven? First he has to get out of the bucket. . . .

For centuries, Vietnamese have sustained the history of their nation, both actual and mythic, through their folklore. These stories, passed from generation to generation, contain not only the national saga, but also fundamental cultural values that Vietnamese hold dear. Some stories, like "A Daughter's Love," are imaginative accounts of early Vietnamese history. Others, like "The Anger of the Waters" and the title story, "Two Cakes Fit for a King," provide colorful explanations of the world and how it works. "The Story of Watermelon Island" offers readers a glimpse of the traditional agrarian values and way of life that are the foundation of Vietnamese society. Imaginative and captivating, funny and sometimes tragic, these tales have remained popular and culturally significant for Vietnamese, young and old, for hundreds of years. The intricate illustrations draw on centuries-old painting styles and on natural imagery and everyday life in Vietnam.

Before the birth of modern insecticides, farmers and gardeners used predatory and parasitic wasps and flies, insect-eating birds, lizards and toads as agents of biological control. In the late 19th century sugar cane scientists carried cane toads from Barbados to Puerto Rico, to Hawai'i and then Queensland to control pests. Toads were introduced to some 138 countries, and are now ranked among the world's most invasive species. Queensland's sugar scientists released the toad into cane fields in 1935. They were supported by cane growers, politicians, the nation's leading scientists, the premier of Queensland and the prime minister of Australia. Only a lone voice objected. In the following 70 years they spread as far as western NSW and Western Australia. This story is about good intentions, unintended consequences and of simple acts leading to catastrophic outcomes. It is about scientists so committed to solving a problem, serving their country, their leaders and the industry that employed them, that they are blinkered to adverse impacts. There are lessons to learn from the toad's tale. And as the tale shows, we still come perilously close to repeating the mistakes of the past.

"For 80 years, giant American amphibians have been spreading through tropical Australia, resulting in the death of millions of native animals. Rick Shine and his research team set out to understand that invasion and its impacts, and to develop new ways of protecting endangered wildlife from the tide of toads. In the process, Shine's work revealed that biological invasions can stimulate rapid evolutionary change, and that understanding your enemy is the essential first step in combatting its deadly effects"--Provided by publisher.

Tian, or Heaven, had multiple meanings in early China. It had been used since the Western Zhou to indicate both the sky and the highest god, and later came to be regarded as a force driving the movement of the cosmos and as a home to deities and imaginary animals. By the Han dynasty, which saw an outpouring of visual materials depicting Heaven, the concept of Heaven encompassed an immortal realm to which humans could ascend after death. Using excavated materials, Lillian Tseng shows how Han artisans transformed various notions of Heaven—as the mandate, the fantasy, and the sky—into pictorial entities. The Han Heaven was not indicated by what the artisans looked at, but rather was suggested by what they looked into. Artisans attained the visibility of Heaven by appropriating and modifying related knowledge of cosmology, mythology, astronomy. Thus the depiction of Heaven in Han China reflected an interface of image and knowledge. By examining Heaven as depicted in ritual buildings, on household utensils, and in the embellishments of funerary settings, Tseng maintains that visibility can hold up a mirror to visuality; Heaven was culturally constructed and should be culturally reconstructed.

Limpy the toad has a vision. A world where cane toads and humans play mudslides together and help each other with the shopping. But how does a young cane toad discover the ancient secret of living in peace with humans?