Books with author Leonard Magnus

A lively and entertaining history of the riders who have come in last place during the grueling 3,000-mile Tour de France Froome, Wiggins, Mercks―we know the winners of the Tour de France, but Lanterne Rouge tells the forgotten, often inspirational and occasionally absurd stories of the last-placed rider. We learn of stage winners and former yellow jerseys who tasted life at the other end of the bunch; the breakaway leader who stopped for a bottle of wine and then took a wrong turn; the doper whose drug cocktail accidentally slowed him down and the rider who was recognized as the most combative despite finishing at the back. Max Leonard flips the Tour de France on its head and examines what these stories tell us about ourselves, the 99% who don't win the trophy, and forces us to re-examine the meaning of success, failure and the very nature of sport.

If you complete a bike race of over 3,000 miles in last place, overcoming mountain ranges and merciless weather, all while enduring physical and psychological agony, should you be branded the loser? What if your loss helped a teammate win? What if others lacked the determination to finish? What if you were trying to come in last? Froome, Wiggins, Mercks―we know the winners of the Tour de France, but Lanterne Rouge tells the forgotten, often inspirational and occasionally absurd stories of the last-placed rider. We learn of stage winners and former yellow jerseys who tasted life at the other end of the bunch; the breakaway leader who stopped for a bottle of wine and then took a wrong turn; the doper whose drug cocktail accidentally slowed him down and the rider who was recognized as the most combative despite finishing at the back. Max Leonard flips the Tour de France on its head and examines what these stories tell us about ourselves, the 99% who don't win the trophy, and forces us to re-examine the meaning of success, failure and the very nature of sport. 16 pages of B&W and color photographs

lanterne rouge (French | noun): The competitor who finishes last in the Tour de France Froome, Wiggins, Merckx – we know the winners of the Tour de France, but what about the men who finish last?Lanterne Rouge tells the forgotten, often inspirational and occasionally absurd stories of the last-placed rider. We learn of stage winners and former yellow jerseys who tasted life at the other end of the bunch; the breakaway leader who stopped for a bottle of wine and then took a wrong turn; the doper whose drug cocktail accidently slowed him down and the rider who was recognised as the most combative despite finishing at the back. Flipping the Tour de France on its head and examines what these stories tell us about ourselves, the 99% who don’t win the trophy, Lantern Rouge forces us to re-examine the meaning of success, failure and the very nature of sport.‘A lively account of largely forgotten men... It’s not easy to come up with an original angle on Le Tour, but with this rear view Leonard has managed the feat in style’ Independent on Sunday

Andie Pandie was a sweet little brown teddy bear who lived in a toy store in Colorado. He had lived in the toy store as long as he could remember, which a very long time in teddy bear time was. Usually Andie Pandie was just as happy as a little brown teddy bear could be. He got to meet lots and lots of people when they came in the toy store. But after a while, Andie Pandie began to get a little sad because all the other toys went home with someone who loved them but Andie Pandie had to stay in the toy store.

This book is about God's love for you. His journey with a princess from heaven through life adventures and returning to heaven. You travel with her through wonderful abstract paintings. Mary Leonard's painting style is unusually simple, yet profoundly complex, abstractions of the unknown, yet intuitively known. It allows you to become the observer and share with your child. It is not preachy and has a great platform for the reader to make their own conclusions. Hopefully seeing the great love between the princess and God.

The stories are not neatly rounded off into consequential and purposive stories. The incidents follow almost haphazard; and at the end, the persons mentioned at the beginning may be forgotten; the stories are often almost as casual as real life. The stories relate experiences in succession, attempt no judgment, do not even affirm their own credibility. Things simply happen; our exertions may sometimes be good; we can only be quietly resigned. But, unlike the Arabian Nights, there is no positive fatalism; for that would imply a judgment; a warping of facts to suit a theory. These stories have been translated direct from the Russian of Afanasev; the selection is intended to represent, as completely as possible, the varieties of Russian folk-tale. As far as an analytic language, like modern English, can render so highly inflected a tongue as Russian, the translator has tried to keep strictly to the style and diction of the originals, which are the undoctored traditional stories.

An animated first-time history of the visionaries--editors, authors, librarians, booksellers, and others--whose passion for books has transformed American childhood and American cultureWhat should children read? As the preeminent children’s literature authority, Leonard S. Marcus, shows incisively, that’s the three-hundred-year-old question that sparked the creation of a rambunctious children’s book publishing scene in Colonial times. And it’s the urgent issue that went on to fuel the transformation of twentieth-century children’s book publishing from a genteel backwater to big business. Marcus delivers a provocative look at the fierce turf wars fought among pioneering editors, progressive educators, and librarians--most of them women--throughout the twentieth century. His story of the emergence and growth of the major publishing houses--and of the distinctive literature for the young they shaped--gains extraordinary depth (and occasional dish) through the author’s path-finding research and in-depth interviews with dozens of editors, artists, and other key publishing figures whose careers go back to the 1930s, including Maurice Sendak, Ursula Nordstrom, Margaret K. McElderry, and Margret Rey. From The New England Primer to The Cat in the Hat to Cormier’s The Chocolate War, Marcus offers a richly informed, witty appraisal of the pivotal books that transformed children’s book publishing, and brings alive the revealing synergy between books like these and the national mood of their times.