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A YA adventure from World Fantasy Award winning author James P. Blaylock. A suddenly appearing curiosity shop owned by a small man who might, or might not, be the Man in the Moon; a pair of strange spectacles buried in a fishbowl full of marbles; an old window glazed with sea-green glass found beneath a suburban house; and two adventurous boys who buy the spectacles and climb through the window into a land of goblins, ghosts, and rope ladders that reach to the moon... Who exactly is Mr. Deener, the fat man who makes magic out of bits of coloured glass, has a passion for glazed doughnuts, and whose seeming twin brother sleeps fitfully in an attic room? And who are the little men who ride out of the forest on windblown sycamore leaves in order to whisper into Mr. Deener's ear? Is Mr. Deener, like a fallen Humpty Dumpty, broken apart? John and Danny need to know. To find their way home they'll have to put Mr. Deener back together again and solve the mystery of the sleeping land - a task that leads them to the pool of reflections in the deep woods and ultimately to a house built of light and magic and memory that sits at the edge of the heart's ocean. PRAISE FOR JAMES P. BLAYLOCK: "Blaylock is one of the most brilliant of that new generation of fabulist writers." -- Washington Post Book World "Blaylock allows us to see the mundane world through new eyes, to perceive the familar as strange and therefore fascinating - for what it is as well as for what it might be." -- Charles de Lint "[Blayock has]...a gift for drawing characters who are eccentric in delightful and original ways, whichever side of the war they are on." -- Publishers Weekly
I was inspired to write this book because I was bullied as a child. I know how cruel children can be, but also how most children who bully are not bad children. I believe that all children are good inside. I began this book in 2007 and I have worked on it over the last few years with the help of many family members and friends. In the beginning, my cousin Shayda gave me the wonderful and necessary child perspective. My brother Zachary was the inspiration for the name, but not the character. I want to thank my older sister, Sarah, my husband, Gary, and my college roommate, Michelle, for being inspirations for the names of the other characters. Thank you also to my supporters and editors: Mom, Dad, Cathy, and Stephen. Thank you Gary for supporting me through all parts of my life. Thank you Robert Fuller for encouraging me to write this book. Lastly, I would like to thank my elementary school teachers, Ms. Chong and Ms. Masatani, for helping me edit this book for the elementary audience. I hope this book helps parent's teach their children empathy, respect, and dignity. I hope this book gives a voice to the child who is being bullied at school, but also provides a role model to the child who bullies. Enjoy!
Mirium and Tejas have magic glasses. Join them as they use the glasses to look at seven animals and birds that are found only in certain parts of the world. Story Attribution: ‘The Magical Glasses’ is written by Padmaparna Ghosh. © Pratham Books, 2018. Some rights reserved. Released under CC BY 4.0 license. (http://creativecommons. org/licenses/by/4.0/) Other Credits: ‘The Magical Glasses’ has been published on StoryWeaver by Pratham Books. www.prathambooks.org
I was at the library one day, browsing through some pictorial journals, when my eye caught sight of a copy of National Geographic, It contained some very exciting photographs of wild life, the planets in the solar system and beautiful exotic plants. I wanted to have a copy of these pictures, but there was no way I could. I had a camera with me, but taking photographs was prohibited in the library. To add to my woes, the photocopy machine was out of order. I was wearing my glasses and it was then that an idea struck me. What if my reading glasses could copy these photos? Would it be possible? What if by reading the whole text of any publication – a book, magazine or even a film – it could be recorded just like a voice on tape? It would be a truly thrilling experience! However, such recording glasses would have to be specially manufactured. These thoughts led me to writing “The Man with The Magic Spectacles.” I thought of a plot, story line, location and characters, and quickly fitted all of these together. My co- writer, Martha Jette has helped me by adding chapters, developing characters and editing the entire manuscript.
This story is the first in the Magical Murphy Farm series. The Murphy Family Farm is an enchanted farm that owes much of its success to an agreement made between the Murphys and the Fairy Folk over a century ago in Ireland. With over a hundred acres of farm land, the fairies and enchanted creatures work together to help the Murphy Family keep the farm prosperous enough to be generous to the community. The fairy folk call the Murphy Farm Lismore Baile, their words for "Bountiful Home." The wondrous world of Lismore Baile awaits! In this first book, young Brooke Murphy enjoys life living on a her family's centennial farm. The Murphy Family Farm has prospered for over a century, producing better than any farm in the area. Life on a farm couldn't be better for Brooke and her animal friends. One day, she decides to go for a walk in her mother's elaborate garden. On her way there, she finds some magical spectacles that allow her to see fairy folk and magical creatures. Brooke becomes more and more excited during her adventure while learning about the inner workings of the farm she calls home. As she ventures down the hidden path of the garden, she greets the enchanted people of Lismore Baile, a magical realm where fantasy meets reality and the two work together to bring in the harvest. Brooke is given an errand by one of the fairies, one that she has to get done before bed time. Some of the characters she meets include the flower fairies Marigold and Violet. Aurora is another fairy that Brooke meets along the way. Aurora helps keep the farm warm with some special help from her friend Fireglide (a volcano dragon). Everyone has something to do to keep the Murphy Farm thriving, including Brooke. Brooke learns from Lily (possibly the last water nymph of her kind) that fairies and magical creatures have always been a part of the Murphy Family Farm. After so many adventures, how will Brooke get safely home before it gets dark? With time running out, perhaps a little magic is needed. Perfect reader for ages 9+ or great to read to children of any age. Adults will also like this uplifting story. This story emphasizes helping others, being thankful and the rewards for being generous.
Eighteen-year-old Nathalie Baudin, ever-curious reporter at the Paris morgue, is no stranger to death—even discounting the supernatural visions that give her disturbing glimpses into the minds of killers. Paris, 1889. When the Exposition Universelle opens in Paris, Nathalie welcomes a much-needed break from the heartache of her friend's murder. The fair is full of sensational innovations, cultural displays, and marvelous inventions from around the world. But someone is celebrating the 100th anniversary of the guillotine with a gruesome display of their own: beheaded victims in some of the Exposition’s most popular exhibits. Haunted by the past and burdened with new secrets, Nathalie struggles to use her wits and her gift. Yet she and her friends must stop the killer before the macabre display features one of them... At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
'A spectacular treasury of treats. Page after page of utter joy: I can't tear my eyes away' - Derren Brown In The Spectacle of Illusion, professional magician-turned experimental psychologist Dr. Matthew L. Tompkins investigates the arts of deception as practised and popularised by mesmerists, magicians and psychics since the early 18th century. Organised thematically within a broadly chronological trajectory, this compelling book explores how illusions perpetuated by magicians and fraudulent mystics can not only deceive our senses but also teach us about the inner workings of our minds. Indeed, modern scientists are increasingly turning to magic tricks to develop new techniques to examine human perception, memory and belief. Beginning by discussing mesmerism and spiritualism, the book moves on to consider how professional magicians such as John Nevil Maskelyne and Harry Houdini engaged with these movements - particularly how they set out to challenge and debunk paranormal claims. It also relates the interactions between magicians, mystics and scientists over the past 200 years, and reveals how the researchers who attempted to investigate magical and paranormal phenomena were themselves deceived, and what this can teach us about deception. Highly illustrated throughout with entertaining and bizarre drawings, double-exposure spirit photographs and photographs of spoon-bending from hitherto inaccessible and un-mined archives, including the Wellcome Collection, the Harry Price Library, the Society for Physical Research, and last but not least, the Magic Circle's closely guarded collection, the book also features newly commissioned photography of planchettes, rapping boards, tilting tables, ectoplasm, automata and illusion boxes. Concluding with a modern-day analysis of the science of magic and illusion, analysing surprisingly weird phenomena such as ideomotor action, sleep paralysis, choice blindness and the psychology of misdirection, this unnerving volume highlights how unreliable our minds can be, and how complicit they can be in the perpetuation of illusions.
Tracing the cultural, material, and discursive history of an early manifestation of media culture in the making. Beginning in the late eighteenth century, huge circular panoramas presented their audiences with resplendent representations that ranged from historic battles to exotic locations. Such panoramas were immersive but static. There were other panoramas that moved—hundreds, and probably thousands of them. Their history has been largely forgotten. In Illusions in Motion, Erkki Huhtamo excavates this neglected early manifestation of media culture in the making. The moving panorama was a long painting that unscrolled behind a “window” by means of a mechanical cranking system, accompanied by a lecture, music, and sometimes sound and light effects. Showmen exhibited such panoramas in venues that ranged from opera houses to church halls, creating a market for mediated realities in both city and country. In the first history of this phenomenon, Huhtamo analyzes the moving panorama in all its complexity, investigating its relationship to other media and its role in the culture of its time. In his telling, the panorama becomes a window for observing media in operation. Huhtamo explores such topics as cultural forms that anticipated the moving panorama; theatrical panoramas; the diorama; the "panoramania" of the 1850s and the career of Albert Smith, the most successful showman of that era; competition with magic lantern shows; the final flowering of the panorama in the late nineteenth century; and the panorama's afterlife as a topos, traced through its evocation in literature, journalism, science, philosophy, and propaganda.
The nineteenth-century fascination with visual representations of the Arctic is illuminated in this history that weaves together a narrative of the major Arctic expeditions with an account of their public reception through art and mass media. Simultaneous.