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It's 1993, and Generation X pulses to the beat of Kurt Cobain and the grunge movement. Sixteen-year-old Maggie Lynch is uprooted from big-city Chicago to a windswept town on the Irish Sea. Surviving on care packages of Spin magazine and Twizzlers from her rocker uncle Kevin, she wonders if she'll ever find her place in this new world. When first love and sudden death simultaneously strike, a naive but determined Maggie embarks on a forbidden pilgrimage that will take her to a seedy part of Dublin and on to a life- altering night in Rome to fulfill a dying wish. Through it all, Maggie discovers an untapped inner strength to do the most difficult but rewarding thing of all, live. The Carnival at Bray is an evocative ode to the Smells Like Teen Spirit Generation and a heartfelt exploration of tragedy, first love, and the transformative power of music. The book won the 2014 Helen Sheehan YA Book Prize.
When Ben tries to hide from bullies at a carnival, he is drawn into a sideshow that promises to make his dreams of popularity and good grades come true, if only he signs a contract agreeing to give up a few minutes of his time.
The acclaimed New York Times bestseller Welcome, welcome to Caraval--Stephanie Garber's sweeping tale of the unbreakable bond between two sisters. It's the closest you'll ever find to magic in this world... Scarlett has never left the tiny island where she and her beloved sister, Tella, live with their powerful, and cruel, father. Now Scarlett's father has arranged a marriage for her, and Scarlett thinks her dreams of seeing Caraval, the far-away, once-a-year performance where the audience participates in the show, are over. But this year, Scarlett's long-dreamt of invitation finally arrives. With the help of a mysterious sailor, Tella whisks Scarlett away to the show. Only, as soon as they arrive, Tella is kidnapped by Caraval's mastermind organizer, Legend. It turns out that this season's Caraval revolves around Tella, and whoever finds her first is the winner. Scarlett has been told that everything that happens during Caraval is only an elaborate performance. But she nevertheless becomes enmeshed in a game of love, heartbreak, and magic with the other players in the game. And whether Caraval is real or not, she must find Tella before the five nights of the game are over, a dangerous domino effect of consequences is set off, and her sister disappears forever. Welcome, welcome to Caraval . . . beware of getting swept too far away. New York Times bestseller #1 IndieNext Pick Publishers Weekly Flying Start Entertainment Weekly Best 10 YA Books of 2017 Teen Vogue Best YA Book of the Year Amazon Best Book of the Year Barnes & Noble Best Book of the Year BuzzFeed Best Book of the Year "The Hunger Games meets The Night Circus. Grade: A-." --Entertainment Weekly "Impressive, original, wondrous." --USA Today "Spellbinding." --US Weekly "Magnificent." --Publishers Weekly, starred review "I lost myself in this world." --Sabaa Tahir, author of An Ember in the Ashes "Beautifully written." --Ren e Ahdieh, author of The Wrath and the Dawn "Shimmers with magic." --Marie Rutkoski, author of The Winner's Curse "Darkly enchanting." --Kiersten White, author of And I Darken "Decadent." --Roshani Chokshi, author of The Star-Touched Queen "Like stepping into a living dream." --Stacey Lee, author of Outrun the Moon "Destined to capture imaginations." --Kirkus Reviews "Ideal for fans of The Night Circus, Stardust, and The Hunger Games." --School Library Journal
In this stunning work of historical fiction, the Booker Prize–nominated author of Jamrach’s Menagerie reimagines the incredible true story of Julia Pastrana, a woman branded a freak at birth. Although she was pronounced by the most eminent physician of the day to be “a true hybrid wherein the nature of woman presides over that of the brute,” Julia was fluent in English, French, and Spanish, and an accomplished musician with an exquisite singing voice. Alternately vilified and celebrated, all she wanted was for people to see beyond her hairy visage—and perhaps, the chance for love. When Julia meets a charming showman who catapults her onto the global stage, she believes that she has found true happiness at last. But the question of whether her lover truly cares for her—or if his management is just a new form of exploitation—lingers heavily. A deeply moving novel, in Orphans of the Carnival Carol Birch has crafted a haunting examination of how we define ourselves and, ultimately, of what it means to be human.
Algebra is a foundational concept in the study of mathematics, and readers will delight in learning the principles of operations and algebraic thinking in a relatable and engaging way. Topics such as adding and subtracting within 20, using algebraic principles to solve equations and word problems, and understanding the relationship between addition and subtraction will give beginning math students a firm grasp on basic math concepts. Readers will go on an adventure to the carnival, where they will apply properties of operations to add and subtract fun things in a colorful and exciting carnival surrounding. This volume satisfies CCSS Math Standard 1.OA.B.3. This book should be paired with "At the Amusement Park" (9781477721513) from the InfoMax Math Readers Program to provide the alternative point of view on the same topic.
Can badgers and foxes get through a long, hard winter together? Badgers like to plan for the future. Foxes like to live in the moment. When badgers and foxes are cooped up in one burrow all winter, disagreements are bound to happen. When Mrs. Fox's parents move in, food supplies get tight, and Grandpa Fox's big plans for adventures weigh on everyone's nerves. But Grandpa Fox also remembers an old tradition?a carnival to remind winter that it must make way for spring. A party might be just the thing to help the animals make it through a cold, dark season . . .
"The application of Bakhtin's critical theories to Gil Vicente has helped in understanding the genre and plot-compositional traits and sources of Vicente's drama. Until now, these have been virtually ignored by Vicentine scholars, most of whom have limited themselves to biographical/historical approaches in an effort to explain the playlets as products of a particular epoch - the Middle Ages and/or the Renaissance - and the corresponding literary modes. The author concludes that it is not the subjective memory of the playwrights but the objective memory of the genre in which they compose their plays that preserves its fundamental characteristics through the centuries, characteristics that derive from the incursion of the popular element into the realm of literary creation." "Direct in its presentation, this study presents a concise and scholarly synthesis of Peninsular drama from its origins and the impact that the popular element had on its formation, and it will continue to be regarded as an original facet in the overall complexity of Vicentine studies."--BOOK JACKET.
The comedies of Aristophanes are known not only for their boldly imaginative plots but for the ways in which they incorporate and orchestrate a wide variety of literary genres and speech styles. Unlike the writers of tragedy, who prefer a uniformly elevated tone, Aristophanes articulates his dramatic dialogue with striking literary and linguistic juxtapositions, producing a carnivalesque medley of genres that continually forces both audience and reader to readjust their perspectives. In this energetic and original study, Charles Platter interprets the complexities of Aristophanes' work through the lens of Mikhail Bakhtin's critical writing. This book charts a new course for Aristophanic comedy, taking its lead from the work of Bakhtin. Bakhtin describes the way multiple voices—vocabularies, tones, and styles of language originating in different social classes and contexts—appear and interact within literary texts. He argues that the dynamic quality of literature arises from the dialogic relations that exist among these voices. Although Bakhtin applied his theory primarily to the epic and the novel, Platter finds in his work profound implications for Aristophanic comedy, where stylistic heterogeneity is the genre's lifeblood.
Fourteen pieces -- scored for flute/piccolo, clarinet, glass harmonica (tuned glass bowls), xylophone, two pianos, and strings -- paint delightful musical portraits of a lion, chickens, turtles, an elephant, kangaroos, and the immensely popular swan.