Billy Christmas

"When Billy's father disappears and his mother withdraws deeper and deeper into herself in response, Billy maintains hope that his father's absence is not by choice - despite the rumors and taunts of his classmates. Twelve days before Christmas a magical Christmas tree with twelve magic ornaments sets the young man on a quest to find his dad and bring him home. Billy will stay with you forever."--Publisher's blog.

Old tales and Memories and stories about Christmas.

A Guide to British television programmes shown at Christmas time, throughout the years.

Tyranny, war, corruption, and terrorism follow oil and other natural resources - because of the same law that once allowed the slave trade and genocide, conquest, and apartheid. Political philosopher Leif Wenar shows how the West can lead the world beyond blood oil and conflict minerals to a more united, enlightened future.

From the pages of America’s most influential magazine come eight decades of holiday cheer—plus the occasional comical coal in the stocking—in one incomparable collection. Sublime and ridiculous, sentimental and searing, Christmas at The New Yorker is a gift of great writing and drawing by literary legends and laugh-out-loud cartoonists. Here are seasonal stories, poems, memoirs, and more, including such classics as John Cheever’s 1949 story “Christmas Is a Sad Season for the Poor,” about an elevator operator in a Park Avenue apartment building who experiences the fickle power of charity; John Updike’s “The Carol Sing,” in which a group of small-town carolers remember an exceptionally enthusiastic fellow singer (“How he would jubilate, how he would God-rest those merry gentlemen, how he would boom out when the male voices became King Wenceslas”); and Richard Ford’s acerbic and elegiac 1998 story “Crèche,” in which an unmarried Hollywood lawyer spends an unsettling holiday with her sister’ s estranged husband and kids. Here, too, are S. J. Perelman’s 1936 “Waiting for Santy,” a playlet in the style of Clifford Odets labor drama (the setting: “The sweatshop of Santa Claus, North Pole”), and Vladimir Nabokov’s heartbreaking 1975 story “Christ-mas,” in which a father grieving for his lost son in a world “ghastly with sadness” sees a tiny miracle on Christmas Eve. And it wouldn’t be Christmas—or The New Yorker—without dozens of covers and cartoons by Addams, Arno, Chast, and others, or the mischievous verse of Roger Angell, Calvin Trillin, and Ogden Nash (“Do you know Mrs. Millard Fillmore Revere?/On her calendar, Christmas comes three hundred and sixty-five times a year”). From Jazz Age to New Age, E. B. White to Garrison Keillor, these works represent eighty years of wonderful keepsakes for Christmas, from The New Yorker to you.

The heart-warming sequel to Billy and Me from the Number One bestseller Christmas has come to Rosefont Hill and it's destined to be a particularly special festive season for Sophie May. When a smitten stranger emails Sophie to ask her if he can propose to the woman he loves in her little teashop, the romantic in her finds it impossible to refuse. Even though Christmas is her busiest time of year she has her own sweetheart, Hollywood actor Billy Buskin, to lend a helping hand. How could she say no to making someone's dream come true? As Sophie and Billy work together to plan the perfect fairytale proposal for this couple, excitement in Rosefont Hill is mounting. Who is this mysterious man? And who is the lucky lady he's about to get down on one knee for? Giovanna Fletcher's special Christmas novella is perfect for anyone looking for some seasonal magic.

It was during the teens that filmmaking truly came into its own. Notably, the migration of studios to the West Coast established a connection between moviemaking and the exoticism of Hollywood. The essays in American Cinema of the 1910s explore the rapid developments of the decade that began with D. W. Griffith's unrivaled one-reelers. By mid-decade, multi-reel feature films were profoundly reshaping the industry and deluxe theaters were built to attract the broadest possible audience. Stars like Mary Pickford, Charlie Chaplin, and Douglas Fairbanks became vitally important and companies began writing high-profile contracts to secure them. With the outbreak of World War I, the political, economic, and industrial groundwork was laid for American cinema's global dominance. By the end of the decade, filmmaking had become a true industry, complete with vertical integration, efficient specialization and standardization of practices, and self-regulatory agencies.