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The storyteller stands beside the fire, swaying, dancing, miming, singing, reciting. With one hand he shakes a gourd rattle, with the other he swings a conga -- a flyswatter made with a buffalo tail on a wooden handle. Anklet bells tinkle as he moves. Three young men beat a wooden drum with sticks. Listening to him is a crowd of men, women, and children. They sing along at a song's refrain, they repeat whole lines of the story when he pauses to see if they're paying attention. They encourage him with little shouts, whoops, claps. Food and drink are passed around. In a mountain rainforest of the Congo, a Nyanga village hears once more the tale of its favorite hero -- Mwindo, the one born walking, the one born talking . . . . For ages 10 and up. Not illustrated! ///////////////////////////////////////////////// Aaron Shepard is the award-winning author of "The Baker's Dozen," "The Sea King's Daughter," "Lady White Snake," and many more children's books. His stories have appeared often in Cricket magazine, while his Web site is known internationally as a prime resource for folktales, storytelling, and reader's theater. Once a professional storyteller, Aaron specializes in lively retellings of folktales and other traditional literature, which have won him honors from the American Library Association, the New York Public Library, the Bank Street College of Education, the National Council for the Social Studies, and the American Folklore Society. Cover artist Xiaojun Li, a native of Inner Mongolia, was an award-winning children's book illustrator and art director in China before moving to the United States. ///////////////////////////////////////////////// SAMPLE She-Mwindo heard the noise. He went to the house of his favorite wife. He saw the boy and was full of rage. "What is this? Did I not say 'no sons'? Did I not say I would kill him?" He threw his spear at the baby. Mwindo waved his conga. The spear fell short and stuck in the floor. Mwindo pulled it up. He broke it in two. She-Mwindo cried out. "Aieeeeeee! What kind of child is this?" Mwindo sang and danced and waved his conga. I am Mwindo, the one born walking, the one born talking. O my father, you do not want me. O my father, you try to kill me. But what can you do against me?
The feats of the hero Mwindo are here glorified in the bilingual text of an epic which was sung and narrated in a Bantu language and acted out by a member of the Nyanga tribe in the remote forest regions of eastern Democratic Republic of the Congo. Admirably structured, coherent, and richly poetic, the epic is in prose form, interspersed with song and proverbs in verse. An example of the classic tradition of oral folk literature, the tale has important implications for the comparative study of African culture, as the text provides profound insights into the social structure, value system, linguistics, and cosmology of this African people.
When Fly Guy joins Buzz's class on a trip to a flyswatter factory, it's the "best field trip ever"! When Fly Guy goes to school with Buzz, they learn that his class is taking a field trip to a flyswatter factory! BAD NEWZZ! Fly Guy tries to hide in Buzz's pocket, but when the tour guide starts insulting flies, Fly Guy cannot help but stick his head out. A robotic flyswatter named the Super Swatter detects Fly Guy, and Fly Guy causes a hilarious ruckus in his efforts to escape.At the end of this zany adventure, the flyswatter factory announces an end to its factory tours and the students use their free flyswatters as art to celebrate the "best field trip ever"!Using hyperbole, puns, slapstick, and silly drawings, Tedd Arnold delivers an easy reader that is full of fun in his NEW YORK TIMES bestselling Fly Guy series.
At a fancy hotel dinner, Fly Guy gets into some trouble--and the restaurant's soup! When Buzz and his family have dinner in a fancy hotel's restaurant, Fly Guy isn't allowed in. After searching through the hotel's trash, Fly Guy smells a wonderful aroma coming from the restaurant's kitchen.Fly Guy causes some messy mayhem in the restaurant, and in the end, everyone needs a bath!
A thousand years ago, in the Celtic kingdoms of Wales, great lords gave great feasts for their fighting men and courtiers. In timbered halls, for days on end, heaps of meat and bread were washed down with gallons of beer and mead. And in between the meals, when bellies were stuffed and spirits high, the storyteller rose and spun his tales of times long past. He told of lords, bold and generous. He told of ladies, grand and glorious. He told of friends, brave and faithful. But of all he told about, no friend was more reliable than Manawydan, son of Llyr. No lady was more admirable than Rhiannon. And no lord was more honorable than Pwyll, King of Dyfed. The halls are now long gone -- yet some tales were written down and gathered in a book we call today The Mabinogion. And so the tales live on. . . . For ages 10 and up. Not illustrated! ///////////////////////////////////////////////// Aaron Shepard is the award-winning author of "The Baker's Dozen," "The Sea King's Daughter," "Lady White Snake," and many more children's books. His stories have appeared often in Cricket magazine, while his Web site is known internationally as a prime resource for folktales, storytelling, and reader's theater. Once a professional storyteller, Aaron specializes in lively retellings of folktales and other traditional literature, which have won him honors from the American Library Association, the New York Public Library, the Bank Street College of Education, the National Council for the Social Studies, and the American Folklore Society. Cover artist Suzanne Hankins has illustrated frequently for Cricket, Spider, and other popular children's magazines. ///////////////////////////////////////////////// "Highly recommended . . . . A brief yet exciting and exotic fable of heroes striving to make their mark and protect those most dear to them in a fantastic world." -- Children's Bookwatch (Midwest Library Review), Jan. 2007 "Written in a lyrical voice that channels the ghosts of storytellers past. . . . Great for a librarian or teacher to read to a class." -- Sheila Ruth, Wands and Worlds, Jan. 2007 "A clear, simple, beautiful retelling. Those familiar with the source material will recognise how masterly a piece of work Shepard has crafted from notoriously challenging material. . . . Best of all, the language has retained the full richness of the underlying Celtic music." -- Louise Owen, Celtic Cafe ///////////////////////////////////////////////// SAMPLE The next day, after the midday meal, Pwyll said to Manawydan, "Let us walk again on the mount. But this time, we'll bring my horse along." So once more they climbed the mount. And they had not sat long when they saw the same lady, in the same dress and veil, on the same horse, on the same road, coming at the same slow, steady pace. Pwyll speedily mounted his horse, but as he reached the foot of the mount, she was already riding past the spot. Then he let his horse prance after, thinking to easily overtake her. When he did not, he gave his horse the rein. It began to trot, yet fell even farther behind. Then he spurred it to a gallop -- but at its greatest speed, it lost more ground than ever. And still the lady rode no faster than a walk. At last his horse began to fail, and he called out, "Lady, in the name of the man you hold dearest, please halt." "I will," she said. "And for the sake of your horse, you could have asked it sooner."
When Maragold and her friends find themselves in the same fifth grade classroom, with an overbearing teacher, the fun begins! With the help of Bert, Maragold's invisible leprechaun, you're entertained by Matt outsmarting the school bully, a talent show where jealousy could ruin Maragold's magic act, and oral reports that are as comical as they are interesting. Eric returns with his outrageous antics and jokes that will bring tears to your eyes-one way or another. And you'll read about Cheryl's new talent as she joins a poetry program and writes a daring-and funny-poem about her stern teacher. The "ultimate prank" occurs in math class and is followed by the "ultimate surprise" when the teacher gives the final report cards to her students.
If you think Superman or Spiderman has been around a long time, think about Monkey. He has been China's favorite superhero for at least five centuries. He's amazingly strong, he can fly, and he has a few tricks those other superheroes never heard of. And he's always ready to do battle with demons, dragons -- sometimes even the gods. Monkey stars in The Journey to the West, an epic comic fantasy from the sixteenth century. The part retold here is about Monkey's origin and early career -- and the one time he didn't come out on top. For ages 10 and up. Not illustrated! ///////////////////////////////////////////////// Aaron Shepard is the award-winning author of "The Baker's Dozen," "The Sea King's Daughter," "Lady White Snake," and many more children's books. His stories have appeared often in Cricket magazine, while his Web site is known internationally as a prime resource for folktales, storytelling, and reader's theater. Once a professional storyteller, Aaron specializes in lively retellings of folktales and other traditional literature, which have won him honors from the American Library Association, the New York Public Library, the Bank Street College of Education, the National Council for the Social Studies, and the American Folklore Society. Cover artist Xiaojun Li, a native of Inner Mongolia, was an award-winning children's book illustrator and art director in China before moving to the United States. ///////////////////////////////////////////////// SAMPLE "Here I am, only four hundred years old," said the Monkey King, "and I've already reached the heights of greatness. What is left to hope and strive for? What can be higher than a king?" "Your Majesty," said the gibbon carefully, "we have ever been grateful for that time four centuries ago when you hatched from the stone, wandered into our midst, and found for us this hidden cave behind the waterfall. We made you our king as the greatest honor we could bestow. Still, I must tell you that kings are not the highest of beings." "They're not?" said the Monkey King. "No, Your Majesty. Above them are gods, who dwell in Heaven and govern Earth. Then there are Immortals, who have gained great powers and live forever. And finally there are Buddhas and Bodhisattvas, who have conquered illusion and escaped rebirth." "Wonderful!" cried the Monkey King. "Maybe I can become all three!" He considered a moment, then said, "I think I'll start with the Immortals. I'll search the earth till I've found one, then learn to become one myself!"
Epic does many things. Among others, it defines the nature of the human storyteller; recalls the creation of the world and of the human race; describes the paradoxical role of the hero as both the Everyman and the radical exception; and establishes the complex quest underlying all human action. Epic illustrates that these ingredients of epic storytelling are universal cultural elements, in existence across multiple remote geographical locations, historical eras, ethnic and linguistic groups, and levels of technological and economic development. Frederick Turner argues that epic, despite being scoffed at and neglected for over sixty years, is the most fundamental and important of all literary forms and thereby deserves serious critical attention. It is the source and originof all other literature, the frame within which any story is possible. The mission of this book is to repair gaps in the literary understanding of epic studies—and offer permission to future epic writers and composers. The cultural genres of Marvel Comics, gothic, anime, manga, multi-user dungeon gaming, and superhero movies reprise all the epic themes and motifs. Consider The Wizard of Oz, Star Wars, The Lord of the Rings, Lost, The Matrix, Superman, Harry Potter, and Narnia. Here can be found the epic beast-man, the miraculous birth of the hero, the creation myth, the founding of the city, the quest journey, the descent into the land of the dead, the monsters, and the trickster. This book will be of interest to all readers fascinated by folklore, oral tradition, religious studies, anthropology, mythology, and enthusiastic about literature in general.
Not so long ago, in the tiny, isolated villages of Finland, where prolonged summer days gave way to endless winter nights, people would pass the time by singing the many adventures of their favorite heroes: the mighty, magical men and women of ancient days. They sang of old Vainamoinen, greatest of sages and magicians, who helped create the world but never could find a woman to wed him. They sang of his friend and ally Ilmarinen, first among craftsmen, the blacksmith who forged the dome of the heavens. They sang of Louhi, the ancient lady of Northland, whose crafty wit and magical powers made her a worthy opponent for Vainamoinen himself. And they sang of Aila, Louhi's lovely daughter, who captured the hopes of the two old friends and drew them as rivals to the shores of Northland. And while these songs could still be heard, there came along a rural doctor, a scholar, who gathered and wove them together in a book he called the Kalevala. And so he created for Finns a national epic, and for the rest of the world, a work of wonder. The songs endure, the heroes live. . . . For ages 10 and up. Not illustrated! ///////////////////////////////////////////////// Aaron Shepard is the award-winning author of "The Baker's Dozen," "The Sea King's Daughter," "Lady White Snake," and many more children's books. His stories have appeared often in Cricket magazine, while his Web site is known internationally as a prime resource for folktales, storytelling, and reader's theater. Once a professional storyteller, Aaron specializes in lively retellings of folktales and other traditional literature, which have won him honors from the American Library Association, the New York Public Library, the Bank Street College of Education, the National Council for the Social Studies, and the American Folklore Society. Cover artist Carol Schwartz is the award-winning illustrator of over 45 picture books. ///////////////////////////////////////////////// "Well written and valuable. . . . Shepard's use of free verse allows him more flexibility than the traditional poetic meter. [The text] retains a sense of majestic rhythm and is most effective when read aloud. Supporting information is detailed." -- Donna L. Scanlon, School Library Journal, Apr. 1996 (reviewing an older edition) "Shepard's free verse telling has power and sparkle." -- Glenn Giffin, Denver Post, May 12, 1996 (reviewing an older edition) ///////////////////////////////////////////////// SAMPLE Vainamoinen chanted and Joukahainen sank in the marshy ground, up to his waist in the swallowing earth. Cried Joukahainen, "Reverse your words, undo your spells! I will give you a hat full of silver, a helmet full of gold." "Keep your wealth," said Vainamoinen. "My coffers overflow." He chanted again, and Joukahainen sank to his chest. "Reverse your words, undo your spells! I will give you fields for plowing, meadows for pasture." "Keep your land. My farm stretches beyond sight." He chanted again, and Joukahainen sank to his chin. "Reverse your words, undo your spells! I will tell you of the fairest woman, the finest maiden." Vainamoinen stopped his chant.
The lights dim, and a weighty silence falls upon the audience. From all over Europe and America, these fifteen hundred men and women have come to spend many days in this small German town and many hours in this theater. Some are merely curious. Some are there because it's the fashion. But many have come out of devotion to the musical dramas of a composer they revere, almost worship -- a composer who himself designed and built the theater they sit in. To them, this theater is a temple, and their journey a pilgrimage. For a full minute or more, they wait solemnly in the dark, barely daring to move, their attention resting on the curtained stage below. Then the first musical notes float up and surround them -- high, soft, sustained notes of strings and woodwinds -- from an orchestra entirely hidden from view. The composer's devotees know what vision this shimmering music is meant to impart: the descent from Heaven of the Holy Grail, the drinking cup of Christ at the Last Supper. In their minds, they watch it draw nearer to earth, as the music grows louder and deeper and louder still, at last bursting out in horns, tympani, and cymbals. Then the Grail ascends once more, the music gradually softening until strings and woodwinds lead out as gently as they led in. And now the curtains part, and the audience knows it will soon meet the knight who serves that Grail. . . . For ages 10 and up. Not illustrated! ///////////////////////////////////////////////// Aaron Shepard is the award-winning author of "The Baker's Dozen," "The Sea King's Daughter," "Lady White Snake," and many more children's books. His stories have appeared often in Cricket magazine, while his Web site is known internationally as a prime resource for folktales, storytelling, and reader's theater. Once a professional storyteller, Aaron specializes in lively retellings of folktales and other traditional literature, which have won him honors from the American Library Association, the New York Public Library, the Bank Street College of Education, the National Council for the Social Studies, and the American Folklore Society. Cover artist Wendy Edelson has applied her award-winning skills to a wide range of illustration projects, with clients including Seattle’s Woodland Park Zoo, the Seattle Aquarium, the Pacific Northwest Ballet, the U.S. Postal Service, and the American Library Association. ///////////////////////////////////////////////// SAMPLE "Frederick," said the king, "are you certain you wish to accuse this girl?" "Her dreaminess can't fool me," said Frederick. "I have a witness to her crime. But my word alone should be enough, and I'm ready to defend it with my sword." "Then God alone must decide," said the king, "in trial by combat. To the just he will give the victory. Elsa, who will fight for you?" "The knight from my dream," said Elsa. "As his reward, he shall take all my father's lands -- and myself as wife, if he'll have me." At the king's command, the herald called, "Let him who will fight for Elsa of Brabant come forth!" But no one stepped forward. Elsa told the king, "He must yet be far away and not have heard. Please call again." The king assented, and the herald called again. "Let him who will fight for Elsa of Brabant come forth!" But still there was no response. Elsa knelt in prayer. "Lord, tell my knight I need him now! Show him to me, just as he appeared before." Then shouts went up from men by the river's edge. "Look!" "A swan!" "It's pulling a knight in a boat!"