Bull

Much like Lin-Manuel Miranda did in Hamilton, the New York Times best-selling author David Elliott turns a classic on its head in form and approach, updating the timeless story of Theseus and the Minotaur. A rough, rowdy, and darkly comedic young adult retelling in verse, which NPR called “beautifully clever,” Bull will have readers reevaluating one of mythology's most infamous monsters. SEE THE STORY OF THESEUS AND THE MINOTAUR IN A WHOLE NEW LIGHT Minos thought he could Pull a fast one On me, Poseidon! God of the Sea! But I’m the last one On whom you Should try such a thing. The nerve of that guy. The balls. The audacity. I AM THE OCEAN! I got capacity! Depths! Darkness! Delphic power! So his sweet little plan Went big-time sour And his wife had a son Born with horns and a muzzle Who ended up In an underground puzzle. What is it with you mortals? You just can’t seem to learn: If you play with fire, babies, You’re gonna get burned.

Army scout, buffalo hunter, Indian fighter, and impresario of the world-renowned "Wild West Show," William F. "Buffalo Bill" Cody lived the real American West and also helped create the "West of the imagination." Born in 1846, he took part in the great westward migration, hunted the buffalo, and made friends among the Plains Indians, who gave him the name Pahaska (long hair). But as the frontier closed and his role in "winning the West" passed into legend, Buffalo Bill found himself becoming the symbol of the destruction of the buffalo and the American Indian. Deeply dismayed, he spent the rest of his life working to save the remaining buffalo and to preserve Plains Indian culture through his Wild West shows. This biography of William Cody focuses on his lifelong relationship with Plains Indians, a vital part of his life story that, surprisingly, has been seldom told. Bobby Bridger draws on many historical accounts and Cody's own memoirs to show how deeply intertwined Cody's life was with the Plains Indians. In particular, he demonstrates that the Lakota and Cheyenne were active cocreators of the Wild West shows, which helped them preserve the spiritual essence of their culture in the reservation era while also imparting something of it to white society in America and Europe. This dual story of Buffalo Bill and the Plains Indians clearly reveals how one West was lost, and another born, within the lifetime of one remarkable man.

A true classic with a timeless message! All the other bulls run, jump, and butt their heads together in fights. Ferdinand, on the other hand, would rather sit and smell the flowers. So what will happen when Ferdinand is picked for the bullfights in Madrid? The Story of Ferdinand has inspired, enchanted, and provoked readers ever since it was first published in 1936 for its message of nonviolence and pacifism. In WWII times, Adolf Hitler ordered the book burned in Nazi Germany, while Joseph Stalin, the leader of the Soviet Union, granted it privileged status as the only non-communist children's book allowed in Poland. The preeminent leader of Indian nationalism and civil rights, Mahatma Gandhi—whose nonviolent and pacifistic practices went on to inspire Civil Rights leader Martin Luther King, Jr.—even called it his favorite book. The story was adapted by Walt Disney into a short animated film entitled Ferdinand the Bull in 1938. Ferdinand the Bull won the 1938 Academy Award for Best Short Subject (Cartoons).

A brother and sister's search for a new life and new home . . . 5,000 years ago in ancient Mesopotamia during a terrible drought, Jomar and Zefa's father must send his children away to the city of Ur because he can no longer feed them. At fourteen, Jomar is old enough to apprentice with Sidah, a master goldsmith for the temple of the moongod, but there is no place for Zefa in Sidah's household. Zefa, a talented but untrained musician, is forced to play her music and sing for alms on the streets of Ur. Marjorie Cowley vividly imagines the intrigues, and harsh struggle for survival in ancient Mesopotamia.

The one book your bank REALLY does not want you to read. More than ever before, Canadians are frightened and stressed out about their retirement and financial future. With the mortgage, car payments and credit card bills, there never seems to be enough to pay the current bills let alone save thousands in RRSPs. At the same time, the large financial institutions are bombarding us with fearful messages of destitution unless we maximize our RRSP contributions. The stock market crash of 2008 has proven one thing: traditional retirement planning advice simply doesn't work. The risks are too enormous. Throwing money into RRSPs and trusting the stock market is like gambling with your family's future. But how do you plan for retirement without risking everything? In Enough Bull, David Trahair explains: How to invest only in 100% safe investments that will never decline How to get out of mutual funds and the stock market - forever The "Tax Turbo-Charged RRSP strategy" - why you should wait until you are over 50 to start your RRSP Exactly what age to elect to receive the CPP pension How to avoid the scams that lead to personal financial disaster Easy to understand and simple to apply, Enough Bull shows Canadians how to avoid all the traps and why doing the exact opposite of what they have been told will leave them much further ahead. www.enoughbull.ca

James Morrow Walsh can rightfully be called the original Mountie. In late 1873 he led the first troop of scarlet-coated policemen toward the great Canadian prairie. In the summer of 1875 he was assigned to construct Fort Walsh in the Cypress Hills above the Canada-U.S. border. Below the border, or medicine line as the Sioux Nation knew it, 15,000 Native Americans were drawn a year later to the camp of Sitting Bull on the Little Bighorn River. By 1877, newspaper headlines from Chicago to New York tweaked the curiosity of millions by referring to Walsh as "Sitting Bull's Boss." The years leading up to those headlines and the times that followed were the most dramatic era in the history of the west.

Shaw’s story is rife with such ‘beyond opinions’, as an Anglo-Irish Protestant, a Dubliner in London, and a socialist living in the aftermath of the industrial revolution. In one sense, as a Protestant choosing to live in London, he is a John Bull, yet he remains Irish – an Irish Bull, something alluded to in his one play set in Eire, John Bull’s Other Island.

Nobel Laureate George Bernard Shaw remains one of the world's most important and popular writers. His plays are regularly performed around the world, from the boards of Broadway and the West End to regional, community, and college stages.The three plays selected here are widely considered to be three of the most important in the canon of modern British theatre:Man and Superman: a four-act comedy for serious people, staged in part at Royal court in 1905, it is one of the early works of Modernism to take an ancient myth and restage it in contemporary mode (and its influence extends across world literature, palpable in writings from Mann to Joyce). Its storyof how a sensitive woman compels a superman-figure to adjust to her needs and those of the real world provides an updated commentary on Nietzsche's still-fashionable notions of ubermensch; and its famous third act introduces a persistent Shavian theme, which goes back as far as earliest religiousliterature-that the truly damned are those who are happy in hell.John Bull's Other Island takes up that idea: to the visionary, hell may be the ultimate modern dream of efficiency and rational administration, as manifested in a colonial Ireland run by liberal exploiters. Commissioned by WB Yeats to mark the opening of Ireland's National Theatre, the Abbey, theplay was promptly refused by its Directors (who disliked its mechanical mockeries of mechanism but may have missed its visionary qualities). It was performed to huge acclaim in London in November 1904 and it made Shaw famous, the supreme example of the Playwright as Thinker and, ever afterwards,one of the most valued commentators on Anglo-Irish relations.Major Barbara: a three-act drama which in classic Shavian style unmasks the motivation of puritan idealists and dedicated industrialists, this work (like the previous two) pits a strong woman against a sardonic, practical man. Having exposed the mendacity of apostles of efficiency, Shaw seems thento submit to their doctrine, arguing that a pure private charity towards the destitute is no adequate substitute. Like the previous two works, this is a problem play, in the course of which the audience sympathy is aroused and then repelled in all directions. The suggestion that it may be acceptableto take money from tainted sources, such as arms manufacturers, caused much debate in 1905 - and even more after the carnage wrought by mechanized guns in World War One.