A group of resourceful kids start "solution-seekers.com," a website where "cybervisitors" can get answers to questions that trouble them. But when one questioner asks the true meaning of Christmas, the kids seek to unravel the mystery by journeying back through the prophecies of the Old Testament. What they find is a series of "S" words that reveal a "spectacular story!" With creative characters, humorous dialogue and great music, The "S" Files is a children's Christmas musical your kids will love performing.

Excerpt from Hebrew Melody: Freely Transcribed for Violin and Piano From the Children's Suite (82361) Contents: Jumping with Tongue out - Sleep my Puppy - Birdies March of Toys - Mamma. Tell a Fairy Tale - The Top - The Cara van - Parade with Presents. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

"In 1917, a band of communist revolutionaries stormed the Winter Palace of Tsar Nicholas II, a dramatic and explosive act marking that Vladimir Lenin's communist revolution was now underway. But Lenin would not be satisfied with overthrowing the Tsar. His goal was a global revolt that would topple all Western capitalist regimes starting with the British Empire. This book tells the story of the British spies in revolutionary Russia and their mission to stop Lenin's red tide from washing across the free world. They were an eccentric cast of characters, led by Mansfield Cumming, a one-legged, monocle-wearing former sea captain, and included novelist W. Somerset Maugham, beloved children's author Arthur Ransome, and the dashing, ice-cool Sidney Reilly, the legendary Ace of Spies and a model for Ian Fleming's James Bond. Cumming's network would pioneer the field of covert action and would one day become Britain's Military Intelligence 6 (MI -6) -- book jacket.

"A play about the power of books, muscles and human kindness. Josh (or Jo, since almost any role can be cast as male or female) is the children's librarian at a poor public library facing a huge budget crisis. He's also a power lifter, pumping iron in the library basement and running a video blog about young adult and children's books, weights and life. Kids flock to his unconventional story time and check out books by the dozens. All but one kid, that is - a loner named Mr. T (or Ms. T), who has the loud tics of Tourette syndrome. Slowly, Josh and Mr. T form a friendship, and Mr. T finally ventures to Josh's basement gym, where a friendship is born. The stakes go up when the town says the library needs to close for monetary reasons. This hits Josh and the kids hard and leads to them staging a '60s-inspired Read-In rather than letting their library be shut down. At the play's end, a Sixth Sense-like ending reveals the true identity of Mr. T. The World's Strongest Librarian will get kids pumped up to read, to work themselves into shape and especially to be kind to others."

A new play from critically-acclaimed young playwrights Clara Mamet and Jack Quaid. In The Solvit Kids , Bradley Phillips and Annie Wyatt are the stars of the world-renowned "Solvit Kids" movies - a series based off the popular children's books, the author of which dies just as he is finishing the last installment. Annie and Brad are then left with the rights to release it. However when something goes horribly wrong it is up to the former "Solvit Kids" to come up with a solution.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The murder of a third of Europe's Jews by the Nazis is unquestionably the worst catastrophe in the history of contemporary Judaism and a formative event in the history of Zionism and the State of Israel. Understandably, therefore, the Shoah, written about, analyzed, and given various political interpretations, has shaped public discourse in the history of the State of Israel. The key element of Shoah in the Israeli context is victimhood and as such it has become a source of shame, shrouded in silence and subordinated to the dominant discourse which, resulting from the construction of a "new Hebrew" active subjectivity, taught the postwar generation of Israelis to reject diaspora Jewry and its alleged passivity in the face of catastrophe. This book is the culmination of years of preoccupation with the meaning of the Shoah for the author, an Israeli woman with a "split subjectivity: - that of a daughter of a family of Shoah survivors, and that of a daughter of the first Israeli-born generation; the culmination of her need to break the silence about the Shoah in a society which constructed itself as the Israeli antithesis to diaspora Jewry, and to excavate a "truth" from underneath the mountain of Zionist nation-building myths. These myths, the author argues, not only had deep implication for the formation of her generation but also a profound impact on the Israeli-Palestinian conflict. Moreover, they are shot through with images of the "masculine" Israeli, constrasted with those of the weak, passive, non-virile Jewish "Other" of the diaspora. This book offers the first gendered analysis of Israeli society and the Shoah. The author employs personal narratives of nine Israeli daughters of Shoah survivors, writers and film makers, and a feminist re-reading of official and unofficial Israeli and Zionist discourses to explore the ways in which the

The Man Who Was Not With It is the story of young Bud Williams and his safari southward to Florida. On the way, he is abruptly confronted with the con men, addicts, and freaks, and the bruised innocence, of carnival and nightclub life.

Counter Harold Bissonette owns a small-town grocery store in New Jersey, running the daily gauntlet of his nagging wife, demanding daughter, loud-mouthed son, prudish townspeople, blind or just plain ornery customers, and of course, Baby LeRoy. But when his rich uncle Bean dies, Harold can at last realize his dream of owning an orange grove in California. From this unpromising material the genius of W.C. Fields fashioned one of the most sheerly funny comedies Hollywood ever produced. In it, the Fields persona was honed to perfection: the misanthropic curmudgeon, nursing his small triumphs over the women and small children who beset him, managing, however improbably, to transorm disaster into success. Simon Louvish has performed a splendid work of excavation in tracing back the origins in Fields' stage work of the wonderful set pieces from which the film is constructed. But in dissecting the origins and techniques of the routines, Louvish does not murder the comedy, for his descriptions of Fields at work recreate the joy of watching the most anarchic and original comic Hollywood ever discovered. -- Provided by the publisher.

". . . a remarkable book. . . . A most penetrating study of education."--Saturday Review of Literature". . . an admirable defense of the critical mind in education . . . Sidney Hook is among the the Children of the Light, that is to say, of the Enlightenment."--Albert Guerard, New York Herald Tribune". . . Mr. Hook has put his finger . . . upon the profound fallacy of most of the current attempts to 'reorganize' higher education . . . exciting reading"--Howard Mumford Jones, New York Times". . . needed by anyone who wishes to have a comprehensive view of the problems of modern education."--Wendell Johnson, Chicago Sun"Sidney Hook brings . . . a new high standard of sanity and clarity. . . . For sheer excellence of logic, and for magic of comprehensiveness, the book is head and shoulders above all recent competitors."--William Randel, St. Louis Post-Dispatch". . . a fine book . . . it has the advantage of Mr. Hook's dissecting mind, operating with the cleanness of a surgical instrument."--Jerome Nathanson, The New Republic"Wisely sane."--John Dewey

A writer's lifelong battle with mental illness. Demonic to Divine: The Double Life of Shulamis Yelin is a weaving of the Montreal writer's stories and selected diary excerpts and family photographs revealing a far-reaching creative personality who is haunted from the age of ten by the "moods taking over." This book poignantly illuminates the dramatic duality of a public and private literary and emotional life through published and unpublished stories of an idyllic Montreal Jewish childhood contrasted with deeply troubled and often shocking diary entries that document the author's lifelong battle with mental illness. Yelin's insightful yet light and humorous stories have been cherished by generations of children and adults for their universal appeal. The journal entries that she maintained for most of her 90 years document the abuse, paranoia, self-loathing, doubt, and devastating depression of Yelin's true emotional state. These concurrent lenses reveal the profound struggles and suffering of a fascinating and highly gifted woman who transcended her ongoing deep-seated emotional agony to create a significant literary legacy. The many threads of this multilayered book have been woven together though the collaboration of Yelin's daughter, Gilah Yelin Hirsch and Yelin's first stories' editor, Nancy Marrelli.

That rarest of things, a children's book for "children" of all ages.... In this picaresque and highly entertaining novel, Leutenlieb, a.k.a. Baron Munchausen (great-great-great grandson of his celebrated ancestor), takes us on a roller-coaster ride through the history of the Twentieth Century, introducing us along the way to a galaxy of iconic figures - from Hitler to Hemingway, from Al Capone to Greta Garbo - while describing how, with breath-taking imagination, brilliant ingenuity and technological expertise of staggering proportions (not to mention legendary modesty!) he succeeds in solving all the problems with which he is faced. The darker side is there too - two world wars, Nazi extermination camps and Soviet labour camps - but through it all our protagonist maintains his optimism, his integrity, his belief in the power of the indomitable human spirit, and his sense of humour. The full tragi-comedy of life is there. Shlomo Kalo, a nominee for the Nobel Prize in Literature and a story teller of international renown brings us a book of refreshing insights and ingenious humor that younger readers can enjoy too. Scroll up and grab your copy today!

"Shoreline, a creative-nonfiction memoir, melds tales of intergenerational wandering, the joys and challenges of raising children in multiple countries, historical and literary figures from within their cultural contexts, and an exploration of deep friendships and family relations. In bringing together all these strains, the book brings to life ways in which our own personal identity is inextricably intertwined with the people who matter to us as well as with our familial and cultural histories"--

"In the beginning there was Lucette, who is the mother to three children--Sammy, a gentle giant, almost blind, but a genius with locks; Corinne, a flighty beauty who cannot keep a job; and "the child," an afterthought, who strives to make sense of her fractured Egyptian-Jewish immigrant family. Lucette's children would like a kinder, warmer home, but what they have is a government-issued concrete box, out in the thorns and sand on the outskirts of Tel Aviv; and their mother, hard-worn and hardscrabble, who cleans homes by night and makes school lunches by day. Lucette quarrels with everybody, speaks only Arabic and French, is scared only of snakes, and is as likely to lock her children out as to take in a stray dog. The child recounts her years in Lucette's house, where Israel's wars do not intrude and hold no interest. She puzzles at the mysteries of her home, why her father, a bitter revolutionary, makes only rare appearances. And why her mother rebuffs the kind rabbi whose home she cleans in his desire to adopt her. Always watching, the child comes to fill the holes with conjecture and story. In a masterful accumulation of short, dense scenes, by turns sensual, violent, and darkly humorous, The Sound of Our Steps questions the virtue of a family bound only by necessity, and suggests that displacement may not lead to a better life, but perhaps to art"--

From Sadness and Happiness: Poems by Robert Pinsky : CEREMONY FOR ANY BEGINNING Robert Pinsky ? Against weather, and the random Harpies--mood, circumstance, the laws Of biography, chance, physics-- The unseasonable soul holds forth, Eager for form as a renowned Pedant, the emperor's man of worth, Hereditary arbiter of manners. Soul, one's life is one's enemy. As the small children learn, what happens Takes over, and what you were goes away. They learn it in sardonic soft Comments of the weather, when it sharpens The hard surfaces of daylight: light Winds, vague in direction, like blades Lavishing their brilliant strokes All over a wrecked house, The nude wallpaper and the brute Intelligence of the torn pipes. Therefore when you marry or build Pray to be untrue to the plain Dominance of your own weather, how it keeps Going even in the woods when not A soul is there, and how it implies Always that separate, cold Splendidness, uncouth and unkind-- On chilly, unclouded mornings, Torrential sunlight and moist air, Leafage and solid bark breathing the mist.

"Rachel Tzvia Back transmutes the hard and sharp facts of the world into green and gold in these poems that bristle with desperate hope. She's always biblical to me, not just because the Galilean landscape she lives in is so like that of those old psalms, but also because she too was a mother who sent her son to war, though she sees in that son another's son--a boy killed on a beach in far Gaza, while playing. The poet here becomes mother to both, she rises up in need to save both, to spin these new and much needed Psalms. Shone upon by a tradition of humanism and compassion, Back dares to ask the famous questions first articulated by Fanny Howe: 'Where did the days go? Where to now?' And the last one, the one that always haunts her, throughout all the poems in this painful and wise book: 'Are my children safe?' 'We will need a new language, ' Back warns. Good then that she's giving it to us."--Kazim Ali "'What Use Is Poetry, the Poet Is Asking, ' and the book itself is the answer: Poetry --this poetry--is necessary, irreplaceable, urgent. This is the best work of an important Israeli-American poet, translator, peace activist and scholar who reminds us, through the courageous beauty of her poems, that not to be political in these times is to collaborate with the forces of darkness. And what is political for Back couldn't be more intensely personal, as the mother of an air-force paramedic who suffers from PTSD. Narrating the endless cycle of violence of her region, Back's poems protest, grieve, and rescue language from its political and commercial appropriations. Throughout she adopts the irreverent tradition of textual allusion in Jewish poetry, allowing herself to radically rewrite the Hebrew Bible, from Genesis to Psalms, and feminize the Jewish liturgy. This is one of the best new books of poetry I have read in recent years!"--Chana Kronfeld "Poetry may make nothing happen, as Auden infamously wrote, but Rachel Tzvia Back's poetry makes something delicately yet fiercely come forth: the grief of mothers, the fear of soldiers, the tenderness of a younger brother's hand, the stones and sand against which cyclamens struggle to flower in Israel/Palestine. This is a poetry that honors the vast silence out of which and into which we go, and the silences before and after extreme violence. Drawing on ancient epic and myth, alert to the rhythms of land- and sea-scapes, Back's poems arise from a background of unending war, refugee crises, the 'sea of small feathered/things' and 'of mortar fire fired.' These are incantations offered in part to heal a son, to recognize injury, to sound out grief and guilt, but also to register difficult flashes of beauty and the presiding elemental forces of "eastern winds," sun, moon, season, and sea. Back's lyrics are as purposive, stealthy, and precise as the step of the tutelary cat in some of her poems. Her beautifully spare lines offer 'a narrow bridge and all the world'." --Maureen McLane

Mary Fisher's AIDS activism has taken her around the globe. But it was Africa that "changed her," she said after visiting as part of an official delegation and then returning with her two, teenaged sons. From acres of orphans to mourning villages, Fisher breathed in the experience of AIDS in Africa. She experienced the power of ABATAKA -- a pan-African term meaning family, tribe, community, home, belonging – and channeled that power into compelling, courageous art. Mary claimed the name ABATAKA for a book showcasing her African-inspired art works, with reflective essays on each piece. The works, she wrote, "were born in the heart of an American woman being embraced by African women. What bonded us was AIDS. Our lives had each, against our own wills, been redefined by a tiny virus we never wanted but now could not escape. These women gave me ABATAKA." Her time in Africa left Fisher inspired and impatient. She poured her feelings into compelling, unflinching art works. And between her Africa visits, she delivered bold testimony to the U.S. House of Representatives: "I have seen AIDS - I've seen it in Africa, in America, and in the mirror. I have looked into the eyes of a thousand orphans. I've held other mothers who want, like me, not to leave their children. I have smelled the smell of dying. And I have tasted the absolute despair of those who are defined, as I am defined, by the virus. Therefore, I have come to Washington today to ask those of you with power to make a difference..." ~ Mary Fisher (April 5, 2000) The agony of AIDS is the backdrop for Fisher's recent work, including pieces collected in this book. But above the grim images of wasting and death hangs the miracle of ABATAKA. Fisher's Africa-inspired quilts, sculptures and textiles give her soul a place to speak of courage, passion, integrity, hope and humor. In the end, Fisher's art stands as a compelling argument that, if we are willing, we can make a difference.

A stirring saga in the tradition of Evergreen - They were trapped between ritual, and rebellion, children of ancient faith who dared to break the rules.