Hello, dear reader, we’re very excited to share some news with you..! We are thrilled to announce that DreamWorks Animation have optioned the motion picture rights to the Brownstone’s Mythical Collection series by Joe Todd-Stanton! We can’t tell you any more than this for now but rest assured that we will share all further details as soon as we can!
Brownstone’s Mythical Collection follows the stories of the Brownstone family and their adventures through ancient mythologies. Two books have been published in the series so far. In Arthur and the Golden Rope(2016), unlikely hero Arthur journeys to the land of the Vikings where he meets Norse gods and monsters. In Marcy and the Riddle of the Sphinx(2017), an anxious Marcy travels to ancient Egypt to save her adventurer father and overcome her deepest fears. The next book in the series will be based on Chinese mythology, and is publishing in Autumn 2019.
Winner of the Waterstones Children’s Book Prize 2018 forThe Secret of Black Rock, Joe Todd-Stanton said upon hearing the news: “Knowing this studio, which was such a huge and positive part of my childhood, have even read my book is mind-blowing. The fact they are interested in possibly adapting it is on another level. I’m really excited to see what happens. “
Sam Arthur, publisher and C.E.O. of Flying Eye Books commented “DreamWorks have a knack for picking up on great content – Joe Todd-Stanton’s star is rising!”
Infographics meet architecture in Adam Allsuch Boardman’s unique illustrations, which feature detailed line work with diagrammatic accuracy. Demonstrated in his latest book, An Illustrated History of Filmmaking, Adam leads us through the history of one of his favourite subjects. We caught up with Adam to find out more about his creative process as well as discussing his distinctive visual language.
Q. Where was your first port of call for your research?
To begin with, I amassed a healthy stack of books from the library. Whilst reading, I would take notes and begin drawing my own cryptic diagrams for later reference. I found that the much older books tended to contain quite charming illustrations, which I would scan and study. I also watched a whole bunch of documentaries and DVD extras, and listened to podcasts. Absorbing different types of information helped manifest a much clearer idea of the book within my headspace.
Had I the time to spare, there were a lot of focussed catalogues of information I would have liked to take to the extreme. For example, I began drawing a lot of cinema ticket booths. I really enjoyed how a simplistic and functional cupboard-like room had been reinterpreted in such diverse ways over the last century of cinema architecture. It’s honestly something that’s deserving of its own book!
Q. Your work is quite diagrammatic. What were your main influences as this style progressed?
When I first started out with illustration, I worked frequently with museums and on educational projects. This led me to interpret imagery in what I find is the most literal sense. I like to show the space of things in an easily understood way. The use of clear line has interested me since childhood, having learned to read with the assistance of Hergé’s Adventures of Tintin. I also have a deep fondness for the clarity of illustration present in school exam papers and revision materials.
I find that clarifying an object into a more impartial isometric perspective is very satisfying. The process of repeatedly and obsessively studying an object can be a lot of fun; often the rarer objects can send one down a bizarre rabbit hole of books and websites, just so one can find a better angle of reference… or indeed to go visit a museum solely to see a particular artefact.
Q. If you had the choice to dedicate several pages of this book to just one individual in filmmaking, who would it be and why?
It was incredibly hard not to babble on at length about each filmmaker, and there are so many fantastic lives both in front and behind the lens. I find folk like Jehanne D’Alcy really interesting – as one of the first full-time film actresses, she must have had a really unique experience of the industry, especially during its fledgling years.
Q. Are there any directors or cinematographers whose artistic direction has influenced your own work?
It’s often difficult to put an aesthetic down to one particular person – it’s a team effort after all! But Kazuo Miyagawa and John Alcott are some particular chaps that I find really grand. Many shots in 2001: A Space Odyssey continually amaze me. I am also astounded by the imagery of How the West Was Won. The unique camera trickery that made Cinerama work means that every single frame of information is divided into thirds, which creates a very unique visual language. By most accounts it was a nightmare of a system for everyone involved, but it looked fab.
One of the more trivial details of the book was the need to include furniture and fashion tied to the context of its time period. This included heaps of tangential research that I really enjoyed. In particular I loved looking at 1970s shirts.
Otherwise, the more grand and detailed isometric scenes such as the Vaudeville and orchestral recording were images that I spent a large chunk of time and concentration on. I found it most enjoyable to truly inhabit an imaginary space and flesh it out with believable detail based on various photographic and illustrative references.
Q. If you could do an Illustrated History of anything else, what would you choose and why?
In the intro to An Illustrated History of Filmmaking, I outlined that I deliberately left out animation, as to include it as a tacked-on chapter would have been an absolute disservice to its important role in entertainment. So, I would love to celebrate the history of animation with its own book following much of the same structure, highlighting some of the key folk, events and technology that made it all possible.
Otherwise I have a long list of subjects that I desperately want to conjure into the format of a book. Ufology for one – it would be particularly fun to draw and write about!
We’re so happy to announce that you can now stream the all-new Hilda series on Netflix! Yesterday, creator of the original Hilda graphic novel series Luke Pearson announced the original music by Grimes featured in the title sequence of the Netflix series.
This morning, the Nobrow team in New York screened the first two episodes for 125 kids from Brooklyn schools at the Brooklyn Public Library. The response was a lot of laughter, and questions about “what happens next?”
Sam Arthur, CEO and Co-founder of Nobrow, was excited to say: “Seeing Hilda develop from first sketches to first comic, to first graphic novel series, to TV show airing worldwide on Netflix has been a huge privilege. I’m so proud of what Luke Pearson, Nobrow/Flying Eye, and Silvergate Media have achieved. The last 10 years have been an incredible ride, and I have a feeling it’s just the beginning.”
Check out hildabooks.com for information on getting your own copies of the graphic novels or the first TV tie-in book, Hilda and the Hidden People. And don’t forget to get settled in to watch the entire first season!
Summer’s almost over and kids are headed back to school, and with that, there are new friends to make, and new stories to hear. In Me and My Fear(out now in the UK, US & Canada), a young immigrant girl starts school in her new country and has to face the challenges of making friends, learning a language, and overcoming her companion Fear, who perches on her shoulder every day—trying to keep her safe.
Me and My Fear is based on research that creator Francesca Sanna did in classrooms—asking children to draw their fears and encouraging them to talk about what made them afraid. To accompany this book, we’ve created a classroom guide, complete with activities and levelling information for teachers, students, and librarians to use for this upcoming year. You can download whichever version applies to you at the links below.
We hope that Francesca’s experience working with immigrant children will provide depth to your classrooms and conversations this year!
“I am a very anxious person, and at times when working on this book, my fear would grow too big and grip me too tightly. I would not have succeeded without the precious help of many people. Firstly, I would like to thank each and every child I met in schools and libraries, who was willing to share their fears about being the new one, the different one, the one from another country. They helped keep my own fear from growing too large.”—Francesca Sanna
Praise for The Journey
Many of you know Francesca from her brilliant debut picture book, The Journey. With six starred reviews, and acknowledgement on Best of lists from The New York Times, The Wall Street Journal, School Library Journal, Kirkus Reviews, Publishers Weekly, and the New York Public Library, The Journey moved readers with the illustrated story of a family forced from their homes, gently introducing children to what it means to be a refugee. Now, Francesca brings us into the story of one young girl, overcoming her struggles to feel at home in her new country.
“This heart-stopping, visually sophisticated story of a happy family suddenly forced to flee their home because of war evokes the dark danger of fairy tales to present the stark realities and enduring hope of modern refugees.”
—The New York Times, Notable Children’s Books of 2016
“Direct in language and lush in colorful illustration, this poignant picture book for readers ages 6-10 nurtures compassion for real-life refugees.”
—The Wall Street Journal, The Best Children’s Books of 2016
“The Journey offers a beautiful message to readers — young and old alike — about the difficulties of finding a new home, and the value of welcoming strangers once they arrive.” —The Washington Post
“A necessary, artful, and searing story.” —Kirkus Reviews, STARRED REVIEW
“The innocent voice and dramatic graphic-style illustrations tell a harrowing, haunting, yet hopeful story of a family’s search for a place to call home.” —School Library Journal, Best Picture Books of 2016
“Given the ongoing refugee crisis in Europe and immigration debates in the U.S. and abroad, Sanna’s story is well poised to spark necessary conversations about the costs of war.” —Publisher’s Weekly, STARRED REVIEW
Jérémie Royer’s Schedule, Saturday, September 15th:
Event: Panel – Illuminating Legends
Time: 2:30 PM – 3:30 PM
Location: White Flint Auditorium
Time: 3:30 PM – 4:30 PM
Location: Nobrow Table W76-78
In addition to meeting Jérémie, you’ll also have a chance to pick up one of the first copies of Hilda and the Hidden People at SPX. Just published on September 4th, this book is our very first prose novel based on episodes from the Netflix animated series debuting on September 21st.
SPX will be at the Bethesda North Marriott Hotel & Conference Center (5701 Marinelli Road, North Bethesda, MD 20852), and you can purchase tickets here.
We can’t wait to see you there!
September 15th & 16th
Bethesda North Marriott Hotel & Conference Center
NOBROW TABLE W76-78
We’re so excited that Hamish Steele will be a special guest at FlameCon in New York on August 18th and 19th! Hamish Steele, creator of Pantheon and the just-published Deadendia, will be a special guest alongside Molly Ostertag, Noelle Stevenson, MariNaomi, Mariko Tamaki, and many more talented creators. Flame Con is the world’s largest queer comic con, featuring a two-day comics, arts and entertainment expo, showcasing creators and special guests from all corners of the LGBTQ fandom. Hamish will be participating in several panels, meeting fans at his book table (S145), and selling copies of his bright and brilliant books!
Don’t forget to follow @nobrowpress on Instagram for Hamish’s takeover on our stories for Saturday!
Sheraton, New York (West 53rd Street, 811 7th Ave, New York, NY 10019)
Saturday (show open 12-8pm):
Hamish will be signing at his table (S145) during the day!
5pm: The Big Gay Sensational Animational Hour Panel, Room A (with Nicole Gitau, Shadi Petosky and Noelle Stevenson)
The Russ Manning Award has been given out annually at the San Diego Comic-Con since 1982, and is presented to a comics artist who, early in their career, shows a superior knowledge and ability in the art of creating comics. Russ Manning is best known for his work on the Tarzan and Star Wars newspaper strips and the Magnus, Robot Fighter comic book. Hamish had a co-winner this year—the talented Pablo Tunica (TMNT Universe) and his fellow nominees were Sean Rubin (Bolivar), Nina Vakueva (Hi-Fi Fight Club/Heavy Vinyl), and Campbell Whyte (Home Time). With all of this talent, we’re so proud of Hamish for this win, and we can’t wait for the quirky, genuine characters of Deadendia to come to your bookshelf.
Nobrow and Flying Eye Books will be attending the American Booksellers Association’s ABC Children’s Institute from June 19-21st and the American Library Association’s Annual Conference from June 22-25th in New Orleans! Here is a rundown of all that we have going on.
Children’s Institute Events
On the opening night of Children’s Institute (June 19th), we’re throwing an exclusive HILDA Netflix Screening Party at the Sheraton New Orleans Hotel in room Grand B. We’ll kick things off at 9pm with popcorn and Hilda swag. No need to RSVP but if you’re a bookseller, sign up here to receive a Hilda Display Kit for your store! Don’t forget to pick up a copy the TV Tie-in Hilda chapter book: Hilda and the Hidden People.
Friday, June 22nd at 10:30am: Hamish Steele will be on the Library Con Panel “Reaching Diverse Voices,” with Mariko Tamaki, Danielle Paige, Ridley Pearson, and Kami Garcia, in the Morial Convention Center Room 348-349. To attend this event you must be registered for ALA and sign up here.
Saturday, June 23rd: We’ll be in our booth # 2158 all day (9am-5pm) with giveaways!
3:45pm: Hamish will be back at our booth in the exhibit hall for a signing (it’s booth #2158—don’t forget!).
Monday, June 25th at 10:30am: Don’t miss our exclusive screening of the HILDA Netflix Original Series in New Orleans Theater, Section C, in the Morial Convention Center. This screening will offer librarians a chance to see the first two episodes of Hilda months before it airs on Netflix! The series follows the journey of a fearless blue-haired girl as she travels from her magical home in the wilderness, filled with elves and giants, to the bustling city of Trolberg. Don’t forget that this is also your sneak peak at Hilda and the Hidden People, the first Hilda illustrated chapter book and companion to the Netflix original animation.
Be sure to follow us on Twitter to stay abreast of all the updates! We can’t wait to see you!
The charming and colourful picture book The Diver is out now! Veronica Carratello is an illustrator and comic book artist who has worked with a number of clients including Netflix, Circle Dei Lettori, and has been a part of several exhibitions throughout Italy. We had a chat with Veronica and here she shares more about herself and her story…
1. Your book brings out essential topics that children and also adults deal with throughout their lives such as the self-confidence to believe in and achieve their own dreams. How did you come up with the idea of this beautiful story?
The idea came to me by chance. I could not sleep and I started thinking about how coins are flipped into fountains to make wishes, and I asked myself, what if the coin had a dream of its own? And then I started to develop the story.
At the beginning, Emma was a minor character. But after developing the story with the editor’s advice she became a main character alongside the coin, and the story shows their two lives happening side-by-side. Emma represents commitment to achieving a dream, and the coin represents strength of character. Both of them have moments of concern, as it usually happens in life.
2. Italy is well-known for its Trevi Fountain coin toss tradition and all the popular beliefs about it. Did you draw your inspiration from it to shape the personality of your main character?
Yes, I draw my inspiration from it and I’m fascinated by popular beliefs. If you toss a coin into Trevi Fountain, which I did, it means that you’ll return to Rome one day. But there is also a legend that if you flip a penny into a fountain and make a wish, it will come true.
I have to confess that before sending you the proposal of my book The Diver, I flipped a coin into a fountain too… and my wish came true!
3. Did you put yourself into your characters?
Like my characters, I believe in dreams, and my favourite quote is “If you can dream it, you can do it!” by Walt Disney. I like it because you can convince yourself that nothing is impossible, like the coin’s dream of being a diver, but I think that to achieve our goals, we also need to work hard and be determined, like Emma.
4. If you could have done something different as a child to achieve a dream as an adult, what would you do?
I would probably be a musician. I’ve always had a passion for music: a few years ago I wrote songs and played guitar in a band, I think it’s a nice way to tell a story too.
5. What is the main thing you want readers to learn from your book?
The main thing I want my readers to learn is that it doesn’t matter how small you are or how big your dream is, if you work hard and you really want it, your dream will come true!
As a child, my personality was quiet and reserved, but my feelings were noisy. I was a stomper and a door-slammer — tucked in the middle of the sibling order. In retrospect, I see those characters from the animated movie, Inside Out sitting at the dashboard, haphazardly pushing buttons and battling for control. They acted independently of me, and they longed for expression — longed to be seen and heard (ahem — stomp, stomp). They often appeared in writing: in notes and stories, in journal entries and, as a small girl, in posters strewn across the house for my parents to find, depicting my honest, and probably unhelpful, feelings regarding the discipline of practicing piano (“I HATE PIANO”).
Sharp edges soften. That angry sadness, along with its note-scrawling, door-slamming and foot-stomping, finds a fullness of expression and, often, a quietness. That once-slammed door is sheepishly opened. This is the arc that my first picture book, Out, Out, Away From Here(illustrated by Sang Miao), follows. The story moves readers from the fullness of that noisy feeling — of MAD-SAD-GLAD — to a peace and quiet that we can all find within the space of our own imaginations. No matter how small, we all need to learn emotional intelligence, and that requires practice, care, and patience.
Though I don’t have formal child psychology training, I have spent a lot of time with children, teaching them and learning from them, in daycares and preschools, as a private tutor, as a homeschool teacher. Children have a lot to teach us. They navigate the world with lighthearted wonder, with honest and direct thought and feeling, and with an attention to the present moment. As we teach and care and parent them, we have much to learn from them — to learn together.
How do we encourage emotional intelligence in young children? How do we empower kids to cope with and carry feelings in healthy ways?
1.Remember, Feelings Begin Physically
Tantrums, stomping, frowning, fist-clenching. Identifying feelings is a challenge for all of us — grown-up or not. Young children may only know how to verbally express happy, sad, and mad. While still learning ways to channel and show these feelings, they will express themselves physically. We can help children to identify the clues their bodies/behaviors give them about those unnamed feelings.
2.Encourage, empower, and guide children to name their own feelings
Ask open-ended, exploratory questions. Try to veer away from questions with yes/no answers. Example: How are you feeling? What happened to make you feel this way? What can we do to calm you down or cheer you up?
3.Affirm that feelings are legitimate
Feeling sad, tired, grumpy, nervous, excited — these feelings are real and often important. Let children know that this is normal and okay, that adults feel these too. Share your experiences and strategies with children. When you’re feeling a certain way, how do you cope? We may not choose our feelings, but we can choose how to express them. My parents’ repeated advice was this: “you may be feeling this way, but you don’t need to act this way” (this was usually tired and grumpy, they were referring to).
Children need access to the outdoors to experience the quiet, beauty, and wonder of nature. Feelings need room to spread out.
In the midst of noisy feelings, children and caretakers can benefit from a pause. “Taking five” was a tool I used in the classroom to allow students (often frustrated and unproductive) five minutes to use in their own, quiet way — often with a pile of books. They, and I, often returned to the task more calm and ready.
6.Read illustrated books aloud
This medium offers children language higher than their level of expression — but not their level of understanding. Books give kids a greater ability to hold and communicate feelings.
7.Give feelings feet!
Encourage children to let their feelings move. If they’re happy feelings — or any sort of feeling, really — dance! As an adult, too, I have to remind myself to sometimes leave my brain and heart behind. Take a walk, write in a journal, create art, play. Move!
8.Help children to recognize that feelings are temporary
A wise friend of mine says you feel feelings — but you aren’t your feelings. Imagine them like visitors. How can we take care of them while they’re here? What can we learn from them? They’ll show themselves out, when they’re ready. They’ll come and go again.
9.Teach that caring for ourselves helps us to care for others
Learning to recognize and care for our own emotions is a necessary precursor to practicing compassion. Encouraging children to know and recognize their own feelings will help them to observe the same in others — and to practice compassion.
10.Remind children that feelings are complicated and that it’s okay
Feelings are often more muddled-up than happy, sad, or mad, but that makes it so important to talk through them.
The world of feelings is wonderful and complicated. It’s a world we all carry within us, child and adult alike. Guiding children to carry their emotions in appropriate ways will lead to healthier children and, someday, healthier adults — capable of caring for themselves and for others. Join me in a journey we all take, over and over again, out, out, away fromhere — through that mountainous terrain of feeling.
Rachel Woodworth grew up in Canada and graduated from a liberal arts university in the United States. With an ongoing wonder with words and the world, writing has accompanied her for the whole of her travels. Out, Out, Away From Here (published by Flying Eye Books) is Rachel’s first book and is available now. She is currently living in Tanzania.
We’re so excited to be debuting Ryan Heshka’s Mean Girls: Pink Dawn in North America at TCAF, and we’re giving away these matchbooks as long as they last at Table 145. Check out the details below for Ryan’s appearances at TCAF.
Ryan Heshka appearances
SAT, MAY 12TH
1pm – Signing at Nobrow table 145
SUN, MAY 13TH
12pm – 2pm – “Learn To Paint The Ryan Heshka Way!” Demo. 3rd Floor Library Discussion Room The amazing artist behind Mean Girls Club: Pink Dawn hosts a live demo where he’ll walk you through his method and process for creating his pin-up inspired retro art.
2:30pm – Signing at Nobrow Table 145
Another TCAF surprise is the Nobrow 10: Studio Dreams Hardcover—available for sale in North America ONLY AT TCAF (you can find the more widely available softcover here). Hurry over to Table 145 to buy your own copy of this incredible collection of artists imagining their ideal studios. These are going to go fast, and they will not be available online, so make sure you get your hands on this TCAF exclusive!
Join us at Hay Festival of Literature and art for a day of workshops and events based aroundNobrow 10: Studio Dream magazine. In Association with ELCAF, we’re bringing four of the Nobrow 10 magazine illustrators to the festival and taking over The Cube for a day of workshops and activities and to discuss about their work, inspiration and more!
On Sunday 27th May, join us on the festival site for any (or all!) of these sessions:
Who: Katie Harnett
When: 11:30 am
Where: The Cube
The author’s picture-book Ivy and the Lonely Raincloud is a heart-warming tale about finding friendship in unexpected places. Enjoy the story and help our magical paper-flower garden grow by making your very own raincloud friend.
Discover the amazing creatures that live under the sea in a workshop with the illustrator based on his picture-book, a surreal, modern folktale about an adventurous little girl who must protect a peaceful living creature. Children can create sea creatures as part of a large-scale mural, then take them home.
A hands-on, family, drawing and mark making workshop where children can create their dream school, library and bedroom based on the Nobrow magazine illustrator’s work. Would you include a ball pool, a cinema, or a slide…or all of these and more? It’s entirely up to you!
Studio Dreams Panel (Katie Harnett, Joe Todd-Stanton, Jim Stoten, Ben Newman)
When: 5:30 pm
Join the Nobrow magazine illustrators as they discuss their work and how the environment in which we work affects what we make. The Nobrow tenth anniversary magazine celebrates 70 different illustrators’ vision of their ideal workspaces, if the sky was the limit.
1. You were born in Abidjan and you grew up there until you were 12 years old, does Akissi represent a younger version of you?
“Akissi is definitely me. The story is about a happy childhood, the good memories of a young Ivorian girl before she leaves her country for France at a young age without her parents. By publishing the story, I can share my childhood and memories with others.”—Marguerite Abouet
2. How did you work together to find the right chemistry between text and image?
“I’m used to storyboarding, so I can easily put myself in children’s shoes. Mathieu Sapin and I read through it together and we consult each other a lot to find the right chemistry between the text and the illustrations. Sometimes our characters don’t need to talk, as the illustration conveys emotion by itself.”—Marguerite Abouet
“At first, Marguerite makes a storyboard and when we meet we cut it up and talk about it. She gives me details on the story, the characters, the setting, etc. Sometimes, she imitates some of the characters! It’s very funny. When we’ve agreed on the story, I get straight to drawing. Marguerite make few comments or modifications as well, which I integrate into the final artwork.”—Mathieu Sapin
3. What special research did you carry out to be able to recreate Akissi’s world?
“Akissi’s world needed to be relevant, so everything in my story had to be accurate from the outset. This meant specific places and specific children with their own particular characters. I started by creating the atmosphere, then the setting, characters and finally the tales. Readers have to believe in the characters and feel like they are in Akissi’s neighbourhood.”—Marguerite Abouet
“I drew the first volumes of Akissi without having been to Africa before, so I took inspiration from the internet, books and Marguerite’s descriptions. Clément Oubrerie, the cartoonist of Aya, had done some research previously so he gave me a lot of documents and details about the characters. Finally, I went to Abidjan briefly with Marguerite. I walked around, I took some pictures, but mostly I tried to immerse myself in the city. I definitely have fond memories of it. Now I’m gathering more materials on the internet to further my research.”—Mathieu Sapin
4. Akissi is a true adventurer, she’s always getting into trouble and we feel that every child could relate to her character in their own way although she’s from a culture and community that may be very different from their own. Is that something you particularly wanted to represent?
“Yeah that’s what I like with this series, the connection to freedom and adventure! Nowadays I believe the value of this is diminished in our society, where children are constantly watched. I grew up in the countryside, where kids were left to their own devices — it was wonderful! Even if, as a parent, I’m of course very vigilant and would have difficulty letting my kids have as much freedom as Akissi and her friends do.”—Mathieu Sapin
“Akissi and her friends are quite positive kids, of course with some faults, but always joyful and energetic — so any child can identify with them. Akissi shows the reader her world throughout her tales. She highlights companionship, encourages tolerance and reminds us how difference and diversity can be beneficial. Akissi and her group are definitely the true heroes because they fight against fears, rejections, and ethnic self-segregation. Akissi’s tales show how to treat others with respect, without judgement or bias, or any distinction of race, sex, religion or handicap. She embodies all of that, and that’s why she speaks to every child.”—Marguerite Abouet
5. How does it feel to see Akissi’s stories being translated into different languages? And how have children from around the world responded to her tales?
“I really like the global dimension of Marguerite’s stories. I’ve travelled a lot with Akissi and I notice the same feeling everywhere. I believe all kids can see themselves in her, because she speaks straight to them with her endearing but also mischievous nature. Surprisingly, this series appeals just as much to boys as to girls.”—Mathieu Sapin
“I think Akissi is like open-air theatre, where children can feel quickly gripped by her tales. She invites them to journey to an unknown country, that is so close and yet so far away from them, for a relaxed ramble in Africa. Children are impressed by Akissi and her group because they are like ‘urban superheroes’ trying to live in the adult world. She shows them that this is not easy, because living together and accepting each other are daily struggles, so it demands a lot of willpower and courage.”—Marguerite Abouet
Texas Librarians, come see us at TLA at Booth #2624!
We’ll be at the Texas Library Association’s Annual Conference in Dallas from April 3rd to the 6th. Say hello to US Sales and Marketing Associate Director Hannah Moushabeck and get an extra special, limited edition Professor Astro Cat poster, in anticipation of Professor Astro Cat’s Human Body Odyssey, which is available beginning May 1!
Swing by the booth to get a first look at our fresh-off-the-press Spring advances.