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All of the animals are afraid of the Selfish Crocodile - he never let's them into his river, and he's always so snappy! And so when the Selfish Crocodile finds himself in terrible pain, no-one wants to help him - after all, what if he gobbles them up? But, to everyone's surprise, there is one animal in the forest who is willing to help . . . A brilliant tale of friendship, The Selfish Crocodile has become a picture book classic.
A moving lyric meditation on the Congo River that explores the identity, chaos, and wonder of the Democratic Republic of Congo as well as race and the detritus of colonialism. With The River in the Belly, award-winning Congolese author Fiston Mwanza Mujila seeks no less than to reinitiate the Congo River in the imaginary of European languages. Through his invention of the “solitude”—a short poetic form lending itself to searing observation and troubled humor, prone to unexpected tonal shifts and lyrical u-turns—the collection celebrates, caresses, and chastises Central Africa’s great river, the world’s second largest by discharge volume. Drawing inspiration from sources as diverse as Soviet history, Congolese popular music, international jazz, and everyday life in European exile, Mwanza Mujila has fashioned a work that can speak to the extraordinary hopes and tragedies of post-independence Democratic Republic of the Congo while also mining the generative yet embattled subject position of the African diasporic writer in Europe longing for home. Fans of Tram 83 will discover in River the same incandescent, improvisatory verbal energy that so dazzled them in Mwanza Mujila’s English-language debut.
(Interior pages with greyscale images) Back from the Crocodile's Belly is a celebration of the beauty, richness, and diversity of indigenous ways of being as revealed in the critical studies and creative performances of living native traditions in the Philippines and in the United States diaspora. Through the use of primary and secondary research, the re-reading of historical and cultural archives, and the articulation of silenced stories, the book seeks to open up space for an alternative discourse on indigenous knowledge that does not merely reproduce progressivist and social evolutionary paradigms that invariably position the Indigenous Subject as "primitive," "barbaric," and nothing more than a "quaint relic of the past." In revealing the beauty and vibrancy of native Filipino cultures, the book lays claim to the relevance and power of indigenous epistemologies in healing colonial and civilizational trauma brought on by the violent conscription of native peoples into the project of Modernity. In the face of growing economic, spiritual, and ecological crises portending global collapse, the book affirms that the abjected "Primitive," who now stands as Modernity's only remaining Other, has much to teach us not only about survival but about living generously and fiercely "with all our relations."
Writer Jim Arnosky describes his trip into the Florida Everglades in search of the elusive American crocodile, an animal which has inhabited the earth since the days of the dinosaurs.
On die-cut pages to accommodate the attached hand puppet.
Bound together in mystical crocodile skin, two unforgettably singular novellas
Ivan Matveich was thinking it was a bad idea to see a live crocodile on the street as it swallowed him whole! Why couldn't it have eaten his wife Elena instead? What follows is an immensely humorous and satirical account of Ivan's new life from inside the crocodile, unable to get out because the owner refuses to kill the beast. A precursor to Kafka’s 'Metamorphosis', Dostoevsky’s short story is a farcical depiction and social criticism of Russian society at the time. The situation becomes a scene from the theatre of the absurd, making the tale a poignant finger wagging at the problems of humanity. Fyodor Dostoevsky (1821-1881) was a famous Russian writer of novels, short stories, and essays. A connoisseur of the troubled human psyche and the relationships between the individuals, Dostoevsky’s oeuvre covers a large area of subjects: politics, religion, social issues, philosophy, and the uncharted realms of the psychological. There have been at least 30 film and TV adaptations of Fyodor Dostoyevsky’s 1866 novel 'Crime and Punishment' with probably the most popular being the British BBC TV series starring John Simm as Raskolnikov and Ian McDiarmid as Porfiry Petrovich. 'The Idiot' has also been adapted for films and TV, as has 'Demons' and 'The Brothers Karamazov'.
Literary Nonfiction. California Interest. Asian & Asian American Studies. Women's Studies. "Every word of WE ARE NO LONGER BABAYLAN brilliantly hooks with and hinges on magic, and the magic of possibility. Valmidiano frames the ancient, persistent pain that hammers and chisels Filipina American knowledge with ritual and unrest. She articulates screams and silences, exalting that in order to engage with the Filipina, female, and storied being is to see her in all of her palimpsests. Her prose about the mysteries of waiting, family in manifold forms, and Pinay friendship, features a heartfelt, phenomenal voice declaring, time and time again, women's bodies--of writing, of work, of ceremony--theirs to narrate and protect."--Janice Lobo Sapigao "When a powerful witch promises revenge before being fed to crocodiles and then, hundreds of years into the future, over decades of colonization and occupation, whispers into the ear of a rebellious girl, the ear of her descendant, a book like WE ARE NO LONGER BABAYLAN is born. Elsa Valmidiano uses language like a bolo cutting through hectares of land overgrown with amnesia and myopia. With this collection of critical and graceful stories, we readers are able to see again with such clarity and light. So much light that the shadows lengthen and then retreat again, a continuous ebb and flow of politicized, personal revelation and cultural examination. Many who read this book--from those of generations who remember demons intimately to the younger generations only now recalling their names--will see a kind of summoning of the Babaylan we 'used to be,' an invitation for her to once again stand by our side."--Trinidad Escobar
Rachel's got some pretty strange stuff happening. She can't control her morphing. One minute, she's doing homework. The next, she's morphing a full-grown crocodile, and -- without returning to human form -- she becomes an elephant. That's when the floor gives way and Rachel finds herself looking up at what used to be the kitchen ceiling.What's going on? No one's sure, but Rachel and the other Animorphs have to figure it out -- quickly. Because if someone sees Rachel's out-of-control morphing, the other Animorphs are in for some serious trouble.