Jordan

Bruna Guedes

Husain Kothari

FRNK

Uendi Prifti

Abdul Hasib

Loughlin Sullivan

Delaney Knopp

Auriel W

Blake Molmen

Dani Shahar

Luis Javier Campos nieto

Harry Potter's life is miserable. His parents are dead and he's stuck with his heartless relatives, who force him to live in a tiny closet under the stairs. But his fortune changes when he receives a letter that tells him the truth about himself: he's a wizard. A mysterious visitor rescues him from his relatives and takes him to his new home, Hogwarts School of Witchcraft and Wizardry.After a lifetime of bottling up his magical powers, Harry finally feels like a normal kid. But even within the Wizarding community, he is special. He is the boy who lived: the only person to have ever survived a killing curse inflicted by the evil Lord Voldemort, who launched a brutal takeover of the Wizarding world, only to vanish after failing to kill Harry.Though Harry's first year at Hogwarts is the best of his life, not everything is perfect. There is a dangerous secret object hidden within the castle walls, and Harry believes it's his responsibility to prevent it from falling into evil hands. But doing so will bring him into contact with forces more terrifying than he ever could have imagined.Full of sympathetic characters, wildly imaginative situations, and countless exciting details, the first installment in the series assembles an unforgettable magical world and sets the stage for many high-stakes adventures to come.

Ten-year-old Annemarie Johansen and her best friend Ellen Rosen often think of life before the war. It's now 1943 and their life in Copenhagen is filled with school, food shortages, and the Nazi soldiers marching through town. When the Jews of Denmark are "relocated," Ellen moves in with the Johansens and pretends to be one of the family. Soon Annemarie is asked to go on a dangerous mission to save Ellen's life.

Anna is not sick, but she might as well be. By age thirteen, she has undergone countless surgeries, transfusions, and shots so that her older sister, Kate, can somehow fight the leukemia that has plagued her since childhood. The product of preimplantation genetic diagnosis, Anna was conceived as a bone marrow match for Kate—a life and a role that she has never challenged... until now. Like most teenagers, Anna is beginning to question who she truly is. But unlike most teenagers, she has always been defined in terms of her sister—and so Anna makes a decision that for most would be unthinkable, a decision that will tear her family apart and have perhaps fatal consequences for the sister she loves.A provocative novel that raises some important ethical issues, My Sister's Keeper is the story of one family's struggle for survival at all human costs and a stunning parable for all time.

Every kid thinks about running away at one point or another; few get farther than the end of the block. Young Sam Gribley gets to the end of the block and keeps going--all the way to the Catskill Mountains of upstate New York. There he sets up house in a huge hollowed-out tree, with a falcon and a weasel for companions and his wits as his tool for survival. In a spellbinding, touching, funny account, Sam learns to live off the land, and grows up a little in the process. Blizzards, hunters, loneliness, and fear all battle to drive Sam back to city life. But his desire for freedom, independence, and adventure is stronger. No reader will be immune to the compulsion to go right out and start whittling fishhooks and befriending raccoons.  Jean Craighead George, author of more than 80 children's books, including the Newbery Medal-winning Julie of the Wolves, created another prizewinner with My Side of the Mountain--a Newbery Honor Book, an ALA Notable Book, and a Hans Christian Andersen Award Honor Book. Astonishingly, she wrote its sequel, On the Far Side of the Mountain, 30 years later, and a decade after that penned the final book in the trilogy, Frightful's Mountain, told from the falcon's point of view. George has no doubt shaped generations of young readers with her outdoor adventures of the mind and spirit. (Ages 9 to 12) --Emilie Coulter

It was a dark and stormy night.Out of this wild night, a strange visitor comes to the Murry house and beckons Meg, her brother Charles Wallace, and their friend Calvin O'Keefe on a most dangerous and extraordinary adventure—one that will threaten their lives and our universe.Winner of the 1963 Newbery Medal, A Wrinkle in Time is the first book in Madeleine L'Engle's classic Time Quintet.

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.

This is the story of Corlath, golden-eyed king of the Free Hillfolk, son of the sons of the Lady Aerin.And this is the story of Harry Crewe, the Homelander orphan girl who became Harimad-sol, King's Rider, and heir to the Blue Sword, Gonturan, that no woman had wielded since the Lady Aerin herself bore it into battle.And this is the song of the kelar of the Hillfolk, the magic of the blood, the weaver of destinies...

Aerin could not remember a time when she had not known the story; she had grown up knowing it.It was the story of her mother, the witchwoman who enspelled the king into marrying her, to get an heir that would rule Damar; and it was told that she turned her face to the wall and died of despair when she found she had borne a daughter instead of a son.Aerin was that daughter.But there was more of the story yet to be told; Aerin's destiny was greater than even she had dreamed--for she was to be the true hero who would wield the power of the Blue Sword...

”The hunger of a dragon is slow to wake, but hard to sate.”\
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The Folio Society edition is superbly illustrated by David Lupton.The boy is born on the island of Gont in the archipelago of Earthsea. This is a world infused with magic. Not everyone can control this magic, but those who know the right words and have a wizard soul can learn to utilize the power of the Earth to manipulate objects and events. The boy’s name is Duny; I can tell you that name because the name has no power over him. His true name is something he can only reveal to those he trusts absolutely beyond question.I know his true name, but fair reader, I’m not sure yet that I can share it with you. His aunt knows a few things, a handful of words, that can be used to bind things or call animals to her. Duny is particularly adept at calling falcons and other birds of prey. His agile mind soon surpasses what his aunt can teach him. He burns to know more. He is assigned to a mage, Ogion, who tries to teach him about the balance of magic with the Earth. There is always a cost for using magic. Understanding the levy for sorcery is the difference between being just impulsively talented and being wise about what you know. ”You must not change one thing, one pebble, one grain of sand, until you know what good and evil will follow on that act. The world is in balance, in Equilibrium. A wizard’s power of Changing and of Summoning can shake the balance of the world. It is dangerous, that power. It is most perilous. It must follow knowledge, and serve need. To light a candle is to cast a shadow….”If the flap of a butterfly wing in the Amazon can cause a hurricane in Florida, imagine what a wizard can do with power over the weather. It is kind of funny, but there is this one scene where wizards on different islands use spells to keep the clouds from raining on them. This storm bounces between them like a boiling stew pot. Now, a wizard like Ogion finds shelter under a tree and waits for the rain to stop. To Sparrowhawk, this type of restraint is ridiculous. If you have the power, why not use it? Duny is Sparrowhawk, and you might think that is his real name, but just because you’ve read a few paragraphs of this review doesn’t mean you’ve endeared yourself to me enough to tell you his real name. Sparrowhawk will suffice for now. Sparrowhawk becomes impatient with the restrained magic that Ogion teaches, so he is sent to magic school on the Island of Roke. There was a magic school in literature before Hogwarts? Indeed there was. The first time he goes to the dining hall to eat, there is only one table. The table, in a very Hogwarts’ fashion, expands to fit as many people who enter to eat. Sparrowhawk is soon recognized as one of the most gifted students. Spells and the names of things flow into his mind like lava, changing the landscape of his brain into something completely different. He becomes powerful.He becomes arrogant.He becomes vengeful on those who don’t appreciate his power. In a moment of hubris, he summons a dead woman from the distant past and, in the process, opens a rift that nearly kills him. It does kill the old mage who helps him close it. Something came through. Sparrowhawk is burned in mind, body, and spirit. He is guilty of a death. The shame and self-condemnation weigh heavily on him. He may become the great wizard he was intended to be, but the road will be much longer now. The shadow from another world that pursues him becomes the devil on his heels for the rest of the novel. This chase from island to island reminded me of Frankenstein and his pursuit of his monster to the North Pole. The interesting thing about this novel is that Ursula K. Le Guin’s publisher came to her and asked her to write a book for older kids. Young Adult wasn’t even a term yet in the late 1960s. She wasn’t sure she wanted to write such a book, but she was nagged by the idea of where do great wizards come from? We normally meet them when they are old sages in the vein of a Merlin or a Gandalf. She wanted G__ erhhh Sparrowhawk to be seen as more human, more fallible than how most wizards had been presented before. I liked the emphasis she puts on the importance of words in this novel and the power and magic that resides in knowing the names of things. I had trepidations about reading this book. I was reassured that I was in the capable hands of a writer I’ve enjoyed before. I have a bit of a knee jerk reaction to the term Young Adult because I’m not a Young Adult. I’m an old fuddy duddy who has a hard time watching commercials on TV geared towards youth. I certainly wince at the idea of spending hours trapped in a book intended for a younger audience. I’m somewhat alarmed at the number of ADULTS who read nothing but Young Adult. The evolution of a reader is for that person to move from picture books, then ride the escalator to Young Adult, and eventually find the elevator that will take them onwards and upwards to adult literature. I’m still pondering this. Is it an extended childhood? Why would someone always want to read about children or teenagers? Am I generationally challenged on this issue? I am happy that people are reading, and ultimately it is better that they read anything rather than nothing at all, but I do think that the more you read there should be some evolution in what you choose to read. I’m such an eclectic reader that it is difficult for me to understood people being so genre specific with their reading choices. Young Adult now dominates the publishing world. Writers are being encouraged to make changes to their novels so they can be marketed as YA. If I weren’t worried about this trend it would be fascinating. \
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There are dragon battles, alluring women who try to seduce G_d to their own uses. There are friendships made and lost; there are painful realizations, and there is growth and acceptance of our own limitations. Most importantly, there is a wizard as wise and as powerful as Gandolf or Merlin, who emerges like a Phoenix from the flames of his own childish conceit. His name is Ged, but you must only whisper it, or better yet refer to him as Sparrowhawk, and keep in the locked box at the center of your heart who he really is. ”He hunted, he followed, and fear ran before him.”If you wish to see more of my most recent book and movie reviews, visit http://www.jeffreykeeten.comI also have a Facebook blogger page at:https://www.facebook.com/JeffreyKeeten

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After receiving the healing powers from a magical flower, the baby Princess Rapunzel is kidnapped from the palace in the middle of the night by Mother Gothel. Mother Gothel knows that the flower's magical powers are now growing within the golden hair of Rapunzel, and to stay young, she must lock Rapunzel in her hidden tower. Rapunzel is now a teenager and her hair has grown to a length of 70-feet. The beautiful Rapunzel has been in the tower her entire life, and she is curious of the outside world. One day, the bandit Flynn Ryder scales the tower and is taken captive by Rapunzel. Rapunzel strikes a deal with the charming thief to act as her guide to travel to the place where the floating lights come from that she has seen every year on her birthday. Rapunzel is about to have the most exciting and magnificent journey of her life.

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This kicks off with the murder of one Adolf Schwartz (who bears a striking resemblance to another famous Adolf) by placing a ravenous piranha fish in his bathtub. Who did it? No-one knows or cares, as they're too busy being distracted by busty Margo Winchester, who hitch-hikes into# town and gets involved with all the local men. It all ends with a series of complicated plot twists that reveal that just about everyone is really someone else. And if it gets too confusing, Russ Meyer helpfully arranges for a one- woman nude Greek chorus to pop up at intervals to explain what's going on.

Hazel and Augustus are two teenagers who share an acerbic wit, a disdain for the conventional, and a love that sweeps them on a journey. Their relationship is all the more miraculous, given that Hazel's other constant companion is an oxygen tank, Gus jokes about his prosthetic leg, and they meet and fall in love at a cancer support group.

Social warfare erupts when three high school clique queens battle for supremacy: drama diva Caprice, Mormon princess 'Shley and blonde fashionista Fawcett. When unassuming Tanner is outted, he finds himself cast as the hottest new teen-girl accessory: The Gay Best Friend. The clique queens immediately pounce and makeover Tanner into their ideal arm candy, forcing him to choose between popularity and the true friends - including his own B.F.F. Brent - that he's leaving behind.

A youth named Jonas lives in an equalized, literally colorless, but pleasant society with no knowledge of love or pain and such. When he and his best friends Asher and Fiona come of age, they receive their societal roles, with Jonas given the rare position of Receiver (of Memories). Because of this, he meets a mentoring elder Receiver (later called The Giver). They look at memories of the past world, of joy, of pain, and of love. As Jonas receives these memories, he breaks the cardinal rule against sharing them with others, thereby getting in trouble with the watchful Chief Elder. When Jonas discovers that an infant boy named Gabriel will be terminated, his efforts to save the child puts him squarely against his society. Deciding that all must re-learn to see color, to feel pain, and to show and receive love, Jonas becomes public enemy number one.

Set in a futuristic dystopia where society is divided into five factions that each represent a different virtue, teenagers have to decide if they want to stay in their faction or switch to another - for the rest of their lives. Tris Prior makes a choice that surprises everyone. Then Tris and her fellow faction-members have to live through a highly competitive initiation process to live out the choice they have made. They must undergo extreme physical and intense psychological tests, that transform them all. But Tris has a secret that she is Divergent, which means she doesn't fit into any one group. If anyone knew, it would mean a certain death. As she discovers a growing conflict that threatens to unravel her seemingly peaceful society, this secret might help her save the people she loves... or it might destroy her.

From producer Guillermo del Toro and director Jorge Gutierrez comes an animated comedy with a unique visual style. THE BOOK OF LIFE is the journey of Manolo, a young man who is torn between fulfilling the expectations of his family and following his heart. Before choosing which path to follow, he embarks on an incredible adventure that spans three fantastical worlds where he must face his greatest fears. Rich with a fresh take on pop music favorites, THE BOOK OF LIFE encourages us to celebrate the past while looking forward to the future.

A 12-year-old girl is sent to the country for health reasons, where she meets an unlikely friend in the form of Marnie, a young girl with long, flowing blonde hair. As the friendship unravels it is possible that Marnie has closer ties to the protagonist than we might expect.

2014 Japanese animated film directed by Hiromasa Yonebayashi

Christmas in Tokyo, Japan. Three homeless friends: a young girl, a transvestite, and a middle-aged bum. While foraging through some trash, they find an abandoned newborn. Hana, the transvestite with delusions of being a mother, convinces the others to keep it overnight. The next day, using a key found with the baby, they start tracking down the parents, with many adventures along the way.

Takao, who dreams of becoming a shoemaker, skips school and is sketching shoes in a garden in the middle of Tokyo. He meets a mysterious woman, Yukino, who is older than him. Then, without arranging the times, the two start to see each other again and again, but only on rainy days.

After her werewolf lover unexpectedly dies in an accident while hunting for food for their children, a young woman must find ways to raise the werewolf son and daughter that she had with him while keeping their trait hidden from society.

2012 animated film directed by Mamoru Hosoda

A year has passed by since the Pevensie children stepped through the wardrobe. In Narnia, centuries have passed since the defeat of the White Witch. Now the foursome are sent back to Narnia to find that everything was destroyed and the Narnia they once knew is gone forever. They come to aid the young Prince Caspian, who is leading a group of Old Narnians to wage war against his malicious uncle Miraz, who rules Narnia with an iron fist. Will they succeed? When will Aslan return?

This is the story of a nine-year-old boy named Hogarth Hughes who makes friends with an innocent alien giant robot that came from outer space. Meanwhile, a paranoid U.S. Government agent named Kent Mansley arrives in town, determined to destroy the giant at all costs. It's up to Hogarth to protect him by keeping him at Dean McCoppin's place in the junkyard.

1,000 Ways to Die, an anthology television series that aired on Spike/Spike TV from May 14, 2008 to July 15, 2012, showcased shocking reenactments of deaths of individuals who often met the grim reaper in unorthodox or outlandish ways. Often recreated in a fast-paced, tongue-in-cheek manner, the stories were based on actual events, but dramatic license was used liberally. Voice-over narration provided background information on each death. The deaths were recreated in a variety of ways including witness testimonials, historical tidbits, scientific expert analysis, graphic computer-generated imagery animation, interviews, live-action recreation, and even actual footage when available. Each death ended with a title which was a pun, often based on some popular word or phrase.

"Wizards of Waverly Place" focuses on the Russos. A typical family, which includes a mom, Theresa Russo; a dad, Jerry Russo; a son, Justin Russo; a daughter, Alex Russo; and another son, Max Russo. The kids and the family live normal lives but what their friends don't know is the kids are wizards in training and the dad was a former wizard!

Scott McCall was just another kid in high school. Until, one night his best friend Stiles brings him to the woods, to look for a dead body, and Scott is bitten by a werewolf. Being a werewolf came with its perks- stronger, faster, new star in the lacrosse team, popularity- but also made it hard to control his anger. Scott has also fallen for the new girl in town, Allison, whose dad is trying to hunt and kill Scott. Scott now has to try and balance his out of control life, figure out how to control his new powers, try not to be killed by the alpha that bit him, and protect Allison- and keep her from finding out his big secret.

Chronicles the struggles of the cursed Joestar bloodline against the forces of evil. Beginning in 1880, Part I follows Jonathan Joestar as he matures with and eventually combats his adoptive brother, the cunning, merciless Dio Brando. Set in 1938, Part II follows the misadventures of Joseph Joestar, grandson of Jonathan, as he masters the Ripple in order to combat hostile, ancient super-beings named the Pillar Men; creators of the Stone Mask. Part III follows Jotaro Kujo and his group as they journey from Tokyo to Cairo to save his mother's life by defeating his family's resurrected archenemy, Dio. In Part IV, an Arrow manifesting latent Stand abilities travels throughout Morioh, Japan in 1999; as high-schooler Josuke Higashikata (illegitimate son of Joseph) and friends seek out the culprit of a series of decade-long homicides. Set in 2001, Part V follows Giorno Giovanna, son of Dio, and his ambition to rise within the Neapolitan mafia by subverting its most powerful gang: Passione.

The story takes place in the world of Remnant, which is filled with supernatural forces and shadowy creatures known as the Grimm. Prior to the events of the series, mankind waged a battle of survival against the Grimm before discovering the power of a mysterious element called Dust, which allowed them to fight back against the monsters. In the present day, Dust is used to power abilities and weapons. Those who use these abilities to battle the Grimm are known as Huntsmen and Huntresses. The series focuses on four girls, each with her own unique weapon and powers. Together, they form a team at Beacon Academy in the city of Vale, where they are trained to become Huntresses.

Sakura was a normal fourth-grader until she stumbled upon the book of Clow Cards in her father's library. After accidentally setting the magical cards loose, it's now up to Sakura to catch them all again before they wreak havoc on the entire world! Luckily, she has her best friend Tomoyo, and Kerberos, the guardian of the cards, to help her. But when the help is more interested in costumes and video games than in Clow Cards, what's a young captor to do? And now Sakura has a rival, both in her chase for the Clow Cards and for the affections for her brother's friend Yukito....

This series is set in the fictional Beach City, where ageless alien warriors, the Crystal Gems, live in an ancient beachside temple, protecting the world from evil. They project female humanoid forms from magical gemstones that are the core of their being. The Crystal Gems are Garnet, Amethyst, Pearl and Steven, a young half-human, half-Gem boy who inherited his gemstone from his mother, the Gems' former leader Rose Quartz. As Steven tries to figure out his powers, he spends his days with his human father Greg, his friend Connie, other people in Beach City, or the other Gems, whether to help them save the world or just to hang out. He explores the abilities passed down to him by his mother, which include fusion (the ability of Gems to merge their identities and bodies to form a new and more powerful personality).

Two brothers lose their mother to an incurable disease. With the power of "alchemy", they use taboo knowledge to resurrect her. The process fails, and as a toll for using this type of alchemy, the older brother, Edward Elric loses his left leg while the younger brother, Alphonse Elric loses his entire body. To save his brother, Edward sacrifices his right arm and is able to affix his brother's soul to a suit of armor. With the help of a family friend, Edward receives metal limbs - "automail" - to replace his lost ones. With that, Edward vows to search for the Philosopher's Stone to return the brothers to their original bodies, even if it means becoming a "State Alchemist", one who uses his/her alchemy for the military.

When Dipper and Mabel Pines get sent to their great-uncle Stan's shop in Gravity Falls, Oregon for the summer, they think it will be boring. But when Dipper find a strange journal in the woods, they learn some strange secrets about the town and its strange inhabitants.

In the land of Equestria, a precocious but introverted bookworm named Twilight Sparkle is the personal protégé of its ruler, Princess Celestia. Sent to Ponyville to oversee a celebration, Twilight faces the return of a menace she feared and defeats it with the power of friendship she discovers with some locals. Now charged to learn more, Twilight and her new friends face life's challenges from personal problems to grave threats to the land with a growing appreciation of the friendship they share and the magic it makes possible.

Animated television series based on the Hasbro franchise

Daten City is plagued by numerous Ghosts that feed upon its residents, but coming to the rescue are the angel sisters Panty and Stocking! Aided by the priest Garterbelt and their pet Chuck Zipper, these sisters from Heaven are assigned the duty of exorcising these specters. However, all they really want to do is have fun and slack off: Panty's goal is to bed one thousand men, and Stocking is only interested in sweets and desserts. To make matters worse, they were not sent from Heaven but rather thrown out, and the only way they can get back into Heaven is to defeat and destroy these Ghosts. And so this dirty pair is off to bust ghosts, and have a lot of fun on the side.

One night, 14-year-old Madoka Kaname has a terrible nightmare - against the backdrop of a devastated city, she witnesses a girl fight a losing battle against a dreadful being lingering above, while a cat-like magical creature tells Madoka the only way to change that tragic outcome is for her to make a contract with him and become a magical girl. The next day, the teen's dream seemingly becomes reality as the girl she saw in her dream - Homura - arrives at Mitakihara Middle School as a transfer student, mysteriously warning Madoka to stay just the way she is. But when later on she and her best friend Sayaka encounter the same cat-like magical creature from her dream - who introduces himself as Kyubey - the pair discovers that magical girls are real, and what's more, they can choose to become one. All they must do is sign a contract with Kyubey and agree to take on the duty to fight abstract beings called 'witches' that spread despair to the human world, and in return, each one of them will be granted any single wish they desire. However, as Homura's omen suggests, there might be far more to becoming a magical girl than Madoka and Sayaka realize.

John Winchester raised his two sons Sam and Dean to hunt and kill all things that go "bump in the night" after his wife Mary was murdered by an evil supernatural being when the boys were little. 22 years later the brothers set out on a journey, fighting evil along the way, to find their recently-missing father; when they finally do he reveals he knows what demon killed their mother and has found a way to track and kill it. Meanwhile, Sam develops frightening abilities such as seeing visions of people dying before it actually happens. These visions are somehow connected to the demon that murdered his mother and its mysterious plans that seem to be all about Sam. When their father dies striking a deal with that very same demon, the brothers determine to finish his crusade. But disturbing revelations about Sam's part in the demon's apocalyptic plan are presented when John's dying last words to Dean are revealed.

This is an animated sitcom about the antics of a dysfunctional family. Homer is the oafish unhealthy beer loving father, Marge is the hardworking homemaker wife, Bart is the perpetual ten-year-old underachiever (and proud of it), Lisa is the unappreciated eight-year-old genius, and Maggie is the cute, pacifier loving silent infant.

American animated sitcom created by Matt Groening

for every indie band i like there are 20 related ones i dont

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