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An elephant and a bear take over a diner and find out about responsibility and food language.
A brother and sister are very impatient during a car trip because they are going to a toy store.
Frank follows the motto, "Honesty is the best policy." He tells the truth, the whole truth, and nothing but the truth. Frank never lies to his schoolmates, he always tells the truth to adults, and he's always honest with police officers. The balancing act of finding tact, that fine line between telling the truth and telling too much truth, is the main theme of this story, and it's very funny—although not necessarily to his friend Dotti whose freckles remind Frank of the Big Dipper, or to the teacher who hears that her breath smells like onions, or to the principal who is told that his toupee looks like a weasel. No one is quite as impressed with Frank's honesty as he thinks they should be. He is sweet and straightforward, and, well, very frank, but with everyone annoyed at him, Frank is now honestly unhappy. He decides to visit his confidante and pal, Grandpa Ernest, who has a history of frankness himself. With a few lessons from Grandpa, Frank begins to understand that the truth is important, but so is not being hurtful. With amusing characters and expressive artwork, this story tells the powerful message of finding the good in everything—a lesson that sends compassion and understanding to take the place of rudeness in the complex concept of truth.
With the help of a baseball dictionary so they can learn the necessary language, an elephant and a bear take over the management of a baseball team.
The Des Moines Majestyks are deep in the cellar...so deep that it seems nothing short of divine intervention could even get them up to the ground floor. They do have one star, Juan-Tanamera "Bueno" Aires, an ex-basketball phenom who performs miracles at the plate and magic in the field. Unfortunately, team owner Holden Canfield, who’s struck it rich with an Internet start-up, spent the entire team budget on acquiring "Bueno," leaving the rest of the roster painfully devoid of talent. Manager Zuke Johansen has just about given up hope when an unexpected thing happens: A scout introduces him to Marvin Kowalski. A straight-A student, valedictorian of his high school class, and on his way to MIT, Marvin knows little about the rules of the game, and his pencil-thin physique would get him laughed off a big-league diamond. But Marvin has one brilliant skill. The ultimate "one-tool" player, he has such a good eye that he can tell what kind of pitch is coming almost before it leaves the pitcher's hand. And even though he's not much of a hitter, his reflexes and coordination are incredibly fast–-so fast, in fact, that nobody can strike him out, as Zuke Johansen quickly sees. Marvin may not be Babe Ruth, but he has found a way to exhaust–-and utterly enrage–-opposing pitchers, driving them to distraction before he takes his inevitable base. Faced with the prospect of leading his team to one of the worst season records since the game was played without gloves, Zuke is desperate enough to wonder if Marvin's strange talent might just lift his Majestyks out of the cellar.... The Kid Who Batted 1.000 is one of those rare sports novels that will appeal to fervent fans as well as those still trying to figure out the infield fly rule. Generously sprinkling his story with some of the best-loved one-liners in the game, Troon McAllister delivers a darkly funny behind-the-scenes look at our national pastime, cementing his place as a major-league humorist.
Ernest Hemingway casts a long shadow in literature--reaching beyond his status as a giant of 20th-century fiction and a Nobel Prize winner--extending even into comic books. Appearing variously with Superman, Mickey Mouse, Captain Marvel, and Cerebus, he has even battled fascists alongside Wolverine in Spain and teamed up with Shade to battle adversaries in the Area of Madness. Robert K. Elder's research into Hemingway's comic presence demonstrates the truly international reach of Hemingway as a pop culture icon. In more than 120 appearances across multiple languages, Hemingway is often portrayed as the hypermasculine legend: bearded, boozed up, and ready to throw a punch. But just as often, comic book writers see past the bravado to the sensitive artist looking for validation. Hemingway's role in these comics ranges from the divine to the ridiculous, as his image is recorded, distorted, lampooned, and whittled down to its essential parts. As Elder notes, comic book creators and Hemingway share a natural kinship. The comic book page demands an economy of words, much like Hemingway's less-is-more "iceberg theory," only in graphic form. In addition, he turned out to be the perfect avatar for comic book artists wanting to tell history-rich stories, as he experienced beautiful places during the most chaotic times: Paris in the 1920s, Spain during the Spanish Civil War, Cuba on the brink of revolution, France during World War I and during World War II just after the Allies landed in Normandy. Hemingway in Comics provides a unique lens for considering one of our most influential authors. Not only for the dedicated Hemingway fan, this book will appeal to all those with an appreciation for comics, pop culture, and the absurd.
The Argyle Sweater is a comic for grown-ups but it's inspired by a childlike imagination and charm. Follow bears, bees, chickens, wolves, dogs, cats, zebras, cops, game shows, phones, cavemen, and even nursery rhyme icons and an evil scientist, into the mischief and perfect-fitting dialogue of The Argyle Sweater world. Hilburn jokes he thought about naming the strip For Better or For Worse but noted "that that one was already taken."
In these five stories, Ernest Gaines returns to the cane fields, sharecroppers' shacks, and decaying plantation houses of Louisiana, the terrain of his great novels A Gathering of Old Men and A Lesson Before Dying. As rendered by Gaines, this country becomes as familiar, and as haunted by cruelty, suffering, and courage, as Ralph Ellison's Harlem or Faulkner's Yoknapatawpha County. Gaines introduces us to this world through the eyes of guileless children and wizened jailbirds, black tenants and white planters. He shows his characters eking out a living and making love, breaking apart aand coming together. And on every page he captures the soul of black community whose circumstances make even the slightest assertion of self-respect an act of majestic—and sometimes suicidal—heroism. Bloodline is a miracle of storytelling. STORIES INCLUDE: A Long Day in November The Sky Is Gray Three Men Bloodline Just Like a Tree
This study of one of the most innovative practitioners of the Beaux-Arts movement in America covers Flagg's early training and Beaux-Arts works, his town and country houses, his commercial and utilitarian buildings, the Singer Tower, urban housing reform, and his small houses of modular design.