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It's the beginning of the 20th century; the age of scientific progress. But for Venice the future looks bleak. A conference of scientists assembles to address the problems, among whose delegates are the parents of twelve-year-old Teodora. Within days of her arrival, she is subsumed into the secret life of Venice: a world in which salty-tongued mermaids run subversive printing presses, ghosts good and bad patrol the streets and librarians turn fluidly into cats. A battle against forces determined to destroy the city once and for all quickly ensues. Only Teo, the undrowned child who survived a tragic accident as a baby, can go 'between the linings' to subvert evil and restore order.
In too deadly. In too deep. Samantha and Rachel used to be friends. But then Rachel betrayed Samantha . . . and Samantha decided to make her life a living nightmare. Then one day, Sam and Rachel found themselves in a fight by a lake. Samantha pushed Rachel . . . and watched as Rachel fell back. And back. Into the water. And gone. No way to save her. No way she could be alive. The next day, Rachel shows up to school as if nothing happened. And now she's the one who wants to make her former friend's life a living nightmare . . .
Venice, 1468. Sosia Simeon, a free-spirited sensualist, is the lover of many men in the fabled city, though married to one she despises. On the edge of the Grand Canal, Wendelin von Speyer sets up the first printing press in Venice and looks for the book that will make his fortune. When he tempts fate by publishing Catullus, the poet whose desperate and unrequited love inspired the most tender and erotic poems of antiquity, a scandal is set in motion that will change all their lives forever.
Undrowned is a book-length meditation for social movements and our whole species based on the subversive and transformative guidance of marine mammals. Our aquatic cousins are queer, fierce, protective of each other, complex, shaped by conflict, and struggling to survive the extractive and militarized conditions our species has imposed on the ocean. Gumbs employs a brilliant mix of poetic sensibility and naturalist observation to show what they might teach us, producing not a specific agenda but an unfolding space for wondering and questioning. From the relationship between the endangered North Atlantic Right Whale and Gumbs’s Shinnecock and enslaved ancestors to the ways echolocation changes our understandings of “vision” and visionary action, this is a masterful use of metaphor and natural models in the service of social justice.
Like Cornelia Funke, Michelle Lovric is a master story-teller of sweeping fantasies, this one about a friendship between two girls, one rich, one poor, whose worlds collide as they fight to save Venice from a dangerous stranger called Fogfinger.
Teodora has always longed to visit Venice, and at last she has her chance. But strange and sinister things are afoot in the beautiful floating city. Teo is quickly subsumed into a secret world in which salty-tongued mermaids run subversive printing presses, ghosts good and bad patrol the streets, statues speak, rats read, and librarians fluidly turn into cats. And where a book, The Key to the Secret City, leads Teo straight into the heart of the danger that threatens to destroy the city to which she feels she belongs. An ancient proverb seems to unite Teo with a Venetian boy, Renzo, and with the Traitor who has returned from the dark past to wreak revenge. . . . But who is the Undrowned Child destined to save Venice?
"Forget that I am deaf and blind and think of me as an ordinary woman," wrote Helen Keller--but she was anything but ordinary. When Helen was growing up, there were no facilities to help handicapped students. Still, she learned to speak, read, and write, attended Radcliffe College, wrote five books, and lectured all over the world. It wasn't enough to prove that she could do anything. Helen wanted other handicapped people to know that they could, too. And Helen achieved her purpose: the world saw a real woman behind the handicaps, and an extraordinary human being behind the legend.
Newbery Medalist Laura Amy Schlitz brings her sorcery to a Victorian gothic thriller — an enthralling, darkly comic tale that would do Dickens proud. The master puppeteer, Gaspare Grisini, is so expert at manipulating his stringed puppets that they appear alive. Clara Wintermute, the only child of a wealthy doctor, is spellbound by Grisini’s act and invites him to entertain at her birthday party. Seeing his chance to make a fortune, Grisini accepts and makes a splendidly gaudy entrance with caravan, puppets, and his two orphaned assistants. Lizzie Rose and Parsefall are dazzled by the Wintermute home. Clara seems to have everything they lack — adoring parents, warmth, and plenty to eat. In fact, Clara’s life is shadowed by grief, guilt, and secrets. When Clara vanishes that night, suspicion of kidnapping falls upon the puppeteer and, by association, Lizzie Rose and Parsefall. As they seek to puzzle out Clara’s whereabouts, Lizzie and Parse uncover Grisini’s criminal past and wake up to his evil intentions. Fleeing London, they find themselves caught in a trap set by Grisini’s ancient rival, a witch with a deadly inheritance to shed before it’s too late. Newbery Medal winner Laura Amy Schlitz’s Victorian gothic is a rich banquet of dark comedy, scorching magic, and the brilliant and bewitching storytelling that is her trademark.
A haunting gothic tale by master mysery writer John Bellairs--soon to be a major motion picture starring Cate Blanchett and Jack Black! "The House With a Clock in Its Walls will cast its spell for a long time."--The New York Times Book Review When Lewis Barnavelt, an orphan. comes to stay with his uncle Jonathan, he expects to meet an ordinary person. But he is wrong. Uncle Jonathan and his next-door neighbor, Mrs. Zimmermann, are both magicians! Lewis is thrilled. At first, watchng magic is enough. Then Lewis experiments with magic himself and unknowingly resurrects the former owner of the house: a woman named Selenna Izard. It seems that Selenna and her husband built a timepiece into the walls--a clock that could obliterate humankind. And only the Barnavelts can stop it!
Generation Anthropocene. Storms of My Grandchildren. Our Children’s Trust. Why do these and other attempts to imagine the planet’s uncertain future return us—again and again—to the image of the child? In The Child to Come, Rebekah Sheldon demonstrates the pervasive conjunction of the imperiled child and the threatened Earth and blisteringly critiques the logic of catastrophe that serves as its motive and its method. Sheldon explores representations of this perilous future and the new figurations of the child that have arisen in response to it. Analyzing catastrophe discourse from the 1960s to the present—books by Joanna Russ, Margaret Atwood, and Cormac McCarthy; films and television series including Southland Tales, Battlestar Galactica, and Children of Men; and popular environmentalism—Sheldon finds the child standing in the place of the human species, coordinating its safe passage into the future through the promise of one more generation. Yet, she contends, the child figure emerges bound to the very forces of nonhuman vitality he was forged to contain. Bringing together queer theory, ecocriticism, and science studies, The Child to Come draws on and extends arguments in childhood studies about the interweaving of the child with the life sciences. Sheldon reveals that neither life nor the child are what they used to be. Under pressure from ecological change, artificial reproductive technology, genetic engineering, and the neoliberalization of the economy, the queerly human child signals something new: the biopolitics of reproduction. By promising the pliability of the body’s vitality, the pregnant woman and the sacred child have become the paradigmatic figures for twenty-first century biopolitics.