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Evan Shively (Perseus271)

Jess Aarons' greatest ambition is to be the fastest runner in his grade. He's been practicing all summer and can't wait to see his classmates' faces when he beats them all. But on the first day of school, a new girl boldly crosses over to the boys' side and outruns everyone.That's not a very promising beginning for a friendship, but Jess and Leslie Burke become inseparable. Together they create Terabithia, a magical kingdom in the woods where the two of them reign as king and queen, and their imaginations set the only limits.

So my only protection is a kindergarten teacher and a ninety-eight-pound female minister....And they don't even believe I'm in danger.   As Bethany approaches her thirteenth birthday, her parents act more oddly than usual. Her mother cries constantly, and her father barely lets Bethany out of his sight. Then one morning he hustles the entire family into the car, drives across several state lines -- and leaves Bethany with an aunt she never knew existed. Bethany has no idea what's going on. She's worried her mom and dad are running from some kind of trouble, but she can't find out because they won't tell her where they are going.   Bethany's only clue is a few words she overheard her father tell her aunt: "She doesn't know anything about Elizabeth." But Aunt Myrlie won't tell Bethany who Elizabeth is, and she won't explain why people in her small town react to Bethany as if they've seen a ghost. The mystery intensifies when Bethany gets a package from her father containing four different birth certificates from four different states, with four different last names -- and thousands of dollars in cash. And when a strange man shows up asking questions, Bethany realizes the's not the only one who's desperate to unravel the secrets of her past.

A Series of Unfortunate Events is a series of thirteen children's novels written by American author Daniel Handler under the pen name Lemony Snicket. The books follow the turbulent lives of orphaned siblings Violet, Klaus, and Sunny Baudelaire. After their parents' death in a fire, the children are placed in the custody of a murderous villain, Count Olaf, who attempts to steal their inheritance and causes numerous disasters with the help of his accomplices as the children attempt to flee. As the plot progresses, the Baudelaires gradually confront further mysteries surrounding their family and deep conspiracies involving a secret society.

Stanley tries to dig up the truth in this inventive and darkly humorous tale of crime and punishment—and redemption. Stanley Yelnats is under a curse. A curse that began with his no-good-dirty-rotten- pig-stealing-great-great-grandfather and has since followed generations of Yelnats. Now Stanley has been unjustly sent to a boys' detention center, Camp Green Lake, where the warden makes the boys "build character" by spending all day, every day, digging holes: five feet wide and five feet deep. It doesn't take long for Stanley to realize there's more than character improvement going on at Camp Green Lake. The boys are digging holes because the warden is looking for something. Stanley tries to dig up the truth in this inventive and darkly humorous tale of crime and punishment—and redemption.

Lowry's book is a piece of nationalist propaganda, using oversimplification, emotional appeals, and dualistic morality to shut down her readers' minds. More troubling is that it is aimed at children, who don't yet have the critical faculties to defend themselves from such underhanded methods.Unsurprisingly, Lowry adopts the structure of the monomyth, equating a spiritual journey with a moral one. Her Christ-figure uses literal magic powers to rebel against his society. This rebellion and the morality behind it are presented as 'natural', to contrast with the 'abnormal morality' around him.Lowry doesn't seem to understand that we get our morality from our culture, it isn't something in-born that we 'lose'. This is the first hint of Lowry's misunderstanding of the human mind. She assumes her own morality is correct, and then builds her story to fit it.She also makes the character act and think like a modern person would, despite never adequately explaining how he came up with such unusual notions. It's the same trick many historical fiction authors use, leaving us scratching our heads as to why a Fourteenth Century French peasant speaks like a second-wave feminist. I'd suggest that Lowry falls to this fault for the same reason they do: she has no talent for imagining how others might think differently.Lowry's book ends with the standard nonspecific transgressive spiritual event that marks any overblown monomyth. Since the book is not a progressive presentation of ideas, it does not suggest any conclusion. Instead, the climax is a symbolic faux-death event (symbolic of what, none can say). Confusingly, Lowry later redacts the ending in the sequels, undermining the pseudo-spiritual journey she created.Though some call this book 'Dystopian', it's closer to the truth to say Lowry borrows elements from the Dystopian authors, attempting to combine the spiritual uplift of the monomyth with the political and social deconstruction of the Dystopia. What she doesn't recognize is that the faith of the one conflicts with the cynicism of the other. She draws on ideas and images from many other authors: Bradbury, Huxley, Orwell, Burgess, but doesn't improve upon them.These authors created novels that reflected the world around them. They based them on the political events of the times, presented with realism and careful psychology. Though they presented the struggle between the individual and the society, they portrayed morality as grey, and suffering as the result of individual human faults, not political systems. Lowry doesn't realize that the best way to critique Fascism or Communism is not to present it as 'evil', but to simply present it as it was.But Lowry's world is not based in reality, it is symbolic and hyperbolic. Instead of writing about how poverty makes the world seem small and dull, she has the characters magically unable to experience life. Instead of an impersonal government, she presents a sort of evil hippy commune. The only political system it resembles is a school, which is a neat little trick to get the kids interested. The idea that 'school=unfeeling totalitarian hell' is not an uncommon one, but it's one I'm surprised teachers would support. The book also suggests a creche, but lacking similarity to any real-world system, it doesn't work as a political criticism.Lowry creates this artificial world to suit her purposes, but it is not a symbolic exercise like 'Animal Farm'. We understand that the pigs of animal farm are symbolic, because there are no talking pigs. Lowry's world is more insidious, since its oversimplification is hidden. She builds an artificial world to support the dualist morality that she's pushing. She presents the same knee-jerk fears about euthanasia and abortion that people use against Women's Rights or Health Care.Worse than these Straw Man arguments is the fact that she never deals with the economic causes of totalitarianism. Tyrants don't just rise up and take control by their own force of will, they come into power because of the socioeconomic situations that surround them. Lean times produce strong, fascist leaders while profitable times produce permissive, liberal societies.Strong, centralized leadership simply doesn't self-propagate in cultures where everyone is clothed, fed, and housed. The Holocaust was socially about some ideal of 'change' and 'purity', but it was economically about the transmission of wealth from Jews, Poles, and Catholics to Germans (and more specifically, to those Germans who had elected the new ruling party).The atrocities of war are, for the most part, committed by normal people on other normal people. By presenting the power structure as 'amoral' and 'inhuman', Lowry ignores the fact that people will willingly cause others to suffer. Painting the enemy as 'evil' and 'alien' is just an unsophisticated propagandist method.She contrasts her 'evil' with the idealized 'goodness' of emotion, beauty, and freedom. This is nothing more than the American dream of 'specialness' that Mr. Rogers was pushing for so many years. We are all special, we are all good, we all deserve love and happiness. Sure, it sounds good, but what does it mean?Where does this 'specialness' come from? If it is just the 'sanctity of human life', then it's not really special, because it's all-encompassing. If all of us are special, then none of us are. There's nothing wrong with valuing life, but when Lowry presents one mode of life as valuable and another as reprehensible, she ceases to actually value humanity as a whole. Instead, she values a small, idealized chunk of humanity. 'People are good, except the ones I don't like' is not a moral basis, nor is it a good message to send to kids.If the specialness is only based on fitting in with a certain moral and social guideline, then Lowry isn't praising individuality, she's praising herd behavior. The protagonist is only 'special' because he has magic powers. His specialness is not a part of his character, it is an emotional appeal.The idea of being a special individual is another piece of propaganda, and its one kids are especially prone to, because kids aren't special: they are carefully controlled and powerless. Giving a character special powers and abilities and then using that character to feed a party line to children is not merely disingenuous, it's disturbing.There is also a darker side to universal specialness: giving a child a sense of importance without anything to back it up creates egotism and instability. Adults noticed that children with skills and friends had high self-esteems, but instead of teaching their children social skills and knowledge, they misunderstood the causal relationship and tried to give them self-worth first.Unfortunately, the moment unsupported self-worth is challenged, the child finds they have nothing to fall back on. Their entitlement didn't come from their skills or experiences, and so they have nothing to bolster that sense of worth. Instead, any doubt sends them down a spiral of emotional instability.A single book like this wouldn't be the cause of such a state in a child, but it does act as part of the social structure built to give a sense of worth without a solid base for that worth. People like to believe they are special, kids especially so, but being a remarkable person is not a result of belief but of actions. If the book had informed them, then it would leave them better off, but giving them a conclusion based on emotional appeals does nothing to build confidence or character.Many people have told me this book is good because it appeals to children, but children often fall for propaganda. Children develop deep relationships with pop stars, breakfast cereals, and Japanese monsters. This does not make them good role models for children.Feeding 'specialness' to kids along with a political message is no better than the fascist youth programs Lowry intends to criticize. The obsession with individuality is just another form of elitism. It's ironic that people in America most often describe themselves as individuals when pointing out the things they do to align themselves with groups.But banding together in a community is not a bad thing. For Lowry and other 'Red Scare' children, any mention of 'communal' can turn into a witch hunt, but we all give up some personal rights and some individuality in order to live in relatively safe, structured societies. There are benefits to governmental social controls and there are drawbacks, and it's up to us to walk the line between the two. Anarchy and Totalitarianism never actually exist for long: we are social animals.It's not difficult to understand why Lowry is so popular, especially amongst educators. The message she gives aligns perfectly with what they were taught as kids, from Red Scare reactionism to the hippy-dippy 'unique snowflake' mantra. These ideas aren't entirely misguided, either. It's good to recognize the benefits of difference and the dangers of allowing other to control our lives.If a reader believes that fascism and socialism are inherently wrong and that their own individuality is their greatest asset, they will likely sympathize with Lowry's work. However, this doesn't make the book honest, nor beneficial. One of the hardest things we can do as readers is disagree with the methods of authors we agree with ideologically.It makes us feel good to find authors who agree with us, but this is when we should be at our most skeptical. Searching the world for self-justification is not a worthwhile goal, it simply turns you into another short-sighted, argumentative know-it-all. 'Yes men' never progress.Lowry is toeing the party line. She does not base her book around difficult questions, like the Dystopian authors, but around easy answers. She doesn't force the reader to decide for themselves what is best, she makes it clear what she wants us to think. Her book is didactic, which means that it instructs the reader what to believe.Even if her conclusions about Individuality vs. Community are correct, she doesn't present arguments, she only presents conclusions. Like rote memorization or indoctrination, she teaches nothing about the politics, social order, economics, or psychology of totalitarianism or individuality. The reader is not left with an understanding, just an opinion.The baseless 'individuality' of the book lets the reader imagine that they are rebels--that they are bucking the system even as they fall into lock-step. By letting the reader think they are already free-thinking, Lowry tricks them into forgetting their skepticism.She is happy to paint a simple world of black and white, and this is likely the world she sees. I doubt she is purposefully creating an insidious text, she just can't see past her own opinions. She writes this book with a point to make, and makes it using emotional appeals and symbolism. She doesn't back it up with arguments because she doesn't seem to have developed her opinions from cogent arguments.In the end, she doesn't show us that the structure of this society is wrong, she says nothing poignant about individuality vs. community; instead, she relies on threats to the life of an innocent infant. Yet nowhere does she provide an argument for why communal living or the sacrifice of freedoms for safety must necessarily lead to infanticide.In politics, making extreme claims about the opposing side is called mud-slinging, it is an underhanded and dishonest tactic. It works. Arguing intelligently is difficult, accusing is easy, so that's what Lowry does.She is another child of WWII and the Cold War who hasn't learned her lesson. She quickly condemns the flaws of others while failing to search out her own. Even after the Holocaust, there are many racist, nationalist, violent Jews; conflict rarely breeds a new understanding.America condemned the faceless communal life of the Second World, and yet America created The Projects. We critiqued strong governmental controls, but we still have the bank bailout, socialized medicine, socialized schooling, and socialized charity. America condemned the Gulags and Work Camps, and yet we imprison one out of every hundred citizens; far more than Stalin ever did. Some are killed, all are dehumanized.As a little sci fi adventure, the book isn't terrible. It's really the pretension that goes along with it. Lowry cobbles together religious symbolism and Dystopic tropes and then tries to present it as something as complex and thoughtful as the authors she copied. Copying isn't a crime, but copying poorly is.Like Dan Brown or Michael Crichton, she creates a political pamphlet of her own ideals, slaps a pretense of authority on it, and then waits for the money and awards to roll in--and they did. Many people I've discussed this book with have pointed to those awards as the surest sign of this book's eminent worth.Award committees are bureaucratic organizations. Their decisions are based on political machinations. This book is a little piece of Nationalism, and so it was lauded by the political machine that Lowry supports. The left hand helps the right. If awards are the surest sign of worth, then Titanic is a better movie than Citizen Kane.What surprises me is how many of those who brought up the award as their argument were teachers. If a politically-charged administrative committee is the best way to teach children, then why do you take umbrage when the principal tells you that bigger class sizes (and fewer benefits) are fine? Listen to him: doesn't he have award plaques?The other argument is usually that 'kids like it'. I usually respond that kids also like candy, so why not teach that? Some people also get angry at me for analyzing a book written for children:"Of course it's not a great book, it's for kids! If you want a good book, go read Ulysses!"I prefer to give children good books rather than pieces of political propaganda (even if they agreed with me). Children can be as skeptical, quick-witted, and thoughtful as adults if you give them the chance, so I see no excuse for feeding them anything less. Kids aren't stupid, they just lack knowledge, and that's a fine distinction. It's easy for adults to take advantage of their naivete, their emotionality, and their sense of worth. Just because it's easier for the teacher doesn't mean it's better for the child.When we show children something that is over-simplified, presenting an idealized, crudely moralizing world, we aren't preparing them for the actual world. If you give a child a meaningless answer to repeat, he will repeat it, but he won't understand why. Why not give the child a book that presents many complex ideas, but no rote answers, and let them make up their own minds? If they don't learn how to separate the wheat from the chaff and form their own opinions early, in a safe, nurturing environment, what chance will they have on their own as adults?In all the discussions and research regarding this book, I have come across very little analysis. It's especially surprising for a book with such a strong following, but there aren't many explanations of why the book is supposed to be useful or important.This lack of argument makes sense from a political standpoint, since there is no reason to analyze the worth of propaganda: its worth is that it agrees with society and indoctrinates readers. Analyzing it would defeat the purpose; political diatribes do not stand up to thoughtful attention.Perhaps someday someone will create a thoughtful, textual analysis of this book that will point out its merits, its structure and its complexity. I've gradually come to doubt it. I never expected when I wrote my original review of this book that it would garner this much attention.I still welcome comments and thoughts, but if your comment looks roughly like this: "You should read this book again, but this time, like it more. You think you're smart but you aren't. You're mean. Lowry is great. This book won awards and kids like it. It's meant for kids anyways, why would you analyze what its about? I bet you never even read the sequels. Go read 'Moby Dick' because you are full of yourself."I've heard that one before. If you do want to comment though, you might check out this article; I find it helps me with presenting my ideas.

Jessie lives with her family in the frontier village of Clifton, Indiana. When diphtheria strikes the village and the children of Clifton start dying, Jessie's mother sends her on a dangerous mission to bring back help. But beyond the walls of Clifton, Jessie discovers a world even more alien and threatening than she could have imagined, and soon she finds her own life in jeopardy. Can she get help before the children of Clifton, and Jessie herself, run out of time?

HIDE OR FIGHT?Matthias, an illegal third child, is caught in the cross fire between rebels and the Population Police. When he unwittingly saves a Population Police officer, Matthias is brought to Population Police headquarters to train as an officer himself. There he meets Nina, another third-born who enlists his help in a plot to undermine the Population Police. But Matthias is under constant scrutiny, and he has no idea whom he can trust. What can one boy do against a wicked bureaucracy?

SHADOW CHILDRENLuke has never been to school. He's never had a birthday party, or gone to a friend's house for an overnight. In fact, Luke has never had a friend.Luke is one of the shadow children, a third child forbidden by the Population Police. He's lived his entire life in hiding, and now, with a new housing development replacing the woods next to his family's farm, he is no longer even allowed to go outside.Then, one day Luke sees a girl's face in the window of a house where he knows two other children already live. Finally, he's met a shadow child like himself. Jen is willing to risk everything to come out of the shadows - does Luke dare to become involved in her dangerous plan? Can he afford not to?

"Everything that had happened to Nina was real. She had real handcuffs on her wrists, real scars on her back, real fear flooding her mind.  "'They're going to kill me,' Nina whispered, and it was almost a relief to finally, finally give up hope."  In a society that allows no more than two children per family under penalty of death, third children are forced into hiding, or to live with false identity papers. In Among the Impostors, Nina Idi was arrested for treason for supposedly trying to trick the Population Police into arresting other students she said were illegal third children. Now she faces torture or death -- unless she agrees to betray three other imprisoned third children. Her dilemma intensifies when she meets the prisoners -- who are only ten, nine, and six.  As she did so brilliantly in the Publishers Weekly best-selling Among the Hidden and in Among the Impostors, Margaret Peterson Haddix once again brings readers to a world in which nothing is as it seems -- a world in which an imprisonment leads to an adventure of mind, body, and spirit.

A Reluctant HeroTrey may have saved Luke's life, but he still thinks of himself as a coward who can barely stand to be outdoors. Now Trey finds out Luke has been taken prisoner at Population Police headquarters. Trey is terrified, but he knows that if he doesn't rescue his friend, no one will.At police headquarters, Trey impersonates an officer to try getting to Luke. But just when it looks like he's close, Trey suddenly finds himself in danger of exposing not just himself but all shadow children.

Luke Garner, an illegal third child, spent his first twelve years in hiding. For the past four months Luke has lived among others, using the identity of Lee Grant, at the Hendricks School for Boys. But just as things are finally starting to go right, Lee's little brother Smits arrives at the school and Luke finds himself caught in a tangle of lies that gets more complex with every passing day. Can Luke trust Smits to keep his secret? And can he trust Smits's menacing, fat bodyguard, Oscar who carrys a sledge hammer?

Luke Garner is terrified.Out of hiding for the first time in his life, he knows that any minute one of his new classmates at Hendricks School for Boys could discover his secret: that he's a third child passing as the recently deceased Lee Grant. And in a society where it's illegal for families to have more than two children, being a third child means certain death at the hands of the dreaded Population Police.His first experience outside the safety of his home is bewildering. There's not a single window anywhere in the school; Luke can't tell his classmates apart (even as they subject him to brutal hazing); and the teachers seem oblivious to it all.Desperate to fit in, Luke endures the confusion and teasing until he discovers an unlocked door to the outside, and a chance to understand what is really going on. But to take this chance -- to find out the secrets of Hendricks -- Luke will need to put aside his fears and discover a courage that a lifetime in hiding couldn't thwart.Once again, best-selling author Margaret Peterson Haddix delights her fans with this spine-tingling account of an all-too-possible future.Among the Impostors is a worthy companion to Among the Hidden and a heart-stopping thriller in its own right.

ENOUGH GAMES.Luke Garner is a third-born in a restrictive society that allows only two children per family. Risking his life, he came out of hiding to fight against the Population Police laws. Now, in the final volume of Margaret Peterson Haddix's suspenseful Shadow Children series, Luke inadvertently sets off a rebellion that results in the overthrow of the government. The people are finally free. But who is in charge now? And will this new freedom be everything they had hoped

The 39 Cluesis a series of adventure novels written by a collaboration of authors, including Rick Riordan, Gordon Korman, Peter Lerangis, Jude Watson, Patrick Carman, Linda Sue Park, Margaret Peterson Haddix, Roland Smith, David Baldacci, Jeff Hirsch, Natalie Standiford, C. Alexander London, Sarwat Chadda and Jenny Goebel. It consists of five series,The Clue Hunt,Cahills vs. Vespers,Unstoppable,Doublecross, andSuperspecial. They chronicle the adventures of two siblings, Amy and Dan Cahill, who discover that their family, the Cahills, have been and still are, the most influential family in history. The first story arc concerns Dan and Amy's quest to find the 39 Clues, which are ingredients to a serum that can create the most powerful person on Earth. This series' primary audience is age 8–12. Since the release of the first novel,The Maze of Bones, on September 9, 2008, the books have gained popularity, positive reception, and commercial success. As of July 2010, the book series has about 8.5 million copies in print and has been translated into 24 languages. The publisher of the books is Scholastic Press in the United States. Steven Spielberg acquired film rights to the series in June 2008, and a film based on the books was set to be released in 2016 but production has not yet started as of May 2019. The series also originated tie-in merchandise, including collectible cards and an interactive Internet game.

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A 20-something bachelor bartender becomes an unlikely parent when an ex-girlfriend leaves a baby girl on his doorstep.

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