Emo Nemo

Mily

Sarah

Shaidrian Rios

Jimmy Beans

miCCwatreSSop

Julie Wynne - videos

Kapuster

Nicky Tallon

Harini Sen

Vastralaya

Evan Shively (Perseus271)

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.

My name is Katniss Everdeen.Why am I not dead?I should be dead.Katniss Everdeen, girl on fire, has survived, even though her home has been destroyed. Gale has escaped. Katniss's family is safe. Peeta has been captured by the Capitol. District 13 really does exist. There are rebels. There are new leaders. A revolution is unfolding.It is by design that Katniss was rescued from the arena in the cruel and haunting Quarter Quell, and it is by design that she has long been part of the revolution without knowing it. District 13 has come out of the shadows and is plotting to overthrow the Capitol. Everyone, it seems, has had a hand in the carefully laid plans - except Katniss.The success of the rebellion hinges on Katniss's willingness to be a pawn, to accept responsibility for countless lives, and to change the course of the future of Panem. To do this, she must put aside her feelings of anger and distrust. She must become the rebels' Mockingjay - no matter what the personal cost.

Tonight I just finished reading Charlie and the Chocolate factory with my son. This is the first chapter book I've read all the way through with him. And it was a ton of fun. First off, I'll admit that I love the movie. I grew up with it. (I'm talking about the Gene Wilder version, of course.)I'll even admit to liking the movie better than the book. Which is something that doesn't happen very often with me. That said, the book is really, really good. It held my four-year old's attention. It's silly, and it's fun. And it's DARK. For those of you who haven't read the book, let me underline this fact for you. Dahl takes pains to really detail the fact that Charlie and his family aren't just hungry and poor. They're destitute. Charlie sleeps on a mattress on the floor. In the winter they are cold, and they're starving to death. And if you think I'm exaggerating on that last point, I'm not. One of the chapters is titled: The Family Begins to Starve. But you know what? I like this book better because of that. It's not sanitized pablum written by committee to be inoffensive. It's the story of a little boy who is in a fucking awful situation, but he is still good and kind and polite and then something really nice happens to him. That's a trope I can get behind. Its it a good book to read with your kids? Absolutely. That said, allow me to tangent off and share my thoughts as a total bastard:If Willie Wonka actually hired workers and paid them a living wage, maybe Charlie Bucket wouldn't be starving to death in the first place. Follow me here. Wonka is effectively running a company where everyone is paid in scrip. The Oompa Loompas are paid, quite literally, in beans. Beans that I'm guessing he has the Oompa Loompas themselves growing in some huge underground cavern. Let's not even get into the ethical tarpit of the fact that Wonka uproots an entire indigenous culture and enslaves them. Let's just look at this from a raw numbers point of view. Pure economics. The Oompa Loompas work in the factory. They are not paid. They never leave the factory. That means they don't pay rent. They don't buy groceries. They don't go to the movies, or take taxis ,or buy clothes. But *everyone* buys Wonka's chocolate. That means that money goes into the factory, but it doesn't come back out into the town. As a result, the local economy is crap. And it's because of this that Charlie's dad can't get a decent job. What's more, it's because of this that his dad *loses* his shitty job, and his family is starving to death. Willie Wonka isn't a childlike magic maker. He's a billionaire corporate fuckwit. He's the candy equivalent of Monsanto. There's no government oversight there. Osha would never have approved that bullshit boiled sweet boat and chocolate river. No. Dude is untouchable. And don't tell me he isn't. That shit that goes on with the other kids? Nobody even *thinks* of suing him. None of the parents even *hint* at it. He probably owns half the judges in the state, and a handful of senators, too. He's a fucking supervillian. And I would paid serious money to see a story where Batman kicks his ass. *End Rant* In closing, let me share something that Oot said while I was reading him this book: "Dad, Willie Wonka is just a regular human, but he *is* a little bit of a wizard like you." 

A celebration of nonconformity; a tense, emotional tale about the fleeting, cruel nature of popularity--and the thrill and inspiration of first love. Ages 12+Leo Borlock follows the unspoken rule at Mica Area High School: don't stand out--under any circumstances! Then Stargirl arrives at Mica High and everything changes--for Leo and for the entire school. After 15 years of home schooling, Stargirl bursts into tenth grade in an explosion of color and a clatter of ukulele music, enchanting the Mica student body.But the delicate scales of popularity suddenly shift, and Stargirl is shunned for everything that makes her different. Somewhere in the midst of Stargirl's arrival and rise and fall, normal Leo Borlock has tumbled into love with her.In a celebration of nonconformity, Jerry Spinelli weaves a tense, emotional tale about the fleeting, cruel nature of popularity--and the thrill and inspiration of first love.

Tally is about to turn sixteen, and she can't wait. In just a few weeks she'll have the operation that will turn her from a repellent ugly into a stunning pretty. And as a pretty, she'll be catapulted into a high-tech paradise where her only job is to have fun.But Tally's new friend Shay isn't sure she wants to become a pretty. When Shay runs away, Tally learns about a whole new side of the pretty world-- and it isn't very pretty. The authorities offer Tally a choice: find her friend and turn her in, or never turn pretty at all. Tally's choice will change her world forever...

This beloved book by E. B. White, author of Stuart Little and The Trumpet of the Swan, is a classic of children's literature that is "just about perfect." This high-quality paperback features vibrant illustrations colorized by Rosemary Wells!Some Pig. Humble. Radiant. These are the words in Charlotte's Web, high up in Zuckerman's barn. Charlotte's spiderweb tells of her feelings for a little pig named Wilbur, who simply wants a friend. They also express the love of a girl named Fern, who saved Wilbur's life when he was born the runt of his litter.E. B. White's Newbery Honor Book is a tender novel of friendship, love, life, and death that will continue to be enjoyed by generations to come. This edition contains newly color illustrations by Garth Williams, the acclaimed illustrator of E. B. White's Stuart Little and Laura Ingalls Wilder's Little House series, among many other books.--harpercollins.com

I had removed this review, which violates Article 2 of the Terms of Use:You agree not to post User Content that: (i) may create a risk of harm, loss, physical or mental injury, emotional distress, death, disability, disfigurement, or physical or mental illness to you, to any other person, or to any animal.Looking at the comment thread, it is abundantly clear that the review not only may, but indeed has caused emotional distress to several Potter fans. I would like to offer my apologies to these unfortunate people, who had every right to expect better service from Goodreads. But, despite the above, I have decided on mature consideration that I will attempt an experiment: I am reinstating the original review, hiding the dangerous and inflammatory content inside a spoiler tag. If you are a person easily offended by negative comments about Harry Potter and still decide to click it, then you have only yourself to blame. You have been warned.(view spoiler)[I got into an argument the other day with an articulate 17 year old Harry Potter fan - let's call him D - who wanted to know why I was being so nasty in my review of Deathly Hallows. What was wrong with it? I offered various structural criticisms: the ending is abrupt and unconvincing, the subplot with the Horcruxes has not been adequately foreshadowed in the earlier volumes, and the book as a whole is overlong and boring. D expressed surprise that I could call Deathly Hallows boring, when I'd given five stars to Madame Bovary and Animal Farm, both of which he considered far duller. The discussion continued for some time. In the end, I said I would write a review summarising my objections to the series as a whole. Here it is.As I said to D, it's not the books or the author. The early Potter books are cute and entertaining, and J.K. Rowling seems like a nice person - if someone's going to scoop the literary Powerball jackpot, why not her? What I very strongly object to is the way the books have been marketed. About 10 years ago, it seems to me, some clever people figured out a new marketing strategy, which they first applied to Potter; when that came to an end, the same methods were used for Twilight. Both series have enjoyed a level of success which is utterly disproportionate to their quality, and which is also unprecedented in literary history. Twilight clearly follows Potter; I've had several discussions about what preceded Potter, and the answer, everyone seems to agree, is that there was no earlier success story of this kind. Before Potter, there was no YA series of dubious merit that absolutely everyone read. I think it's uncontroversial that Potter, in terms of literary quality, is better than Twilight, but Twilight has been even more successful. At one point, the four volumes occupied the top four spots in the New York Times bestseller list. On Goodreads, nearly half of the top 50 reviews are of Twilight books. This is an absurd and unnatural state of affairs. Even though Twilight may not be quite as bad as is sometimes made out - I'm one of many people who have tried to defend it - there's no way it deserves this level of attention.So why is everyone reading it, and why, before that, was everyone reading Potter? As I said, I think it's primarily about the marketing, though I wish I was more sure about the details. Here, at any rate, are some thoughts. First, the publishers are aggressively using economies of scale and deals with third parties. They print very large numbers of copies, and they work together with movie studios, game companies and merchandisers to cross-promote them. I think it's particularly important that a large proportion of the books are sold, not at bookstores, but at normal supermarkets. It's well known that the cover price is usually marked down to the point where the supermarket is not in fact making any profit; they have discovered that they can successfully treat it as a loss leader. This is causing great pain to independent bookstores. Some of them, I have read, have adopted the desperate expedient of buying copies at supermarkets and then reselling them. Second, let's look at the content and style. Even though Potter and Twilight are fairly different in some ways, they also have many strong similarities. Above all, they are extremely easy to read, at every level. The vocabulary is unchallenging; the sentences are short and simple; most characters are one-dimensional stereotypes; the story is uncomplicatedly plot-driven; there are few references to other works of literature. You can read these books if you're tired, if you're sleepy, if you have poor reading skills, if you've never read anything else. They consequently have a very large potential audience.Third, they describe a comforting, emasculated world in which most of the things that make our own world so difficult and unpleasant have been removed. Most strikingly, there is no sex; in Harry Potter, which is supposed to be about fairly normal teens, no one masturbates, no girls get pregnant, none of them are labelled sluts because they've had sex with more than one boy (sometimes one is enough, for that matter), no one gets their heart broken and drops out of school or starts taking drugs as a result, no one is stuck in a dead-end relationship that they wish they could escape from, but can't. The worst thing that happens in either series is the sequence in New Moon where Edward temporarily leaves Bella. Meyer notoriously doesn't describe Bella's feelings at all, but just leaves several pages blank. Once, in fact not so long ago, most adults would have been embarrassed to be seen reading YA literature of this kind; to start with, the comforting word "YA" hadn't been invented yet, and they would have been reading children's books. Somehow, there's been a shift in standards. You look around you on a bus to see what people are reading, and you can be pretty sure you'll see at least a couple of people over 20 engrossed in Potter or Twilight. It's odd that this has happened, and I wish I understood why.In conclusion, I couldn't help being struck by the two books D chose to contrast against Potter. D, Madame Bovary is going to outlast both of these authors because Emma is a real person who experiences the crazy and contradictory emotions that real people experience when they are very unhappy, and as a result she behaves in a crazy and contradictory way; also, Flaubert, unlike Rowling and Meyer, took a great deal of trouble over his prose, and created some of the most beautiful and ironic passages in world literature. There aren't many books I'd call masterpieces, but this is one of them. And finally, Animal Farm is indeed an allegory of the Russian Revolution. More importantly, though, it's about how smart, unscrupulous people manipulate trusting, weak people. Tens of millions of people are reading Potter and Twilight, not because the books are well-written or interesting, but because the readers have been manipulated into buying them by the Napoleons and Squealers of this world. That's what I'm objecting to. Think about it for a moment. (hide spoiler)]

I hardly know where to begin bashing this book. Do I start with the 9-year-old boy and his 12-year-old sister, who read about 6 and 8, respectively? The imperial measurements (miles, feet) despite the German setting? The German boy, raised in Berlin, who thinks that Der Führer is "The Fury" and Auschwitz is "Out-With," despite being corrected several times and seeing it written down? The other English-language idioms and mis-hearings, despite our being told that he speaks only German? And that he believes that "Heil Hitler!" is a fancy word for hello, because he understands neither "Heil" nor "Hitler"?So maybe these are fussy issues, and I shouldn't trash the book on these minor linguistic flaws. Instead, I can start with the plot holes big enough to drive a truck through: that Bruno, whose father is a high-ranking official in "The Fury"'s regime, doesn't know what a Jew is, or that he's living next door to a concentration camp. Or that the people wearing the "striped pajamas" are being killed, and THAT's why they don't get up after the soldiers stand close to them and there are sounds "like gunshots." Or that there's a section of fence that is (a) unpatrolled and (b) can be lifted from the ground high enough to pass food and, eventually, a small boy through, AND that nobody would try to get OUT through this hole. Or that Bruno's friend Shmuel, a frail 9-year-old boy, would survive over a year in a Nazi camp. Or even the author's refusal to ever use the word "Auschwitz," in an effort to "make this book about any camp, to add a universality to Bruno's experience."That last is from an interview with the author that appears at the end of the audio version. I can't speak to most of what he said, because it was a lot of "here are all the places that are hyping my book," but the worst part of it, to me, was where he was addressing criticisms: "there are people who complain that Bruno is too innocent, too naive, and they are trivializing the message of this book." Um, no. I'm not trivializing the message; I'm objecting to his trivializing of the Holocaust. I find his treatment of the Holocaust to be superficial, misleading, and even offensive.As an audio recording, I'm pretty neutral. The narrator did the best he could with the material and there was some differentiation between the characters' voices, but the music that was added... some chapters ended with appropriately-somber music. Other chapters had no music at all. Sometimes the music appeared in the middle of a chapter. Two other incidental notes: first, normally you can't say anything negative about a Holocaust-themed book without being an asshole, because the books are so tied in with the Holocaust itself. In this case, though, I feel like, due to the fictionalizing of it, the book is far enough removed from Auschwitz that it's okay to be negative about the book without being insensitive about the Holocaust. Second, this doesn't land on my "run away! Save yourself!" shelf, because that's more for books that are comically bad--books that I can bash with glee and mock with abandon. I can't find anything funny about what makes this book so bad; it's just plain offensive and shallow.

Have you ever dreamed of being locked in a department store at night? The endearing story of Corduroy paints a picture of the adventures that might unfold (for a teddy bear at least) in such a situation. When all the shoppers have gone home for the night, Corduroy climbs down from the shelf to look for his missing button. It's a brave new world! He accidentally gets on an elevator that he thinks must be a mountain and sees the furniture section that he thinks must be a palace. He tries to pull a button off the mattress, but he ends up falling off the bed and knocking over a lamp. The night watchman hears the crash, finds Corduroy, and puts him back on the shelf downstairs. The next morning, he finds that it's his lucky day! A little girl buys him with money she saved in her piggy bank and takes him home to her room. Corduroy decides that this must be home and that Lisa must be his friend. Youngsters will never get tired of this toy-comes-alive tale with a happy ending, so you may also want to seek out Dan Freeman's next creation, A Pocket for Corduroy. (Ages 3 to 8)

For generations, the Beaumont family has harbored a magical secret. They each possess a "savvy" -a special supernatural power that strikes when they turn thirteen. Grandpa Bomba moves mountains, her older brothers create hurricanes and spark electricity . . . and now it's the eve of Mibs's big day. As if waiting weren't hard enough, the family gets scary news two days before Mibs's birthday: Poppa has been in a terrible accident. Mibs develops the singular mission to get to the hospital and prove that her new power can save her dad. So she sneaks onto a salesman's bus . . . only to find the bus heading in the opposite direction. Suddenly Mibs finds herself on an unforgettable odyssey that will force her to make sense of growing up-and of other people, who might also have a few secrets hidden just beneath the skin.

A timeless tale by the incomparable Kate DiCamillo, complete with stunning full-color plates by Bagram Ibatoulline, honors the enduring power of love."Someone will come for you, but first you must open your heart. . . ."Once, in a house on Egypt Street, there lived a china rabbit named Edward Tulane. The rabbit was very pleased with himself, and for good reason: he was owned by a girl named Abilene, who treated him with the utmost care and adored him completely. And then, one day, he was lost. Kate DiCamillo takes us on an extraordinary journey, from the depths of the ocean to the net of a fisherman, from the top of a garbage heap to the fireside of a hoboes' camp, from the bedside of an ailing child to the bustling streets of Memphis. And along the way, we are shown a true miracle — that even a heart of the most breakable kind can learn to love, to lose, and to love again.

Alternate Cover edition for ISBN 9781594744761A mysterious island. An abandoned orphanage. A strange collection of very curious photographs. It all waits to be discovered in Miss Peregrine's Home for Peculiar Children, an unforgettable novel that mixes fiction and photography in a thrilling reading experience. As our story opens, a horrific family tragedy sets sixteen-year-old Jacob journeying to a remote island off the coast of Wales, where he discovers the crumbling ruins of Miss Peregrine's Home for Peculiar Children. As Jacob explores its abandoned bedrooms and hallways, it becomes clear that the children were more than just peculiar. They may have been dangerous. They may have been quarantined on a deserted island for good reason. And somehow-impossible though it seems-they may still be alive. A spine-tingling fantasy illustrated with haunting vintage photography, Miss Peregrine's Home for Peculiar Children will delight adults, teens, and anyone who relishes an adventure in the shadows.

Despite the tumor-shrinking medical miracle that has bought her a few years, Hazel has never been anything but terminal, her final chapter inscribed upon diagnosis. But when a gorgeous plot twist named Augustus Waters suddenly appears at Cancer Kid Support Group, Hazel's story is about to be completely rewritten.Insightful, bold, irreverent, and raw, The Fault in Our Stars is award-winning author John Green's most ambitious and heartbreaking work yet, brilliantly exploring the funny, thrilling, and tragic business of being alive and in love.

The Lion, the Witch and the Wardrobe is a portal fantasy novel for children by C. S. Lewis, published by Geoffrey Bles in 1950. It is the first published and best known of seven novels in The Chronicles of Narnia (1950–1956). Among all the author's books, it is also the most widely held in libraries. Although it was originally the first of The Chronicles of Narnia, it is volume two in recent editions that are sequenced by the stories' chronology. Like the other Chronicles, it was illustrated by Pauline Baynes, and her work has been retained in many later editions.

Disney's Toontown Online, commonly known as Toontown Online or Toontown, was a 3D massively multiplayer online role-playing game based on a cartoon animal world, developed by Disney's Virtual Reality Studio and Schell Games, published by the Walt Disney Company.The Toontown Online online servers were shut down and/or merged over the years, with the final server to close being the United States (then merged with the United Kingdom) on September 19, 2013. A month before the closure, Disney released a statement that the company would be "shifting its focus to other online and mobile play experiences, such as Club Penguin and a growing selection of mobile apps."Players could create characters called "Toons". Players were able to customize their Toons in various shapes, colors, clothes and sizes, as well as their species, with choices consisting of cats, dogs, ducks, mice, pigs, rabbits, bears, horses and monkeys.

New Evolution of Mario Sandbox-Style Gameplay. Mario embarks on a new journey through unknown worlds, running and jumping through huge 3D worlds in the first sa...

Luigi embarks on a dream vacation with Mario and friends upon receiving an invitation to a luxurious hotel. However, his dream quickly becomes a nightmare when...

Inklings from the Splatoon series, as well as returning Smash characters like Mario and Link will be making appearances in this classic Nintendo franchise's Swi...

Poptropica is an online role-playing game, developed in 2007 by Pearson Education's Family Education Network, and targeted towards children aged 6 to 15. Poptropica was primarily the creation of Jeff Kinney, the author of the Diary of a Wimpy Kid series. As of 2015, he remains at the company as the Creative Director. The game primarily focuses on problem-solving through game quest scenarios, called "islands." Islands all center on a problem that the player must resolve by going through multiple obstacles, collecting and using items, talking to various characters, and completing goals. All islands, upon completion, award "credits," which are non-negotiable currency that may be used to buy costumes and special effects in the Poptropica store.

The magically long-haired Rapunzel has spent her entire life in a tower, but now that a runaway thief has stumbled upon her, she is about to discover the world for the first time, and who she really is.

2010 computer-animated musical fantasy-comedy film by Disney

Bagheera the Panther and Baloo the Bear have a difficult time trying to convince a boy to leave the jungle for human civilization.

1967 American animated film produced by Walt Disney Productions

A young boy wins a tour through the most magnificent chocolate factory in the world, led by the world's most unusual candy maker.

The story of a young deer growing up in the forest.

Wendy and her brothers are whisked away to the magical world of Neverland with the hero of their stories, Peter Pan.

1953 animated fantasy-adventure film by Disney

A paraplegic Marine dispatched to the moon Pandora on a unique mission becomes torn between following his orders and protecting the world he feels is his home.

The romantic tale of a sheltered uptown Cocker Spaniel dog and a streetwise downtown Mutt.

With the help of a smooth talking tomcat, a family of Parisian felines set to inherit a fortune from their owner try to make it back home after a jealous butler kidnaps them and leaves them in the country.

1970 American animated film produced by Walt Disney Productions and directed by Wolfgang Reitherman

In a city of anthropomorphic animals, a rookie bunny cop and a cynical con artist fox must work together to uncover a conspiracy.

2016 computer animated film by Walt Disney Animation Studios

Boog, a domesticated 900lb. Grizzly bear, finds himself stranded in the woods 3 days before Open Season. Forced to rely on Elliot, a fast-talking mule deer, the two form an unlikely friendship and must quickly rally other forest anim

2006 computer-animated film by Roger Allers and Anthony Stacchi

A cowboy doll is profoundly threatened and jealous when a new spaceman figure supplants him as top toy in a boy's room.

1995 American animated film directed by John Lasseter

A look at the relationship between Mike Wazowski (Billy Crystal) and James P. "Sully" Sullivan (John Goodman) during their days at Monsters University, when they weren't necessarily the best of friends.

2013 American animated film directed by Dan Scanlon

Dracula, who operates a high-end resort away from the human world, goes into overprotective mode when a boy discovers the resort and falls for the count's teenaged daughter.

2012 American animated film directed by Genndy Tartakovsky

Manny, Diego, and Sid embark upon another adventure after their continent is set adrift. Using an iceberg as a ship, they encounter sea creatures and battle pirates as they explore a new world.

Jack Skellington, king of Halloween Town, discovers Christmas Town, but his attempts to bring Christmas to his home causes confusion.

1993 animated film directed by Henry Selick

When Hiccup and Toothless discover an ice cave that is home to hundreds of new wild dragons and the mysterious Dragon Rider, the two friends find themselves at the center of a battle to protect the peace.

Friendly but forgetful blue tang Dory begins a search for her long-lost parents, and everyone learns a few things about the real meaning of family along the way.

E.B., the Easter Bunny's teenage son, heads to Hollywood, determined to become a drummer in a rock 'n' roll band. In LA, he's taken in by Fred after the out-of-work slacker hits E.B. with his car.

When the evil spirit Pitch launches an assault on Earth, the Immortal Guardians team up to protect the innocence of children all around the world.

After being snubbed by the royal family, a malevolent fairy places a curse on a princess which only a prince can break, along with the help of three good fairies.

1959 American animated musical fantasy film produced by Walt Disney

American singer, songwriter, dancer, record producer, actor and graffiti artist

American rapper, singer, songwriter and record producer

Trinidadian-born rapper, singer, and songwriter

British singer, songwriter, rapper and record producer

Barbadian singer, songwriter, and businesswoman

The misadventures of a talking sea sponge who works at a fast food restaurant, attends a boating school, and lives in an underwater pineapple.

A group of teenage friends and their Great Dane (Scooby-Doo) travel in a bright green van solving strange and hilarious mysteries, while returning from or going to a regular teenage function.

When a sixteen-year-old high school student finds out she's a witch, her two aunts offer guidance on how to control her newly-discovered magical powers.

Fifteen-year-old Ben Tennyson must utilize the Omnitrix yet again in order to locate his missing Grandpa Max, accompanied by his cousin Gwen and former enemy Kevin 11.

The story of Ben Tennyson, a typical kid who becomes very atypical after he discovers the Omnitrix, a mysterious alien device with the power to transform the wearer into ten different alien species.

The misadventures of a dumb blond egomaniac who is deluded about his own manliness.

The comic misadventures of a tidy, refined Cat and a goofy, uncouth Dog joined at the abdomen.

American animated comedy television series

The daily adventures of penguins living in New York's Central Park Zoo.

American animated television series airing on Nickelodeon

Three super-powered little girls constantly save the world (or at least the city of Townsville) from monsters, would-be conquerers and a few other gross things.

American animated television series from 1998–2005

The life of an adventurous family, from the point of view of an eleven-year-old girl gifted with animal language.

A team of five teenaged superheroes save the world from many villains around their city while experiencing things normal teens face today.

Superhero roommates Robin, Cyborg, Starfire, Raven and Beast Boy love saving the day, but what happens when they're done fighting crime?

The adventures of a group of ten-year-old friends who fight for the right to do everything that adults restrict from them.

The comical seafaring adventures of a young, enthusiastic boy, his pirate captain mentor, and the talking whale that raised him from birth.

The misadventures of a boy genius and his annoying sister.

American comic science fiction animated television series

Grim & Evil is an American animated television series created by Maxwell Atoms for Cartoon Network. It consists of two segments which were eventually spin off into their own series, The Grim Adventures of Billy & Mandy and Evil Con Carne.The Grim Adventures of Billy & Mandy deals with the adventures of two young children respectively named Billy and Mandy who, after celebrating the birthday of Billy's pet hamster, bet that the Grim Reaper would lose to them in Limbo at his own game of limbo in an effort to save the hamster. Billy and Mandy win the bet, and Grim becomes their "best friend forever" as part of their deal.Evil Con Carne follows the adventures of Hector Con Carne, a wealthy playboy whose body is destroyed in a tremendous explosion. His only surviving organs are his brain and stomach, which have been placed in jars and attached to a circus bear named Boskov.

Ned Bigby shares his advice on how to survive middle school.

Two teens become step brothers. One is an awkward geek and the other is a popular musician.

A boy and his beloved imaginary friend are able to stay together at an orphanage of sorts for imaginary friends that children have outgrown to be adopted by new children.

The adventures of average suburban boy Johnny Test, who wittingly plays test subject for his genius twin sisters' various experiments, reluctantly fighting evil villains in the process.

Canadian/American/British television series

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