Qty:1
  • List Price: $16.95
  • Save: $2.16 (13%)
FREE Shipping on orders over $35.
Only 16 left in stock (more on the way).
Ships from and sold by Amazon.com.
Gift-wrap available.
FREE Shipping on orders over $35.
Used: Good | Details
Sold by TrnThePage
Condition: Used: Good
Comment: Very Clean. The cover shows some wear. Great Binding.
Have one to sell? Sell on Amazon
Flip to back Flip to front
Listen Playing... Paused   You're listening to a sample of the Audible audio edition.
Learn more
See this image

In Like a Lion, Out Like a Lamb Hardcover – March 15, 2011


See all 4 formats and editions Hide other formats and editions
Amazon Price New from Used from
Hardcover
"Please retry"
$14.79
$0.62 $0.01
Best%20Books%20of%202014


Frequently Bought Together

In Like a Lion, Out Like a Lamb + It's Spring
Price for both: $22.25

Buy the selected items together
NO_CONTENT_IN_FEATURE

Gifts for Young Readers
Visit our Children's Books store to find great gifts for every child. Shop by age: Baby-2 | Ages 3-5 | Ages 6-8 | Ages 9-12.

Product Details

  • Age Range: 4 and up
  • Grade Level: Preschool and up
  • Lexile Measure: 450L (What's this?)
  • Hardcover: 1 pages
  • Publisher: Holiday House (March 15, 2011)
  • Language: English
  • ISBN-10: 0823422380
  • ISBN-13: 978-0823422388
  • Product Dimensions: 10.3 x 9.3 x 0.5 inches
  • Shipping Weight: 13.6 ounces (View shipping rates and policies)
  • Average Customer Review: 4.1 out of 5 stars  See all reviews (7 customer reviews)
  • Amazon Best Sellers Rank: #1,443,763 in Books (See Top 100 in Books)

Editorial Reviews

Review

In Bauer’s capable hands, the age-old simile of March coming in like a lion and going out like a lamb is made quite literal. Readers follow as, one after the other, they visit the house of one little boy. “March comes with a roar. / He rattles your windows / and scratches at your door. / He turns snow to mud, / then tromps across your floor.” The lion wreaks utter havoc—until the day when the soft breeze and new tree buds cause the lion to sneeze. Riding the wave of that sneeze, the lamb comes prancing in, ushering in all things spring. And that lion? Is he going to lurk about and cause trouble? No, his rumbles are snores now, and he'll sleep away the days until next March. Bauer cleverly uses her transition sneeze to set up the possibility of a sequel—summer bugs ride in on the lamb’s mighty "A-A-A-A-CHOO!" While the text provides the skeleton, McCully’s pen, ink and watercolor illustrations truly bring the old song to life. Her lion is a wonderful cross between a fierce foe, threatening with his teeth and claws, and a party pooper, making a mess and spoiling any good times outdoors. Meanwhile, the lamb is a perfect ball of snow-white fluff. Spare backgrounds during the lion’s reign echo the bleakness of the weather and change to light blues and greens as the lamb takes charge. A good addition to the spring shelf, it is sure to find its way, roaring and bleating, to classrooms studying similes. (Picture book. 4-8)  (Kirkus Reviews)

The title’s familiar proverb, muse for many a postwinter bulletin board, inspires this picture-book interpretation. “March comes with a roar. / He rattles your windows / and scratches at your door” reads the text as the ink-and-watercolor illustrations show a young boy, who looks out the window and finds an ominous feline face peering in through the snow. Each subsequent scene illustrates the literal meaning a child might imagine when hearing the meteorological metaphors: a lion tracks mud, sleet, and hail into the house and just will not leave. Then, one morning, some fresh air tickles the obstinate beast’s nose, and a cute lamb comes flying out with his sneeze, spreading nature and newness. The poetic license in this final scene, as well as in some of the rhymes, feels stretched, but both the words and pictures offer a warm

depiction of the change of seasons—along with a shout-out to young springtime allergy sufferers.

(Booklist-Andrew Medlar)

About the Author

Marion Dane Bauer is an award-winning author who also teaches in the Master of Fine Arts in Writing for Children and Young Adults program at Vermont College. Among her Clarion titles are ON MY HONOR, a Newbery Honor Book; A BEAR NAMED TROUBLE; and RUNT: THE STORY OF A WOLF PUP. She lives with her partner, Ann Goddard, in Eden Prairie, Minnesota. 

Emily Arnold McCully received the Caldecott Medal for Mirette on the High Wire. The illustrator of more than 40 books for young readers, she divides her time between Chatham, New York, and New York City. 

More About the Author

*******************************************
Newbery Honor Winner Continues to Challenge Herself--
and Readers--Twenty-Five Years Later
http://bit.ly/25mdane
*******************************************

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.

-------------------------------------
INTERVIEW WITH MARION DANE BAUER
-------------------------------------

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 story. And so that struggle for connection has become the central experience of all my older fiction. It's what gives my stories heart and meaning.

Q. How does your Newbery Honor novel, On My Honor, fit with that pattern of writing about alienation and connection?

A. It would be easy to say that On My Honor is different from my other novels in that it was the first story I ever drew from a real event. Having a friend drown in a river wasn't something that happened to me, but it happened to a friend of mine when we were twelve or thirteen. When I heard about the incident at the time I felt it in a visceral way. What would it be like to have a choice I made turn into something so terrible and to know that I could never do anything to make the situation right? I wondered. That's where I started when I began writing the story, with the two boys on their bikes heading toward the river, everything about to go terribly wrong. Very quickly, though, I realized that while I had a clear story problem, the drowning, I had no solution for the problem . . . unless I was going to bring Tony back to life, and I wasn't writing that kind of story. At that point I instinctively backed up and started again. This time I began with Joel, the main character, asking his father's permission to bike with his friend Tony out to the state park, something Tony is pressuring him to do and which Joel is hoping his father will forbid. His father, not understanding the situation, gives permission, and Joel is furious . . . alienated. Once I had that opening, the frame for my story was set. Alienation in the opening, reconciliation at the end. The reconciliation can't change the fact of Tony's death, but it gives closure and comfort. So it fits the usual pattern for my novels. (Perhaps I should note that I didn't do any of this consciously. I wasn't saying, "I write about alienation and reconnection. How can I fit that in here?" I just reached for events that made the story feel right for me, and those were the ones to present themselves.)

Q. You often write animal stories: Ghost Eye, Runt, A Bear Named Trouble, and now Little Dog, Lost is about to come out. Is there any particular reason that you write about animals?

A. The first reason I write about animals is because animals touch a deep chord in my own psyche. I have always been fascinated by the pets that share my life, by watching their minds work, by noting their emotions, by feeling the life that pulses through them. So writing about animals just feels right. But I write about animals, also, because animal stories are universal. If I'm writing about a twelve-year-old boy it is assumed that I'm writing for other ten, eleven, twelve-year-old boys. If I'm writing about a cat, a wolf, a bear, a dog, I'm writing for everyone . . . even adults, even myself. Perhaps especially myself.

Q. You are known as a writing teacher as well as a writer. How to you find a balance between teaching and writing?

A. I have taught for many years, though I'm retired from teaching now except for occasional very time-limited stints. My most recent teaching was through the Vermont College of Fine Arts in their MFA in Writing for Children and Young Adults program. But I have taken care to make sure my primary time and energy were devoted to my own writing. I made sure I was a writer who teaches, not a teacher who writes.

Q. How has teaching writing impacted your own development as a writer?

A. Being a writing teacher has, of course, sharpened my skills as a critic. You can't say to a developing writer, "Your story doesn't work." You have to tell her what specifically doesn't work and why and then, without intruding, give suggestions about what the next step might be in strengthening that story. Having, again and again, to define with thought and care what is needed in other writers' work brings me back to my own work with deepened insights. Eventually, I teach myself what I'm teaching others, and having said it to others makes it easier to hear for myself. One time my partner, who was not a writer herself but who had heard me speak to writers on a number of occasions, read an early draft of one of my stories and said, "Wouldn't you say . . . to one of your students?" And . . . was exactly what that story needed, so I learned from myself through her.

Q. You've been writing stories for young people for more than forty years, and you've mentioned that you keep playing out some of the same deep themes. How do you manage to keep your work fresh?

A. One of the things that keeps my work fresh is moving between different genres. A picture book requires such different energy than a young novella, and a different rhythm, too. A young novella has a different rhythm and energy than an older novel. Nonfiction is its own experience. Moving between the various demands of the various kinds of work keeps me from ever settling into a rut. When I'm writing a young chapter book, a chapter is about five pages long. It's just a natural shape those younger stories fall into. And I love climbing into a chapter knowing I can, very quickly, climb out again. But then when I turn to an older novel where chapters can be much longer, I love equally settling in and fleshing my world out, stretching. One of my most recent books, a novella called Little Dog, Lost, moves into the territory of fiction in verse, something entirely new for me. I took such pleasure in writing that story because I had to discover how to do what I was doing at every step along the way. Even after more than 80 books published, everything about that story felt fresh because the way I was presenting it was fresh for me.

Q. What is your deepest motivation in writing for children?

A. I entered the field with a single passion ... to be a truth teller. I grew up in at a time when children were routinely lied to, lies of omission--information we were carefully shielded from--as much as overt untruths. And my mother, while certainly well intentioned, was probably better than most both at shielding and at lying to "protect" me. When I grew old enough to understand the ways I'd been lied to, I was furious. And I was also determined not to follow the same path in dealing with children myself, my own children or the ones I wrote for. Children are far less apt to be shielded from basic information these days. In fact, they are bombarded through the media with what may be a too explicit view--certainly too skewed and dark a view--of the world they are entering. But they still need the deep realities of the life that stands before them--the pain of it and the hope--to be interpreted in a straightforward and wise way. That's what my stories attempt to do, to tell the truth as I know it. It's truth with a small t, of course, because it is my truth, not something handed down from on high, but it's the very best of what I have to bring to the page.

Q. Finally, you've been writing and teaching for a long time. You have retired from teaching. Do you expect to retire from writing some day?

A. I hope not. I hope to be able to continue writing as long as my brain still works. It's like breathing. It's not just what I do for a livelihood. It's what I do to live.

Customer Reviews

4.1 out of 5 stars
Share your thoughts with other customers

Most Helpful Customer Reviews

3 of 3 people found the following review helpful By Amy on March 13, 2012
Format: Hardcover Verified Purchase
I purchased this book to read to my Kindergarten class at the beginning of March. It is a great book to read to that level. Then we made lions and lambs to put on our bullentin board.
Comment Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again
1 of 1 people found the following review helpful By C. Tanner on June 23, 2013
Format: Paperback Verified Purchase
I will use this book with my preschoolers to explain what is meant by March coming in like a lion and going out like a lion. I love the illustrations. I think this will be a good addition to my library.
Comment Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again
1 of 1 people found the following review helpful By Steffaney Smith on May 25, 2013
Format: Hardcover Verified Purchase
I don't know why it took someone so long to do a book on this topic that is perfect for preschoolers & toddlers! A must purchase for every public library!
Comment Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again
1 of 1 people found the following review helpful By Renee Gentry on March 25, 2013
Format: Paperback
This was an excellent book to read to my kindergarten to begin the month of March! After reading we listed adjectives that describe lions and lambs and discussed how the weather could be like each.
Comment Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again

What Other Items Do Customers Buy After Viewing This Item?