Nicholas Day

A propulsive work of narrative nonfiction about how the Mona Lisa was stolen from the Louvre, how the robbery made the portrait the most famous artwork in the world—and how the painting by Leonardo da Vinci should never have existed at all. On a hot August day in Paris, just over a century ago, a desperate guard burst into the office of the director of the Louvre and shouted, La Joconde, c’est partie ! The Mona Lisa, she’s gone! No one knew who was behind the heist. Was it an international gang of thieves? Was it an art-hungry American millionaire? Was it the young Spanish painter Pablo Picasso, who was about to remake the very art of painting? Travel back to an extraordinary period of revolutionary turn-of-the-century Paris. Walk its backstreets. Meet the infamous thieves—and detectives—of the era. And then slip back further in time and follow Leonardo da Vinci, painter of the Mona Lisa , through his dazzling, wondrously weird life. Discover the secret at the heart of the Mona Lisa —the most famous painting in the world should never have existed at all. Here is a middle-grade nonfiction, with black-and-white illustrations by Brett Helquist throughout, written at the pace of a thriller, shot through with stories of crime and celebrity, genius and beauty.

What does nothing sound like? An offbeat history of John Cage’s 4’33”, a musical composition of blank bars, illustrated by Caldecott Medalist Chris Raschka. One night in 1952, master pianist David Tudor took the stage in a barnlike concert hall called the Maverick. A packed audience waited with bated breath for him to start playing. Little did they know that the performance had already begun. A rain patters. A tree rustles. An audience stirs. David was performing John Cage’s 4’33”, whose purpose is to amplify the ambient sounds of whatever venue it inhabits. That shocking first performance earned 4’33” plenty of haters; and yet the piece endures, “performed” by the smallest garage bands and the grandest symphonies alike, year after year. Its fans hear what John Cage hoped we would “Nothing” is never silent, and you don’t need a creative genius, a concert hall, or even a piano to hear something worthwhile. All you have to do is stop and listen. Nicholas Day’s text is reverent with a healthy drop of humor, warm and refined; two-time Caldecott Medalist Chris Raschka’s childlike pencil-on-watercolor artwork is uninhibited and electrifying, with all the visionary spirit of the work it chronicles. Guaranteed to spark generative thought and lively debate among readers of all ages, Nothing is not to be missed.