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  My Name Is a Story - An...

  Ashanti

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  From Grammy Award-winning singer Ashanti comes an empowering story about a girl who learns to love her unique name.  
  First days aren’t easy for a girl with a name like Ashanti. It feels like no one can pronounce it correctly! But with some encouragement from her mom, Ashanti spells her name and learns just how special it is. 
  A is for awesome, S is for sunsets, H is for hand games, A is for art… 
  Inspired by Ashanti’s own experience, this delightful book shares the joy that one child finds in her name. 
  A perfect pick for classrooms and all story times!

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  George Balanchine: The Life and...

  Editors Charles River

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  By the turn of the 20th century, American entertainment was still preoccupied with European-style operetta, as embodied in the works of cellist-composer Victor Herbert. Traditional dance forms moved from European stories to the American prairie in Oklahoma by the late 1940s, and what was once the property of Bavarian princes became the singing standards of cowboys riding through the corn fields in Oh What a Beautiful Morning and Out of My Dreams.  
  	At the time, the availability of classical ballet in America was scant. In contrast to the evolution of an American style in musical theater, Broadway, and film, ballet in the United States was ushered in largely through the efforts of an individual who brought with him a strong traditional sense from Russia and the rest of Europe but was intent on producing a distinctly American style. Other experimentalists appeared, such as Isadora Duncan, but it was George Balanchine who managed to institutionalize and fund both a hybrid traditional as well as experimental form.  
  	Balanchine, although a dancer as well, is today regarded as the “foremost contemporary choreographer in the world of ballet.”[1] Despite much work in Russia and other parts of Europe, his eventual relocation to the United States made possible the establishment of an American ballet school and an elite ballet company, the New York City Ballet. In contrast to the fiercely guarded Russian classical style of the Bolshoi Theater, the New York City Ballet featured uniquely choreographed performances to previously unfamiliar musical works. These were approached with a uniquely American style of dance, however steeped in tradition the basic steps may have been.

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  Second Census - He Counted Them...

  John Victor Peterson

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  Second Census by John Victor Peterson - Quintuplets alone would be bad enough, without a census taker who could count them in advance! 
  In addition to being a genius in applied atomics, Maitland Browne's a speedster, a practical joker, and a spare-time dabbler in electronics. 
  As far as speed's concerned, I had a very special reason for wanting to get home early tonight, and swift straight flight would have been perfectly okay with me. The trouble was that Browne decided that this was his night to work on Fitzgerald. 
  Browne lifted the three passenger jetcopter—his contribution to our commuterpool—from the flight stage at Brookhaven National Laboratories in a strictly prosaic manner. Then the flight-fiend in him came out with a vengeance. Suddenly and simultaneously he set the turbo-jets to full thrust and dived to treetop level; then he started hedgehopping toward Long Island Sound. His heavy dark features were sardonic in the rear-view mirror; his narrowed, speculative eyes flicked to it intermittently to scan Ed Fitzgerald beside me. 
  Browne's action didn't surprise, startle, or even frighten me at first. I'd seen the mildly irritated look in his eyes when Fitzgerald had come meandering up—late as usual!—to the ship back on the stage. I had rather expected some startling development; provoking Ed Fitzgerald to a measurable nervous reaction was one of Browne's burning ambitions. I also had a certain positive hunch that Fitzgerald's tardiness was deliberate. 
  In any event my mind was ninety per cent elsewhere. Tessie—my wife—had visifoned me from Doc Gardiner's office in New Canaan just before I'd left my office at the Labs and had told me with high elation that we were destined to become the proud parents of quintuplets! I was, therefore, now going back bewilderedly over our respective family trees, seeking a precedent in the genes.

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  Pick 'n Mix

  Dorothy M. Mitchell

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  This is a charming collection of children's stories, including:RED PAINT about Santa's deer and sleighA BIRD'S TAIL about a robin and her chicksMAGNOLIA COTTAGE about a ghostly riddleTO LEAD US HOME as home is where love is

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  Aesop's Fables

  Aesop Aesop

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  Remember the story of the Ant and the Grasshopper? the Fox and the Sour Grapes? The Boy who Cried Wolf? These wonderful tales and hundreds more have been passed down to us over the centuries. The man credited with writing them, Aesop, was an Ancient Greek slave born about 620 B.C. Aesop is known as a fabulist or story teller credited with a number of fables shining glaringly true light on our human foibles now collectively known as Aesop's Fables. Although no writings by him survive, numerous tales credited to him were gathered across the centuries and in many languages in a storytelling tradition that continues to this day. Many of the tales are characterized by animals and inanimate objects that speak, solve problems, and generally have human characteristics. Scattered details of Aesop's life can be found in ancient sources, including Aristotle, Herodotus, and Plutarch. An ancient literary work called The Aesop Romance tells an episodic, probably highly fictional version of his life, including the traditional description of him as a strikingly ugly slave who by his cleverness acquires freedom and becomes an adviser to kings and city-states. A later tradition depicts Aesop as a black Ethiopian. But whatever his history, the fables depict truths about human behavior, our strengths and weakness that have remained true for 2500 years.

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  Sugar Plum Ballerinas: Toeshoe...

  Whoopi Goldberg, Deborah Underwood

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  The second book of the award-winning and bestselling Sugar Plum Ballerinas series by Whoopi Goldberg—now featuring brand-new illustrations! At the Nutcracker School of Ballet in Harlem, young dancers learn to chassé, plié, and jeté with their Sugar Plum Sisters—but things don't always go to plan! As the girls encounter challenges both on and off stage, they'll need the support of their classmates to carry them through with aplomb.  Brenda Black prides herself on her logical and orderly mind. She studies anatomy books and idolizes Leonardo da Vinci. But things go haywire when her spoiled cousin Tiffany comes to visit. Fed up with Tiffany's bragging, Brenda snaps when Tiffany implies that Brenda is not cultured enough to know who Miss Camilla Freeman is—Miss Camilla Freeman, the very famous prima ballerina. Brenda tells Tiffany that not only does she know who Camilla Freeman is, but she happens to own an autographed pair of her toeshoes.  The problem? Those shoes actually belong to Ms. Debbé, the headmistress of the Nutcracker School! Brenda's anatomy books might get her into medical school one day, but they can't get her off of this ballet slipper-y slope—for that, she'll need the help of her Sugar Plum Sisters!

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