Karla Kuskin's first book for children is as fresh and funny toady as it was in 1956, when it was first published. This fanciful blending of words and pictures portrays a variety of animals and the noises they make.

A family of dedicated birders presents an illustrated tribute to birds featuring a combination of scientific facts, folklore, poems, and songs.--

In this unusual counting book, playful poems tell the stories of one elk, two birds, three fish—from one through ten and then many—as they go about their day. For an added bonus, numerals, Roman numerals, and words related to the numbers are included in the page design. Jason Stemple's intimate photographs give us a unique look at some common creatures that enjoy the company of others.

Celebrated writer Jane Yolen and photographer Jason Stemple, longtime bird watchers, take a look at birdlife in this fascinating volume of poems and pictures. Fourteen original poems explore a dazzling flock with skillful wordplay that inspires the reader to look at some common feathered friends in uncommon ways. The photographer's masterful eye captures each unique creature, creating intimate portraits to ponder and admire.

"Celebrating an activity that is companionable as well as scientific and that fosters a special bond with the natural world, Yolen presents 17 melodious evocations of particular species. . . . A book to bring nature and poetry lovers together."--"Kirkus Reviews, " pointer review. Full color.

Offers thirty-two poems about animals by various poets, including Wallace Stevens, Walt Whitman, and Vicki Hearne. The writers include Blake, Dickinson, Tennyson, Yeats, Wordsworth, and Keats. The captivating paintings by Simona Mulazanni make every page a delight. And the subject, animals, big and small, wild and tame has an irresistible appeal to children. William Blake's The Tyger burns bright in the lush image that accompanies the verse. Hillaire Belloc pays tribute to an elephant in a short, witty stanza accompanied by an adorable picture of the creature sitting on a small wood stool. Among the other poems are Marianne Moore's A Jellyfish and Edward Lear's charming, songlike The Owl and the Pussycat. A Selection of Scholastic Book Clubs, John Hollander has written A Crackling of Thorns (chosen by W.H. Auden for the Yale Series of Younger Poets), as well as literary criticism and children's books. He has served as editor for many poetry collections, among them An Anthology of Poems for Young People (with Harold Bloom). He is currently the Sterling Professor of English at Yale. Simona Mulazanni is a successful and much loved children?s book artist in Italy.

Max makes a million: When Max the dog finally sells his book of poetry, he is able to fulfill his lifelong dream of traveling to Paris. Oh-la-la: As he experiences Paris, the city of love, Max the millionaire poet dog knows he is missing something. Max in Hollywood, Baby: Max the millionaire poet dog and his Parisian poodle friend Crêpes Suzette leave Paris for the lure of glittering Hollywood. Can movie stardom be far behind?

When animals and their symbolic representations—in the Royal Menagerie, in art, in medicine, in philosophy—helped transform the French state and culture. Peter Sahlins's brilliant new book reveals the remarkable and understudied “animal moment” in and around 1668 in which authors (including La Fontaine, whose Fables appeared in that year), anatomists, painters, sculptors, and especially the young Louis XIV turned their attention to nonhuman beings. At the center of the Year of the Animal was the Royal Menagerie in the gardens of Versailles, dominated by exotic and graceful birds. In the unfolding of his original and sophisticated argument, Sahlins shows how the animal bodies of the menagerie and others were critical to a dramatic rethinking of governance, nature, and the human. The animals of 1668 helped to shift an entire worldview in France—what Sahlins calls Renaissance humanimalism toward more modern expressions of classical naturalism and mechanism. In the wake of 1668 came the debasement of animals and the strengthening of human animality, including in Descartes's animal-machine, highly contested during the Year of the Animal. At the same time, Louis XIV and his intellectual servants used the animals of Versailles to develop and then to transform the symbolic language of French absolutism. Louis XIV came to adopt a model of sovereignty after 1668 in which his absolute authority is represented in manifold ways with the bodies of animals and justified by the bestial nature of his human subjects. 1668 explores and reproduces the king's animal collections—in printed text, weaving, poetry, and engraving, all seen from a unique interdisciplinary perspective. Sahlins brings the animals of 1668 together and to life as he observes them critically in their native habitats—within the animal palace itself by Louis Le Vau, the paintings and tapestries of Charles Le Brun, the garden installations of André Le Nôtre, the literary work of Charles Perrault and the natural history of his brother Claude, the poetry of Madeleine de Scudéry, the philosophy of René Descartes, the engravings of Sébastien Leclerc, the transfusion experiments of Jean Denis, and others. The author joins the nonhuman and human agents of 1668—panthers and painters, swans and scientists, weasels and weavers—in a learned and sophisticated treatment that will engage scholars and students of early modern France and Europe and readers broadly interested in the subject of animals in human history.

A collection of short poems about all kinds of unusual animals, including the Backtalk Bat, the Roombroom, and the Channel Changer.

A collection of fourteen poems about animals, from a laughing rooster and a joyous whale to a proud peacock and a cat named Runcible.

From as little as the snail to as big as the giraffe, from the thundering mastodon of long ago to the ordinary backyard squirrel of today, the animals in this book inspire our imagination. Here is a fascinating cornucopia that exudes a whimsical affection and respect for the creatures with whom we share our kingdom.