Here are 100 books that The Bear Must Go on fans have personally recommended if you like
The Bear Must Go on.
Book DNA is a community of 12,000+ authors and super readers sharing their favorite books with the world.
I am not a rock star but I do play a mean (computer) keyboard. My debut picture book, How to Be a Rock Star, was inspired by my musical children and our endless hours jamming as a family band. I was always on the lookout for books to inspire my little rock star, and because they were hard to come by, I wrote one! These books will inspire your budding musician, or just help you embrace a spirit of creative play in any way they want to rock.
Pokko’s parents give her a drum and soon regret it, as you might imagine. (In my own book, Mom says, “don’t even thinkabout a drum kit.”) But sending Pokko outside begins a beautiful symphonic journey that turns Pokko into a leader who makes sure her bandmates don’t eat each other. In the end, even her parents are swept away (literally) by the beautiful music.
A Publishers Weekly Best Book of 2019 A Today Show Best Book of the Year A Booklist Book for Youth Editors' Choice 2019 A Boston Globe-Horn Picture Book Honor Book 2020 An NPR Favorite Book of 2019 A Charlotte Zolotow Honor Book A Quill & Quire 2019 Book for Young People of the Year "Extraordinary." -Publishers Weekly (starred review) "Inspirational." -Booklist (starred review) "Laugh-out-loud funny." -Shelf Awareness (starred review) "Will tickle kids and adults alike." -Kirkus Reviews "An instant classic." -Quill & Quire (starred review)
From E.B. White Read Aloud honor artist Matthew Forsythe comes a picture book about a…
A gay retelling of the classic fairy tale--a scrumptious love story featuring ungrateful stepsiblings, a bake-off, and a fairy godfather.
Cinderelliot is stuck at home taking care of his ungrateful stepsister and stepbrother. When Prince Samuel announces a kingdom-wide competition to join the royal staff as his baker, the stepsiblings…
I am not a rock star but I do play a mean (computer) keyboard. My debut picture book, How to Be a Rock Star, was inspired by my musical children and our endless hours jamming as a family band. I was always on the lookout for books to inspire my little rock star, and because they were hard to come by, I wrote one! These books will inspire your budding musician, or just help you embrace a spirit of creative play in any way they want to rock.
This picture book by jazz great Wynton Marsalis was one of my favorites to read to my little rock star when he was a baby. It’s musical without being sing-songy, and celebrates everyday sounds like washboards or squeaking doors that become musical if you listen right. My son was mesmerized by the noises and rhythm, and I felt more musical just by reading it.
The creators of Jazz ABZ are back for an encore! With infectious rhythm and rhyme, musical master Wynton Marsalis opens kids’ ears to the sounds around us.
What’s that sound? The back door squeeeaks open, sounding like a noisy mouse nearby — eeek, eeeek, eeeek! Big trucks on the highway rrrrrrrumble, just as hunger makes a tummy grrrrumble. Ringing with exuberance and auditory delights, this second collaboration by world-renowned jazz musician and composer Wynton Marsalis and acclaimed illustrator Paul Rogers takes readers (and listeners) on a rollicking, clanging, clapping tour through the many sounds that fill a neighborhood.
I am not a rock star but I do play a mean (computer) keyboard. My debut picture book, How to Be a Rock Star, was inspired by my musical children and our endless hours jamming as a family band. I was always on the lookout for books to inspire my little rock star, and because they were hard to come by, I wrote one! These books will inspire your budding musician, or just help you embrace a spirit of creative play in any way they want to rock.
When my son was a rocking toddler, he needed everything just so—a twisted guitar strap could ruin his gig. We both drew inspiration from Elizabeth Cotten, who managed to play guitar despite being left-handed and teaching herself upside down and backwards. By the age of 11, Cotten had written “Freight Train,” one of the most famous folk songs of the last century. Take that, perfectionism.
Elisabeth Cotten was only a little girl when she picked up a guitar for the first time. It wasn't hers-it was her big brother's-and it wasn't strung right-she was left-handed. But she flipped that guitar upside down and backwards and taught herself how to play it anyway. By eleven, she'd written "Freight Train," one of the most famous folk songs. And by the end of her life, everyone from the California beaches to the rolling hills of England knew her music.
This lyrical, loving book from acclaimed singer-songwriter Laura Veirs and debut illustrator Tatyana Fazlalizadeh tells the story of the…
I’m pretty sure I’m about to die in space. And I just turned twelve and a half.
Blast off with the four winners of the StellarKid Project on a trip to the International Space Station and then to the Gateway outpost orbiting the Moon! It’s a dream come true until…
I am not a rock star but I do play a mean (computer) keyboard. My debut picture book, How to Be a Rock Star, was inspired by my musical children and our endless hours jamming as a family band. I was always on the lookout for books to inspire my little rock star, and because they were hard to come by, I wrote one! These books will inspire your budding musician, or just help you embrace a spirit of creative play in any way they want to rock.
Rock stars don’t love following rules, so you can imagine that starting kindergarten is a problem. Lupe arrives wearing sunglasses and ready to use her pencils as drum sticks. I love that this book celebrates a girl who wants to rock without cramping her style. Lupe may have to learn to follow rules and be a good friend, but any doubts about her stardom are quickly dismissed.
When a sassy drummer starts kindergarten, the rules of school cramp her style. What’s a young rock star to do?
When Lupe Lopez struts through the doors of Hector P. Garcia Elementary in sunglasses with two taped-up Number 2 pencils—drumsticks, of course—poking from her pocket, her confidence is off the charts. All day, Lupe drums on desks, tables, and chairs while Ms. Quintanilla reminds her of school rules. Lupe has her own rules: 1) Don’t listen to anyone. 2) Make lots of noise. ¡Rataplán! 3) Have fans, not friends. But with her new teacher less than starstruck, and fans hard…
I am a writer, educator, and mother. Finding books in local libraries or bookstores is necessary so children will read a diverse assortment of stories that teach a lesson and engage their interest. I’ve found that all young children at home and in schools like books with interesting pictures that they can follow along. Children want to share stories and have time to read and absorb the content. Sometimes children see details in illustrations that adults might not notice. Kids learn in different ways. These books will capture the child’s attention and teach about kindness, friendship, and determination.
Bear Stays Up for Christmas skillfully portrays how friends will work together to help each other achieve their goals. The book also shows that each of us is unique, and we cannot be expected to do everything exactly the same as our friends. The message of kindness, friendship, acceptance is clear throughout the story.
Celebrate the holidays with Bear and his friends in this sweet picture book from bestselling author Karma Wilson!
Bear’s friends are determined to keep Bear awake for Christmas! So they wake Bear up and have him help them find a Christmas tree, bake cakes, hang up stockings, and sing Christmas songs. Bear stays up—by discovering that giving is one of the best Christmas presents of all!
I am a Lecturer in English Language and Literature at the University of Oxford, where I specialize in early modern drama (including Shakespeare) and book history. Since my undergraduate degree, I have been fascinated by historical drama, poetry, prose, and the often-porous boundary between ’truth’ and fiction during the sixteenth and seventeenth centuries. Most of my research–including a major project on ‘Wartime Shakespeare’ that produced two books and a public exhibition at The National Army Museum in London–explores the profound impact of the stories we tell about the past and what they reveal about concerns and interests in the present.
Shapiro’s work is often a model of the kind of writing that I would like to attempt. This book, which focuses on a single year in Shakespeare’s life–1599–and its historical, political, and theatrical events (including performances of Henry V and Julius Caesar), brings its material to life.
It is a deeply researched book, with a wealth of resources listed in its bibliographical essay, but its handling and style are still so captivating and accessible that I couldn’t put it down when I first read it!
When we write about early modern literature and history, we construct narratives that draw on invention and imagination. Shapiro’s book reflects that vital mix of rigorous historical research, insightful interpretations of literary texts, and its own acts of storytelling.
What accounts for Shakespeare’s transformation from talented poet and playwright to one of the greatest writers who ever lived? In this gripping account, James Shapiro sets out to answer this question, "succeed[ing] where others have fallen short." (Boston Globe)
1599 was an epochal year for Shakespeare and England. During that year, Shakespeare wrote four of his most famous plays: Henry the Fifth, Julius Caesar, As You Like It, and, most remarkably, Hamlet; Elizabethans sent off an army to crush an Irish rebellion, weathered an Armada threat from Spain, gambled on a fledgling East India Company, and waited to see who…
Floretta- the story of an old woman who discovers life beautifully anew thru the helping hands of a child. The chakra colors of dawn and twilight are woven through the pages as the cycle of life is magically composed. The subject of “heaven,” has the potential to open discussions with…
I am a former network television executive who is fascinated by the history of mass media and have authored or co-authored nine books and many articles on the subject. These include The Complete Directory to Primetime Network and Cable TV Shows, 1946-Present and Lost Sounds: Blacks and the Birth of the Recording Industry, 1890-1919. I’m particularly drawn to subjects that are underexplored, or which seem to be greatly misunderstood today. I quickly learned that you are not likely to earn a living from writing, so I decided to write about subjects I cared about, and hopefully add something to our knowledge of cultural history. I became more aware of what the professional minstrel show was really like while researching Lost Sounds, based on original accounts, recordings, and films.
A unique and insightful look at how three groups fought back against their widespread stereotyping in the media of the early 20th century, and how two of them largely succeeded in changing these portrayals. The reasons why African-Americans were much less successful than Irish and Jews in fighting stereotypes are complex and fascinating, and hold lessons for us today.
A drunken Irish maid slips and falls. A greedy Jewish pawnbroker lures his female employee into prostitution. An African American man leers at a white woman. These and other, similar images appeared widely on stages and screens across America during the early twentieth century. In this provocative study, M. Alison Kibler uncovers, for the first time, powerful and concurrent campaigns by Irish, Jewish and African Americans against racial ridicule in popular culture at the turn of the twentieth century. Censoring Racial Ridicule explores how Irish, Jewish, and African American groups of the era resisted harmful representations in popular culture by…
Since I retired from lecturing in Classical Studies I’ve been writing more pieces on women in the ancient world, and also some plays. One of them, 189 Pieces, is about the Portland Vase, a beautiful example of Roman glass whose label in the British Museum tells us that it was owned by the Duke of Portland. This is true—he’d inherited it—but it was bought at great expense by his grandmother, the wonderful Duchessof Portland. Giving women their place in history has been my aim in much of my work. Nowadays I’m obsessed with female footwear, and Cinderella, Goody Two-Shoes, and Carrie Bradshaw take up a lot of my time.
Thrilling portraits of violent women in Greek tragedy—for example, Clytemnestra, Electra, and Medea—seem like an anomaly in a society that expected women to get married, bear children, be quiet, and stay at home. In this accessible introduction to the subject Rabinowitz examines tragedy in its original theatrical and social contexts. Her analyses of selected plays are grounded in psychoanalytic and feminist theory, and include vivid accounts of some modern performances. Whatever is happening in the world, there is always a Greek tragedy that speaks to it.
Greek Tragedy sets ancient tragedy into its original theatrical, political and ritual context and applies modern critical approaches to understanding why tragedy continues to interest modern audiences. * An engaging introduction to Greek tragedy, its history, and its reception in the contemporary world with suggested readings for further study * Examines tragedy's relationship to democracy, religion, and myth * Explores contemporary approaches to scholarship, including structuralist, psychoanalytic, and feminist theory * Provides a thorough examination of contemporary performance practices * Includes detailed readings of selected plays
I am a Lecturer in English Language and Literature at the University of Oxford, where I specialize in early modern drama (including Shakespeare) and book history. Since my undergraduate degree, I have been fascinated by historical drama, poetry, prose, and the often-porous boundary between ’truth’ and fiction during the sixteenth and seventeenth centuries. Most of my research–including a major project on ‘Wartime Shakespeare’ that produced two books and a public exhibition at The National Army Museum in London–explores the profound impact of the stories we tell about the past and what they reveal about concerns and interests in the present.
I love this book because it spotlights performance contexts and conditions–what it means to stage history during the Elizabethan period–and, through this focus, provides fresh, nuanced interpretations of the plays it considers, including some by Shakespeare and others performed by Queen Elizabeth’s Men.
It is another formative book for me, especially because it negotiates ideas and representations of ‘truth’ in historical drama. Walsh’s book offers a compelling account of the communal construction of history and the interplay between presence and absence, which has also helped me understand my own methods as a critic and historian.
The Elizabethan history play was one of the most prevalent dramatic genres of the 1590s, and so was a major contribution to Elizabethan historical culture. The genre has been well served by critical studies that emphasize politics and ideology; however, there has been less interest in the way history is interrogated as an idea in these plays. Drawing in period-sensitive ways on the field of contemporary performance theory, this book looks at the Shakespearean history play from a fresh angle, by first analyzing the foundational work of the Queen's Men, the playing company that invented the popular history play. Through…
In a time of alternative facts and the loss of a shared sense of reality, A Foot is Not a Fish playfully illustrates the difference between what is true and what is not through absurd fun comparisons that every child—and parent—will instantly understand.
I am an Emeritus Professor of Drama at the University of Hull, translator of some twenty plays from Greek or Latin into English, a professional director, and a member of Equity for more than fifty years. I hope and believe that my own experience as a practitioner has blended with an educational background in Greek and Latin from St Andrews combined in my extensive list of publications on theatre history as author and editor to be found listed on my website.
While the first two links are a good introduction to classical drama and theatre for the uninitiated, this third choice is different, a vast and unparalleled compendium covering productions of the whole corpus of direct and marginal translations of Greek tragedy on the English stage over some 250 years.
It is a work of reference rather than a ‘good read’, but it is a book into which I hope everyone would find reason to dip who believes in research as an essential feature of creative preparation for the new production of a ‘classic’.
The book is written by two of the most prominent and inspirational contemporary classical scholars whose prolific output in kindred areas of the classics and of theatre history has little rival.
Issues such as stage censorship, social and political change and translation bias show how the classical repertoire from Aeschylus through to Seneca has made it possible,…
This lavishly illustrated book offers the first full, interdisciplinary investigation of the historical evidence for the presence of ancient Greek tragedy in the post-Restoration British theatre, where it reached a much wider audience - including women - than had access to the original texts. Archival research has excavated substantial amounts of new material, both visual and literary, which is presented in chronological order. But the fundamental aim is to explain why Greek tragedy, which played an elite role in the curricula of largely conservative schools and universities, was magnetically attractive to political radicals, progressive theatre professionals, and to the aesthetic…
