Love and the Art of War

Charmain Baker is in over her head. Looking after Great-Uncle William's tiny cottage while he's ill should have been easy. But Great-Uncle William is better known as the Royal Wizard Norland, and his house bends space and time. Its single door leads to any number of places-the bedrooms, the kitchen, the caves under the mountains, the past, and the Royal Mansion, to name just a few.

By opening that door, Charmain has become responsible for not only the house, but for an extremely magical stray dog, a muddled young apprentice wizard, and a box of the king's most treasured documents. She has encountered a terrifying beast called a lubbock, irritated a clan of small blue creatures, and wound up smack in the middle of an urgent search. The king and his daughter are desperate to find the lost, fabled Elfgift-so desperate that they've even called in an intimidating sorceress named Sophie to help. And where Sophie is, can the Wizard Howl and fire demon Calcifer be far behind?

Of course, with that magical family involved, there's bound to be chaos-and unexpected revelations.

No one will be more surprised than Charmain by what Howl and Sophie discover.

Sophie has the great misfortune of being the eldest of three daughters, destined to fail miserably should she ever leave home to seek her fate. But when she unwittingly attracts the ire of the Witch of the Waste, Sophie finds herself under a horrid spell that transforms her into an old lady. Her only chance at breaking it lies in the ever-moving castle in the hills: the Wizard Howl's castle. To untangle the enchantment, Sophie must handle the heartless Howl, strike a bargain with a fire demon, and meet the Witch of the Waste head-on. Along the way, she discovers that there's far more to Howl—and herself—than first meets the eye.

Deryn is a girl posing as a boy in the British Air Service, and Alek is the heir to an empire posing as a commoner. Finally together aboard the airship Leviathan, they hope to bring the war to a halt. But when disaster strikes the Leviathan's peacekeeping mission, they find themselves alone and hunted in enemy territory.

Abdullah was a young and not very prosperous carpet dealer. His father, who had been disappointed in him, had left him only enough money to open a modest booth in the Bazaar. When he was not selling carpets, Abdullah spent his time daydreaming. In his dreams he was not the son of his father, but the long-lost son of a prince. There was also a princess who had been betrothed to him at birth. He was content with his life and his daydreams until, one day, a stranger sold him a magic carpet.

In this stunning sequel to Howl's Moving Castle, Diana Wynne Jones has again created a large-scale, fast-paced fantasy in which people and things are never quite what they seem. There are good and bad djinns, a genie in a bottle, wizards, witches, cats and dogs (but are they cats and dogs?), and a mysterious floating castle filled with kidnapped princesses, as well as two puzzling prophecies. The story speeds along with tantalizing twists and turns until the prophecies are fulfilled, true identities are revealed, and all is resolved in a totally satisfying, breathtaking, surprise-filled ending.

Sense and Sensibility  (FULLY ILLUSTRATED) Marianne and Elinor Dashwood are sisters. Marianne always acts impulsively, while Elinor is painfully sensitive to social convention. When each falls in love, they come to realize that sense must mix with sensibility if they are to find happiness. Sense and Sensibility inaugurated the brilliant career of one of the world's most beloved literary figures and ranks among her most popular novels. Though not the first novel she wrote, Sense and Sensibility was the first Jane Austen published. Though she initially called it Elinor and Marianne, Austen jettisoned both the title and the epistolary mode in which it was originally written, but kept the essential theme: the necessity of finding a workable middle ground between passion and reason. The story revolves around the Dashwood sisters, Elinor and Marianne. Whereas the former is a sensible, rational creature, her younger sister is wildly romantic-a characteristic that offers Austen plenty of scope for both satire and compassion