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This book is Dyslexic inclusive; it is printed in a font that everyone can read, including people with dyslexia. One boy. One sandwich. One hungry flock of seagulls. Armed with his beastly beach balls and bucket blockade, Alec strives to safeguard his sandwich. In this battle of wits, one clever counterattack stands between Alec and a fun-filled day at the beach. THE STALKING SEAGULLS will engage the reader in this playful power struggle between boy and bird with an outcome neither one anticipates. Level Learner Books # 2 Basic language, word repetition, and whimsical illustrations, ideal for sharing with your emergent reader. For more info about the font, go to www.Dyslexiefont.com Go to www.mcp-store.com to find out more about the typeface and discounts.
Childrens book with family going to the beach and having to deal with pesky seagulls while they are eating their lunch
Smeagull the Seagull comes to the house near the shore every day and knocks on the sliding glass door. He knocks when he¿s hungry, and the people who live there feed him. Smeagull rules the roost! Keeping him fed is an exhausting job, but when Smeagull disappears, it makes clear what an important family member Smeagull has become. There are few places on earth without seagulls, both on shore and inland, and every child will find Smeagull captivating and yet familiar. Smeagull the Seagull teaches young children that animals are precious and have needs and feelings and family, just like us.This is a true story. Smeagull is a wild herring gull who does indeed knock at Valerie and Mark¿s house every day where he is fed scraps from sustainable seafood.The book is illustrated in full color by the graphic designer, Valerie Elaine Pettis. The text is written in rhyme by Mark Seth Lender, a published author and producer for wildlife content at Living on Earth, which is nationally broadcast on Public Radio.
Seagulls Don't Eat Worms uses children's love of animals to show them the benefits of sharing, cooperating, and trying new things. Written from a bird's perspective, this charming story teaches that friendship is found in the least likely places. In it, a nestling wren who wants to soar high in the sky, like the big birds, tumbles into the lair of a cranky seagull protecting his catch. The pair find out they have much in common. Best suited for children ages three to eight.
Subtitle in pre-publication: A lost cat, a drifter, and their journey across America.
Raised in the High Sierras, Brenda Peterson was influenced daily by wildlife. She now explores her deep connection with animals--from watching grizzlies in Montana's Rockies to her work for the restoration of wild wolves in the West--and includes intimate stories of wild dolphins, whales, and orcas she has studied for 20 years.
A long-overdue new edition of Paper Nautilus, Nicholas Jose's bestselling novel. Richly evocative of postwar Australian life, Paper Nautilus subtly illuminates the complexities of ordinary people and the surprising powers of the human spirit.
Can fate be signed, sealed and delivered? When Allegra North parted from first love Francis after a decade together, she poured all her regret into a letter. He didn't reply. A year later, her job brings her back to the beautiful Devon coast where romance first blossomed and she hopes that they can start a new chapter. As summer storms circle, the exes juggle rebellious parents, vengeful family members and a very reluctant celebrity author who holds the key to everybody's future . . . The Love Letter is a wonderfully warm comedy of mistaken identities, new loves and old flames.
From New Yorker staff writer and Harvard historian Jill Lepore, the dark, spellbinding tale of her restless search for the long-lost, longest book ever written, a century-old manuscript called “The Oral History of Our Time.” Joe Gould, a madman, believed he was the most brilliant historian of the twentieth century. So did some of his friends, a group of modernist writers and artists that included E. E. Cummings, Marianne Moore, William Carlos Williams, John Dos Passos, and Ezra Pound. Gould began his life’s work before the First World War, announcing that he intended to write down nearly everything anyone ever said to him. “I am trying to preserve as much detail as I can about the normal life of every day people,” he explained, because “as a rule, history does not deal with such small fry.” By 1942, when The New Yorker published a profile of Gould written by the reporter Joseph Mitchell, Gould’s manuscript had grown to more than nine million words. But when Gould died in 1957, in a mental hospital, the manuscript was nowhere to be found. Then, in 1964, in “Joe Gould’s Secret,” a second profile, Mitchell claimed that “The Oral History of Our Time” had been, all along, merely a figment of Gould’s imagination. Lepore, unpersuaded, decided to find out. Joe Gould’s Teeth is a Poe-like tale of detection, madness, and invention. Digging through archives all over the country, Lepore unearthed evidence that “The Oral History of Our Time” did in fact once exist. Relying on letters, scraps, and Gould’s own diaries and notebooks—including volumes of his lost manuscript—Lepore argues that Joe Gould’s real secret had to do with sex and the color line, with modernists’ relationship to the Harlem Renaissance, and, above all, with Gould’s terrifying obsession with the African American sculptor Augusta Savage. In ways that even Gould himself could not have imagined, what Gould wrote down really is a history of our time: unsettling and ferocious.