William the Wild is a little boy with a huge imagination. Wherever he goes, whatever he does becomes an adventure with Australian wildlife. Look for all the Australian creatures in this beautifully illustrated picture book.

The Wild Boys is a futuristic tale of global warfare in which a guerrilla gang of boys dedicated to freedom battles the organized armies of repressive police states. Making full use of his inimitable humor, wild imagination, and style, Burroughs creates a world that is as terrifying as it is fascinating.

William Sheepspeare’s plays were shear genius! Meet one of history’s greatest figures in this adorable board book with an animal twist! Dive into the life of the eloquent Baa-rd of Avon and the plays that shaped our language today. William Sheepspeare’s human themes have resonated with every generation. With hilarious puns and colorful illustrations, this book brings his legacy to life for babies and parents alike! 2019 National Parenting Product Award Winner

2018 Foreword INDIES Book of the Year Awards Finalist in Nature The 2.1 million acres (equivalent to Yellowstone National Park) of the wilderness study area are coming under increasing threat by resource development Essays of personal explorations of the region by an award-winning writer are accompanied by dramatic images from an award-winning photographer The wilderness study area is home to the largest concentration of tidewater glaciers in America and hosts a vast diversity of terrestrial and aquatic mammals, birds, and fish It's been said that "a picture is worth a thousand words," and nowhere is that more true than on the pages ofA Wild Promise: Prince William Sound. The images of photographer Hugh Rose show you what this region holds--and what will be lost without protection from future resource development. Alongside Hugh's images are eloquent essays covering the natural and cultural history, people, and fragility of this region by noted Alaskan writer Debbie Miller. Alaska's famed Prince William Sound includes more than 3,000 shore land miles of bays, coves, and deep fjords topped by the ice-capped peaks of the Chugach Mountains. More than 1 million tourists visit the region annually, and small family-owned fishing boats, ecotourism, oyster farms, and guide services provide sustainable livelihoods for year-round Alaskan residents. Many Americans first came to know of Prince William Sound through the Exxon Valdez oil spill of 1989--a catastrophe with lingering long-term effects, such the collapse of the once abundant herring population, a critical fish in the marine food chain. InA Wild Promise, readers travel alongside Hugh and Debbie as they hike and kayak from Columbia Glacier to College Fiord, exploring the Nellie Juan-College Fjord Wilderness Study Area, a region set aside for study in 1980, to be followed--it was hoped--by permanent protection from Congress. After almost four decades of being in limbo as a designated wilderness study area, the fate of this spectacular, wild place is now in our hands. Its protection is a gift we can offer generations to come--a promiseof wilderness, beauty, and natural diversity that we can, indeed, keep.

The extraordinary life—the first—of the legendary, undercelebrated Hollywood director known in his day as “Wild Bill” (and he was!) Wellman, whose eighty-two movies (six of them uncredited), many of them iconic; many of them sharp, cold, brutal; others poetic, moving; all of them a lesson in close-up art, ranged from adventure and gangster pictures to comedies, aviation, romances, westerns, and searing social dramas. Among his iconic pictures: the pioneering World War I epic Wings (winner of the first Academy Award for best picture), Public Enemy (the toughest gangster picture of them all), Nothing Sacred, the original A Star Is Born, Beggars of Life, The Call of the Wild, The Ox-Bow Incident, Battleground, The High and the Mighty... David O. Selznick called him “one of the motion pictures’ greatest craftsmen.” Robert Redford described him as “feisty, independent, self-taught, and self-made. He stood his ground and fought his battles for artistic integrity, never wavering, always clear in his film sense.” Wellman directed Hollywood’s biggest stars for three decades, including Clark Gable, Gary Cooper, Barbara Stanwyck, John Wayne, Lauren Bacall, and Clint Eastwood. It was said he directed “like a general trying to break out of a beachhead.” He made pictures with such noted producers as Darryl F. Zanuck, Nunnally Johnson, Jesse Lasky, and David O. Selznick. Here is a revealing, boisterous portrait of the handsome, tough-talking, hard-drinking, uncompromising maverick (he called himself a “crazy bastard”)—juvenile delinquent; professional ice-hockey player as a kid; World War I flying ace at twenty-one in the Lafayette Flying Corps (the Lafayette Escadrille), crashing more than six planes (“We only had four instruments, none of which worked. And no parachutes . . . Greatest goddamn acrobatics you ever saw in your life”)—whose own life story was more adventurous and more unpredictable than anything in the movies. Wellman was a wing-walking stunt pilot in barnstorming air shows, recipient of the Croix de Guerre with two Gold Palm Leaves and five United States citations; a bad actor but good studio messenger at Goldwyn Pictures who worked his way up from assistant cutter; married to five women, among them Marjorie Crawford, aviatrix and polo player; silent picture star Helene Chadwick; and Dorothy Coonan, Busby Berkeley dancer, actress, and mother of his seven children. Irene Mayer Selznick, daughter of Louis B. Mayer, called Wellman “a terror, a shoot-up-the-town fellow, trying to be a great big masculine I-don’t-know-what. David had a real weakness for him. I didn’t share it.” Yet she believed enough in Wellman’s vision and cowritten script about Hollywood to persuade her husband to produce A Star Is Born, which Wellman directed. After he took over directing Tarzan Escapes at MGM, Wellman went to Louis B. Mayer and asked to make another Tarzan picture on his own. “What are you talking about? It’s beneath your dignity,” said Mayer. “To hell with that,” said Wellman, “I haven’t got any dignity.” Now William Wellman, Jr., drawing on his father’s unpublished letters, diaries, and unfinished memoir, gives us the first full portrait of the man—boy, flyer, husband, father, director, artist. Here is a portrait of a profoundly American spirit and visionary, a man’s man who was able to put into cinematic storytelling the most subtle and fulsome of feeling, a man feared, respected, and loved.

William Orville Douglas was both the most accomplished and the most controversial justice ever to serve on the United States Supreme Court. He emerged from isolated Yakima, Washington, to be dubbed, by the age of thirty, “the most outstanding law professor in the nation”; at age thirty-eight, he was the chairman of the Securities and Exchange Commission, cleaning up a corrupt Wall Street during the Great Depression; by the age of forty, he was the second youngest Supreme Court justice in American history, going on to serve longer—and to write more opinions and dissents—than any other justice. In evolving from a pro-government advocate in the 1940s to an icon of liberalism in the 1960s, Douglas became a champion for the rights of privacy, free speech, and the environment. While doing so, “Wild Bill” lived up to his nickname by racking up more marriages, more divorces, and more impeachment attempts aimed against him than any other member of the Court. But it was what Douglas did not accomplish that haunted him: He never fulfilled his mother’s ambition for him to become president of the United States. Douglas’s life was the stuff of novels, but with his eye on his public image and his potential electability to the White House, the truth was not good enough for him. Using what he called “literary license,” he wrote three memoirs in which the American public was led to believe that he had suffered from polio as an infant and was raised by an impoverished, widowed mother whose life savings were stolen by the family attorney. He further chronicled his time as a poverty-stricken student sleeping in a tent while attending Whitman College, serving as a private in the army during World War I, and “riding the rods” like a hobo to attend Columbia Law School. Relying on fifteen years of exhaustive research in eighty-six manuscript collections, revealing long-hidden documents, and interviews conducted with more than one hundred people, many sharing their recollections for the first time, Bruce Allen Murphy reveals the truth behind Douglas’s carefully constructed image. While William O. Douglas wrote fiction in the form of memoir, Murphy presents the truth with a narrative flair that reads like a novel.