"Kate and her family come to Canada during the Hungry Year of 1787. When her father does not return from a hunting trip, Kate uses all her resources to keep her family alive" Cf. Our choice, 2002.

For fans of The Giver, a futuristic thriller with a diverse cast. In Thalia's world, there is no more food and no need for food, as everyone takes medication to ward off hunger. Her parents both work for the company that developed the drugs society consumes to quell any food cravings, and they live a life of privilege as a result. When Thalia meets a boy who is part of an underground movement to bring food back, she realizes that there is an entire world outside her own. She also starts to feel hunger, and so does the boy. Are the meds no longer working? Together, they set out to find the only thing that will quell their hunger: real food. It's a journey that will change everything Thalia thought she knew. But can a "privy" like her ever truly be part of a revolution?

The all-time classic picture book, from generation to generation, sold somewhere in the world every 30 seconds! Have you shared it with a child or grandchild in your life? For the first time, Eric Carle’s The Very Hungry Caterpillar is now available in e-book format, perfect for storytime anywhere. As an added bonus, it includes read-aloud audio of Eric Carle reading his classic story. This fine audio production pairs perfectly with the classic story, and it makes for a fantastic new way to encounter this famous, famished caterpillar.

“Hunger is the loudest voice in my head. I’m hungry most of the time.” William Leith began the eighties slim; by the end of that decade he had packed on an uncomfortable amount of weight. In the early nineties, he was slim again, but his weight began to creep up once more. On January 20th, 2003, he woke up on the fattest day of his life. That same day he left London for New York to interview controversial diet guru Dr. Robert Atkins. But what was meant to be a routine journalistic assignment set Leith on an intensely personal and illuminating journey into the mysteries of hunger and addiction. From his many years as a journalist, Leith knows that being fat is something people find more difficult to talk about than nearly anything else. But in The Hungry Years he does precisely that. Leith uses his own pathological relationship with food as a starting point and reveals himself, driven to the kitchen first thing in the morning to inhale slice after slice of buttered toast, wracked by a physical and emotional need that only food can satisfy. He travels through fast food-scented airports and coffee shops as he explores the all-encompassing power of advertising and the unattainable notions of physical perfection that feed the multibillion dollar diet industry. Fat has been called a feminist issue: William Leith’s unblinking look at the physical consequences and psychological pain of being an overweight man charts fascinating new territory for everyone who has ever had a craving or counted a calorie. The Hungry Years is a story of food, fat, and addiction that is both funny and heartwrenching. I was sitting in a café on the corner of 3rd Avenue and 24th Street in Manhattan, holding a menu. I was overweight. In fact, I was fat. Like millions of other people, I had entered into a pathological relationship with food, and with my own body. For years I had desperately wanted to write about why this had happened — not just to me, but to all those other people as well. I knew it had a lot to do with food. But I also knew it was connected to all sorts of outside forces. If I could understand what had happened to me, I could tell people what had happened to them, too. Right there and then, I decided that I would do everything to discover why I had got fat. I would look at every angle. And then I would lose weight, and report back from the slim world. —Excerpt from The Hungry Years

Adam Gordon is a brilliant, if highly unreliable, young American poet on a prestigious fellowship in Madrid, struggling to establish his sense of self and his relationship to art. What is actual when our experiences are mediated by language, technology, medication, and the arts? Is poetry an essential art form, or merely a screen for the reader's projections? Instead of following the dictates of his fellowship, Adam's "research" becomes a meditation on the possibility of the genuine in the arts and beyond: are his relationships with the people he meets in Spain as fraudulent as he fears his poems are? A witness to the 2004 Madrid train bombings and their aftermath, does he participate in historic events or merely watch them pass him by? In prose that veers between the comic and tragic, the self-contemptuous and the inspired, Leaving the Atocha Station is a portrait of the artist as a young man in an age of Google searches, pharmaceuticals, and spectacle. Born in Topeka, Kansas, in 1979, Ben Lerner is the author of three books of poetry The Lichtenberg Figures, Angle of Yaw, and Mean Free Path. He has been a finalist for the National Book Award and the Northern California Book Award, a Fulbright Scholar in Spain, and the recipient of a 2010-2011 Howard Foundation Fellowship. In 2011 he became the first American to win the Preis der Stadt Münster für Internationale Poesie. Leaving the Atocha Station is his first novel.

Draws from oral histories, memoirs, local newspaper reports, and scholarly texts to tell the story of America's Great Depression in the words of people who lived through it.