Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Carl Sandburg had three daughters and he loved telling them irrepressible, zany tales. He disliked the European fairy stories that involved kings and princesses and thought American tales should be more relevant to the world around his children, but of course made rather fantastic. So the stories are populated with trains on zig-zag tracks, skyscrapers, animals wearing bibs, corn fairies, not to mention the Village of Cream Puffs which floats in the wind. They have become firm favourites for generations of children. This edition of Rootabaga Stories features the original black and white illustrations by Maud and Miska Petersham.

Gimme the Ax decided to let his children name themselves.

"The first words they speak as soon as they learn to make words shall be their names," he said. "They shall name themselves."

When the first boy came to the house of Gimme the Ax, he was named Please Gimme. When the first girl came she was named Ax Me No Questions.

And both of the children had the shadows of valleys by night in their eyes and the lights of early morning, when the sun is coming up, on their foreheads.

And the hair on top of their heads was a dark wild grass. And they loved to turn the doorknobs, open the doors, and run out to have the wind comb their hair and touch their eyes and put its six soft fingers on their foreheads.

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Twenty-five stories in a whimsical Rootabaga vein -- from beloved American poet Carl Sandburg.

In the winter of 1914, Carl Sandburg, then a reporter at The Day Book in Chicago, submitted several of his poems to Harriet Monroe's Poetry magazine. The title poem began: "Hog Butcher for the World, / Tool Maker, Stacker of Wheat..." Monroe at first hesitated to accept the poems because of "their unorthodox form and their range from brutality to misty lyricism." But she took a deep breath and printed them. In the decade that followed, Sandburg came quickly to national prominence. In Poems for the People, George and Wilene Hendrick, Sandburg's most accomplished interpreters, have selected seventy-three poems from his early years in Chicago, almost all of them never before in print. Included are poems of social protest, gentle ruminations, and poems about teeming Chicago life. Sandburg may have regarded them as too radical for the time; others may have been set aside and never retrieved. This unearthed treasure, together with the Hendrick's biographical introduction and commentary on the poems, mark Poems for the People as a major publishing event.

Now considered possibly Illinois' greatest poet, Carl Sandburg (1878-1967) saw himself as a bard of the working class. Chicago Poems brought him to national attention and is one of the few Chicago classics that can also be termed an American classic. It includes such famous poems as "Chicago" and "Fog," as well as many others whose subjects range from the lives of ordinary citizens to city scenes and World War I. Written in powerful free verse, the poems are notable for their realistic portrayal of the struggle of working people and their focus on the lyric beauty of the urban environment.

Discover the power of poetry in this simple, modern introduction to Carl Sandburg, featuring an ode to autumn and the joys of HalloweenIn this beautifully illustrated adaptation of a beloved Carl Sandburg poem, children delight in the sensory and spooky arrival of autumn.

Carl Sandburg (1878-1967) is best known for his poetry (Chicago Poems, Smoke and Steel, and Good Morning, America), his books for children, including Rootabaga Country and Potato Face, and his six-volume biography of Abraham Lincoln. The Pulitzer Prize-winning Illinois author devoted his life to writing, lecturing, reading from his own works, and collecting and singing folk songs.   Sandburg often incorporated proverbs, riddles, aphorisms, and vernacular wisdom in lectures, poetry, children’s stories, and in his novel Remembrance Rock. Believing that silliness and fun helped preserve sanity and balance, he put together a collection of fanciful anecdotes - alive with alliteration - for his own amusement. Now, more than twenty years after his death, the publication of Fables, Foibles, and Foobles truly reveals, for perhaps the first time, the playful spirit of this great American poet.   George Hendrick has compiled the best of these never-before-published nonsensical pieces, which include Flies, Fleas, Flinyons, Flicks, Flooches, Flacks, Flatches, and assorted F-friends deep in dialogue about books and reading; the fascinating worlds of the curious hoomadooms, hongdorshes, and onkadonks; fables to rival Thurber; jokes about every conceivable type of nut; and cameo appearances by Hank the Honk and Flitty the Wid, among others. Robert Harvey’s whimsical drawings, scattered throughout the book, illuminate this charming cast of characters.