Bøker for barn/ungdom. Bøkene ser ut til å være uleste

Alt begynner den dagen Gjermund nyser så det spruter på skolen. Nysedråpene spres utover gulvet, men i steden for å tørke, flyter de sammen og blir til en klump. For hver gang han nyser blir den grønne klysa større. Dersom Gjermund ikke greier å stanse, vil hele byen drukne i en flodbølge av slim.

Roar og Aleksander er på landtur i skogen med hele skolen, og for å erte Roars lillebror river de beina av noen maur og drukner et par andre i brus. Dette skal de komme til å angre på, for noen maur er faktisk veldig store og veldig hevnlystne.

På vei ned fra fjellet kjører Morten og familien hans seg vill i en snøstorm, og de må ta inn på et hotell som heter Hotell Innesnødd. Hotelldirektøren holder alltid øye med dem, og de andre gjestene spør og graver om de underligste ting. Morten oppdager at de andre gjestene ikke er som Morten selv, og de vil noe ondt med familien.

Anne og Carl husker med gru hvordan de skapte en monsterkalkun sist høsttakkefest - Frankenkalkun. I år er alt stille og fredelig, men så finner de et ønskebein fra Frankenkalkun. De knekker det, og ønsker at Goble-von-Gokk, den gamle kjælekalkunen, skal bli levende igjen. Samme kveld står Goble-von-Gokk opp fra de døde, men det er kanskje ikke snille, lille Goble som er vendt tilbake.

Det er noe rart med den nye læreren til Jonas og Martin. Han går med dresser av brunt skinn, øynene hans buler ut, og tungen hans er lang og slimete. Men alle barna liker Viktor Batrachian likevel - alle bortsett fra Jonas og Martin. De vet nemlig hvem Batrachian egentlig er. De vet at han er ond. De vet at han er skummel. Og de vet at sjetteklassinger er det beste han vet.

Tone kjeder seg, men så finner hun en mystisk bok. Hver gang hun åpner den finner hun et nytt trylleformular. Dette synes Tone er veldig gøy, helt til tryllekunstene begynner å bli farlige.

Det er snart Høsttakkefest, og hjemme hos Carl og Anne skal de feire festen slik de første pilegrimene gjorde det. De skal lage egne kostymer, og ale opp en ekte kalkun som skal havne på middagsbordet. Men barna blir glade i den lille kalkunen, og vil ikke spise den. Derfor bygger de en falsk kalkun for å lure foreldrene, og før de vet ordet av det har de skapt en Frankenkalkun. Den er slem og vill, og barna må være forsiktige.

Kristoffer vil ikke spise maten til den nye kantinebestyreren på skolen, Åma Spindel, enda alle vennene synes den smaker godt. Snart begynner alle vennene hans å oppføre seg snodig, og jo mer de spiser, jo rarere blir de.

Endelig skulle det nye kjøpesenteret åpne! Kaja hadde lenge gledet seg til at Eventyrland Storsenter skulle bli ferdig. Moren hennes hadde fortalt at det var bygget på en myr, der tre ungdommer forsvant sporløst for mange år siden. Men Kaja og vennene hennes lot seg ikke skremme av slike skrekkhistorier. Nå skulle de shoppe og spise godterier og gå på kino og ha det kult. Men det var før vennene begynte å forsvinne, og før Kaja så utstillingsdukker som lignet dem mistenkelig.

What keeps us together? What breaks us apart? In Love Me True, 27 creative nonfiction writers and 16 poets explore how marriage and committed relationships have challenged, shaped, supported and changed them. The stories and poems in this collection delve deep into the mysteries of long-term bonds. The authors cover a gamut of issues and ideas--everything from everyday conflicts to deep philosophical divides, as well as jealousy, adultery, physical or mental illness, and loss. There's happiness here too, along with love and companionship, whether the long-term partnering is monogamous, polyamorous, same-sex or otherwise. From surprise proposals, stolen quickies, and snoring to arranged marriage, affairs, suicide, and much more, the wide-ranging personal stories and poems in Love Me True are sometimes funny, sometimes harrowing, and always engaging as they offer their intimate and varied insights into the complex state that is marriage. Editors Jane Silcott and Fiona Tinwei Lam have assembled work from notable authors across Canada, both well-known and up-and-coming, including Luanne Armstrong, Joanne Arnott, Donna Besel, Lesley Buxton, Mandy Len Catron, Kevin Chong, Lorna Crozier, Michael Crummey, Eufemia Fantetti, Jane Eaton Hamilton, Maureen Scott Harris, Maureen Hynes, Michelle Kaeser, Jagtar Kaur Atwal, Chelene Knight, Evelyn Lau, Ellen McGinn, Lauren McKeon, Monica Meneghetti, Jane Munro, Susan Musgrave, Lorri Neilsen Glenn, Juliane Okot Bitek, Susan Olding, Miranda Pearson, Toni Pieroni, Tana Runyan, Rachel Rose, Andreas Schroeder, Karen Shklanka, Kara Stanley, Chris Tarry, Rob Taylor, Yasuko Thanh, Russell Thornton, Ayelet Tsabari, Betsy Warland, Gina Leola Woolsey, Samra Zafar, and others.

Games are the most engaging medium of all time: they harness storytelling and heuristics, drive emotion and push the evolution of technology in a way that no other platform has or can. It's no surprise, then, that games and gamification are revolutionizing the market research industry, offering opportunities to reinvigorate the notoriously sluggish engagement levels seen in traditional surveying methods. This not only improves data quality, but offers untapped insights unattainable through traditional methods. Games and Gamification in Market Research shows readers how to design ResearchGames and Gamified Surveys that will intrinsically engage participants and how best to use these methodologies to become, and stay, commercially competitive. In a world where brands and organizations are increasingly interested in the feelings and contexts that drive consumer choices, Games and Gamification in Market Research gives readers the skills to use the components in games to encourage play and observe consumer behaviours via simulations for predictive modelling. Written by Betty Adamou, the UK's leading research game designer and named as one of seven women shaping the future of market research, it explains the ways in which these methodologies will evolve with technologies such as virtual reality and artificial intelligence, and how it will shape research careers. Alongside a companion website, this book provides a fully immersive and fascinating overview of game-based research.

Betty Collis and Jef Moonen present a series of proven and practical guidelines, based on their balanced experience of using technology in education. Together, these give readers an overview of how technological applications in education can be developed and harnessed.

AH-HA I SEE IT NOW Everyone has experienced that joyful moment when the light flashes on -- the Ah-Ha of creativity. Creativity. It is the force that drives problem-solving, informs effective decision-making and opens new frontiers for ambition and intelligence. Those who succeed have learned to harness their creative power by keeping that light bulb turned on. Now, Betty Edwards, author of "Drawing on the Right Side of the Brain, " the million-copy best-seller that proved all people can draw well just as they "can read well, " has decoded the secrets of the creative process to help you tap your full creative potential and apply that power to everyday problems. How does Betty Edwards do this? Through the power of drawing -- power you can harness to "see problems in new ways." Through simple step-by-step exercises that require no special artistic abilities, Betty Edwards will teach you how to take a new point of view, how to look at things from a different perspective, how to see the forest "and" the trees, in short, how to bring your "visual, perceptual brainpower" to bear on creative problem-solving. You will learn how the creative process progresses from stage to stage and how to move your own problem-solving through these key steps: * First insight * Saturation * Incubation * Illumination (the Ah-Ha ) * Verification Whether you are a business manager, teacher, writer, technician, or student, you'll find "Drawing on the Artist Within" the most effective program ever created for tapping your creative powers. Profusely illustrated with hundreds of instructional drawings and the work of master artists, this book is written for people with no previous experience in art.