Sophia is disguised as a young male - a necessary lie if she's to survive the journey ahead of her. When her herbalist grandmother dies, leaving the girl to an uncertain future, Sophia takes to the Spice Road in search of her legendary grandfather, Will, the foreign storyteller - and the attractive trader she believes might help find him.

Will and his brother Ned are on the long march from the Fens to North Wales, commandeered into the army of ditch-diggers heading west towards Flint, where they will be preparing the ground for the foundations of Edward 1's new castle. They are nervous and rightly so--for not only is Ned a mute, whose abilities as a horse-whisperer and herbalist make him suspicious in the eyes of their English overseers, but they have been close to the enemy. Ned had been secretly taking lessons in music from Ieuan ap y Gof, an exiled bard, when the Welshman disappeared one night without warning not long before Edward's officers came 'recruiting'. The boys find themselves a long way from home, virtually friendless and then captured by the 'enemy', suspected of treason and near killed before they are able to escape. Finally, when all appears lost, Will learns that love is sometimes harder to understand and to come to terms with than death itself . . .

Looking for one hundred shoes is no easy job Thaddeus tries his best to hide from his mother's impatient voice as she reminds him that it is shoe hunting day. Being a centipede with one hundred legs, he is found as flat as he can be in his favorite hiding place, under a rug. But his unhappy mother drags him out from under the rug and they set out into the nearby meadow to look for comfortable materials for shoes for his one hundred feet. Thaddeus reluctantly but obediently tries on various pieces of meadow materials, even unthawed snow, but problems are met with all of them. Slipping and sliding, tumbling and tripping are only a few problems that appear throughout this journey for new shoes. Finally, in aggravation and exhaustion, Thaddeus stamps his feet and strongly suggests that he and his mother return home. His mother, in her own frenzied need, agrees with him. The answer to Thaddeus' needed shoes is found at the edge of a small pond and a green, slimy moss covered rock at its edge which they pass on their way home. The author invites you to read the story and celebrate with Thaddeus as he wiggles his new shoes in the air

"Maddie's Magic Tree" is the story of a young girl's love for animals and nature. She excitedly sees the first white, winter's snowflakes as she rises from bed. She rushes out into the surrounding meadow and meets the hero of the story, a young Pine tree heavily covered in snow with a magic wave to Maddie as she relieves the tree from the white burden on its branches, a group of animals and birds all receiving magical gifts from the tree, and a spying Maddie from behind a tree that magically sends animals to successfully find food during the winter. Magic Magic Magic The author inspires children from the goodness in the story of the kindness of the Magic tree in silently guiding the animals to find food for themselves and their family, and the love and caring heart of Maddie in wanting to keep the animals safe and fed through the winter. The gratitude of the animals toward the tree when they find needed food and the outpouring of love in the gifts with which they decorate the tree become the loving symbol of their love for the tree. This story can be a channel to strengthen love, gratitude, kindnes and caring in the minds of young children. How was "Magic" shown in the story? Why was Maddie always so worried? What does the last illustration show us about loving each other? Why was Maddie so happy with her "hug?"

Death and Loss are two emotions that painfully remain in our minds and hearts, seemingly forever. The personal sharing of my mother's death reaches through the gentle, loving concept within Alice's story with a hint of what is to come within the title. What greater source of peace can be offered, especially to children, but also to adults, to visualize little Alice in being sought and brought to heaven by the "bedraggled" little messenger in returning to the Heavenly Father and stands before Him with Alice. Earning her wings and halo leaves room for visualizing preparations for Alice's appointed task by the Heavenly Father to bring her mother's love into the Christmas Crib scene. What greater gift can be offered to children to lead them through the inspiration of this beautiful story, to offer their gift of love through the depth of their own loss. Such a loving and generous gift will be memorialized forever from the beginning of this Christmas story and into its ending.

Plant galls are remarkable objects, often beautiful and sometimes bizarre. They are formed of plant tissue but are caused by another organism, usually an insect or mite, and, thus, they straddle the worlds of botany and zoology. Knowledge of galls has a long history, since the 5th century BC. First used as herbal medicines and later for dyeing cloth and leather and for ink-making, their true nature remained obscure until well into the 19th century - they, and the creatures inside, were generally regarded as objects of superstitions, arising by spontaneous generation.

Against this background of ignorance, Malpighi's "De Gallis," published in 1679, is a remarkable work. He investigated gall structure and studied galls as they grew, describing and illustrating them so accurately that most of them can be recognised today. Thereafter, knowledge regressed; Malpighi's understanding of galls reached levels not attained again for 200 years. His understanding gave the study of galls a scientific basis well ahead of its time, and it with justification that Malpighi is recognised as the father of cecidology.

Although most of the galls Malpighi described are on oak trees, he also looked at galls on other plants, herbaceous species as well as other trees. Most galls familiar to him are caused by cynipid wasps, which he saw emerging from their galls as well as laying eggs in buds. But he appreciated too that other creatures could cause galls, other insects and mites, although he did not name them specifically.

The core of this work is "De Gallis," one of the chapters of Malpighi's major work on plants, "Anatomes Plantarum," and richly illustrated with 67 figures in 15 plates. This was published in 1679 by the Royal Society of London, and a facsimile of the first edition is included here. A translation of the original Latin follows the facsimile with an interpretation interleaved on facing pages. This allows the translation to lead directly to the recognition of each gall that Malpighi described and enables any difficult or obscure parts of the text to be explained. Most of the galls are illustrated in colour, allowing direct comparison between Malpighi's drawings and modern images.

The importance of "De Gallis" in the history of natural history is indisputable. It is remarkable that, in the 17th century, Malpighi's understanding of galls and how they developed is close to modern interpretations. De Gallis has not received the recognition it deserves because the Latin text remained inaccessible to most people. This English translation and interpretation of the galls familiar to Malpighi should make De Gallis and its meticulous illustrations available to a wider audience.

An introduction to the community of insects that make their home on thistles. It describes the natural history of the important groups of insects, and shows how to find them and how to observe their lives. It also discusses the effects of herbivorous insects on the plant.