Little Tommy Lost


Book Description

Separated from his parents on a trip to the big city, a lost little boy unknowingly sets out on a great adventure as he searches for a way home in Little Tommy Lost: Book One. Reminiscent of the newspaper strips and lushly illustrated Sunday comics of the early twentieth century, Cole Closser's work is steeped in cartooning history, but filled with an unparalleled sense of the new.




Little Ewe


Book Description

Little Ewe would rather jump on logs and investigate spider webs than follow the shepherd when he calls. But what happens when she gets lost? How will she find her way home? Told in whimsical rhyme, this humorous counting book for our littlest ones is a delightful reminder that, like a loving parent, our Shepherd will find us and care for us, even when we wander from the path. In Little Ewe: The Story of One Lost Sheep, award-winning author Laura Sassi and illustrator Tommy Doyle tell an endearing tale of a distracted sheep and her persistent shepherd, inspired by the Parable of the Lost Sheep in Luke 15.




Little Lost Donkey


Book Description

Little Lost Donkey tells about how Mary and Joseph's donkey overcomes his fear of getting lost when he finds the stable for the Christ Child. This book from Dandi Mackall helps parents teach Christian-based coping skills when handling childhood fears of getting lost. Little Lost Donkey has been repackaged as an 8x8 softcover, perfect for spinner racks.




Little Princes


Book Description

Describes how the author's three-month service as a volunteer at the Little Princes Orphanage in war-torn Nepal became a commitment for advocacy and reform when he discovered that many of his young charges were victims rescued from human traffickers.




Drawing from the Archives


Book Description

Following Art Spiegelman's declaration that 'the future of comics is in the past,' this book considers comics memory in the contemporary North American graphic novel. Cartoonists such as Chris Ware, Seth, Charles Burns, Daniel Clowes, and others have not only produced some of the most important graphic novels, they have also turned to the history of comics as a common visual heritage to pass on to new readers. This book is a full-length study of contemporary cartoonists when they are at work as historians: it offers a detailed description of how they draw from the archives of comics history, examining the different gestures of collecting, curating, reprinting, swiping, and undrawing that give shape to their engagement with the past. In recognizing these different acts of transmission, this book argues for a material and vernacular history of how comics are remembered, shared, and recirculated over time.




Little Girl Lost


Book Description

"All of my Bible heroes are survivors. I guess all of the people I have met in my life and I consider to be my heroes are survivors...This book is the story of a survivor. It is the story of a remarkable young woman who did not allow herself to be a victim but became a survivor. She did not look for social issues or society to blame but turned her violation and hurt into something positive, not only for her but for all of the people in her life. This is a story of God's love and grace and a lesson of life...Little Girl Lost is her story's title but the story of her life should be called 'Little Girl Triumphant.'" --From the Foreword by Nicky Cruz The events of Leisha Joseph's life are sensational, but the deeper story lies in her relationship to God, and in what she can now teach others who suffer from the fear and hurt that result from violence and trauma. As the treasured only daughter of an upper-middle-class family, Leisha, as well as her brothers, enjoyed a happy childhood. When she was eight years old, all this changed abruptly with the death of her father. The strain on her mother manifested itself in wild behavior. In between frequent stays in private mental hospitals, she brought home a string of boyfriends, some of whom preferred children and made their way to Leisha's bed. After trying to burn down the house and chasing Leisha with a kitchen knife, her mother was confined to the state mental hospital. While friends and family lent a hand, it was largely up to Leisha and her brothers to keep the family intact. Sadly, Leisha experienced the pain of isolation because of her family situation. She found God as a teenager, but that comfort did not last long. Leisha became disillusioned with Christianity and began taking drugs until an overdose had her on her knees, promising to serve God all her life if He saved her. She was sober in an instant, and has kept her promise. Just when she had managed to turn her life around and was a finalist in the Miss Teen USA pageant, recently graduated with honors from high school, and engaged to marry a godly young man, Leisha experienced an attack at the hands of a serial rapist. Yet God intervened once more, giving her the words that would save her life and would eventually cause her attacker to confess in court. Even when he escaped and came after her, as he had threatened to do, Leisha refused to let fear dominate her life. She rejected the advice of the Witness Protection Program, instead relying on God's saving hands.




Comics and Modernism


Book Description

Contributions by David M. Ball, Scott Bukatman, Hillary Chute, Jean Lee Cole, Louise Kane, Matthew Levay, Andrei Molotiu, Jonathan Najarian, Katherine Roeder, Noa Saunders, Clémence Sfadj, Nick Sturm, Glenn Willmott, and Daniel Worden Since the early 1990s, cartoonist Art Spiegelman has made the case that comics are the natural inheritor of the aesthetic tradition associated with the modernist movement of the early twentieth century. In recent years, scholars have begun to place greater import on the shared historical circumstances of early comics and literary and artistic modernism. Comics and Modernism: History, Form, and Culture is an interdisciplinary consideration of myriad social, cultural, and aesthetic connections. Filling a gap in current scholarship, an impressively diverse group of scholars approaches the topic from a variety of disciplinary backgrounds and methodologies. Drawing on work in literary studies, art history, film studies, philosophy, and material culture studies, contributors attend to the dynamic relationship between avant-garde art, literature, and comics. Essays by both established and emerging voices examine topics as divergent as early twentieth-century film, museum exhibitions, newspaper journalism, magazine illustration, and transnational literary circulation. In presenting varied critical approaches, this book highlights important interpretive questions for the field. Contributors sometimes arrive at thoughtful consensus and at other times settle on productive disagreements. Ultimately, this collection aims to extend traditional lines of inquiry in both comics studies and modernist studies and to reveal overlaps between ostensibly disparate artistic practices and movements.










The Land of Lost Toys


Book Description