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Ebook The Red Ghost by Marion Dane Bauer read! Book Title: The Red Ghost
The author of the book: Marion Dane Bauer
Language: English
Format files: PDF
The size of the: 3.27 MB
Edition: Random House Books for Young Readers
Date of issue: July 8th 2009
ISBN: 0375840818
ISBN 13: 9780375840814

Read full description of the books The Red Ghost:

Jenna is sure she’s gotten a great deal when she finds the beautiful doll at her neighbor’s garage sale--a deal that gets even better when the neighbor gives it to her, free of charge. But Jenna quickly realizes there’s something strange about this doll… a weird look in its eyes, the way Jenna’s cat hates it, the rustling noise it makes in the closet. Jenna’s sister doesn’t want the doll, either, declaring it “full,” though she can’t explain what it’s full of. What kind of secrets is this doll hiding? Is it possible for a doll to be haunted?

This is the kind of story I’d have been all over when I was 7 or 8--a creepy ghost story involving sentient dolls? Sign me up! As an adult, I wanted to see more from it--the back story of who the ghost might be is dropped in as an expository chunk, and we don’t see much of the ghost. For the target audience, though, this is creepy without being terrifying.

Readers who like this and want something longer should check out Ann M. Martin’s The Doll People or Marjorie Stover’s When The Dolls Woke. Older kids who like the concept but want something much scarier can be steered toward William Sleator’s Among the Dolls or Betty Ren Wright’s The Dollhouse Murders.

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Ebook The Red Ghost read Online! Marion Dane Bauer is the author of more than eighty books for young people, ranging from novelty and picture books through early readers, both fiction and nonfiction, books on writing, and middle-grade and young-adult novels. She has won numerous awards, including several Minnesota Book Awards, a Jane Addams Peace Association Award for RAIN OF FIRE, an American Library Association Newbery Honor Award for ON MY HONOR, a number of state children's choice awards and the Kerlan Award from the University of Minnesota for the body of her work.

She is also the editor of and a contributor to the ground-breaking collection of gay and lesbian short stories, Am I Blue? Coming Out from the Silence.

Marion was one of the founding faculty and the first Faculty Chair for the Master of Fine Arts in Writing for Children and Young Adults program at Vermont College of Fine Arts. Her writing guide, the American Library Association Notable WHAT'S YOUR STORY? A YOUNG PERSON'S GUIDE TO WRITING FICTION, is used by writers of all ages. Her books have been translated into more than a dozen different languages.

She has six grandchildren and lives in St. Paul, Minnesota, with her partner and a cavalier King Charles spaniel, Dawn.


Q. What brought you to a career as a writer?

A. I seem to have been born with my head full of stories. For almost as far back as I can remember, I used most of my unoccupied moments--even in school when I was supposed to be doing other "more important" things--to make up stories in my head. I sometimes got a notation on my report card that said, "Marion dreams." It was not a compliment. But while the stories I wove occupied my mind in a very satisfying way, they were so complex that I never thought of trying to write them down. I wouldn't have known where to begin. So though I did all kinds of writing through my teen and early adult years--letters, journals, essays, poetry--I didn't begin to gather the craft I needed to write stories until I was in my early thirties. That was also when my last excuse for not taking the time to sit down to do the writing I'd so long wanted to do started first grade.

Q. And why write for young people?

A. Because I get my creative energy in examining young lives, young issues. Most people, when they enter adulthood, leave childhood behind, by which I mean that they forget most of what they know about themselves as children. Of course, the ghosts of childhood still inhabit them, but they deal with them in other forms--problems with parental authority turn into problems with bosses, for instance--and don't keep reaching back to the original source to try to fix it, to make everything come out differently than it did the first time. Most children's writers, I suspect, are fixers. We return, again and again, usually under the cover of made-up characters, to work things through. I don't know that our childhoods are necessarily more painful than most. Every childhood has pain it, because life has pain in it at every stage. The difference is that we are compelled to keep returning to the source.

Q. You write for a wide range of ages. Do you write from a different place in writing for preschoolers than for young adolescents?

A. In a picture book or board book, I'm always writing from the womb of the family, a place that--while it might be intruded upon by fears, for instance--is still, ultimately, safe and nurturing. That's what my own early childhood was like, so it's easy for me to return to those feelings and to recreate them.
When I write for older readers, I'm writing from a very different experience. My early adolescence, especially, was a time of deep alienation, mostly from my peers but in some ways from my family as well. And so I write my older stories out of that pain, that longing for connection. A story has to have a problem at its core. No struggle, no

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