Somebody Loves You, Mr Hatch

One wintry day, a postman delivers a mysterious package with a big pink bow to a lonely man named Mr. Hatch.

"Somebody loves you," the note says.
"Somebody loves me!" Mr. Hatch sings as he dusts his living room.
"Somebody loves me!" Mr. Hatch whistles as he does his errands in town.
"But who," Mr. Hatch wonders, "could that somebody be?"

After some time, Mr. Hatch discovers just who his secret admirer is and, in doing so, enjoys the biggest surprise of his life!

“"A charming book with a real plot." Kirkus Reviews , starred review”

"A charming book with a real plot."

"Kirkus Reviews", starred review

Eileen Spinelli has written many books for children. Her 1991 debut Somebody Loves You, Mr. Hatch was?a Christopher Award winner, and she has gone on to author numerous picture books, poetry collections, and chapter books, including the bestselling?When Mama Comes Home Tonight, ?and the critically acclaimed?Sophie's Masterpiece.?Eileen lives in Phoenixville, Pennsylvania.

Paul Yalowitz is the acclaimed illustrator of a number of children's books, including?The Spooky Eerie Night Noise?by Mona Rabun Reeves and Somebody Loves You, Mr. Hatch by Eileen Spinelli. He lives in Brentwood, New York.

The gayat al-ma'lub fi 'ilm al-adwar wa-'l-?urub by Ibn Kurr is the only theoretical text of any substance that can be considered representative of musicological discourse in Cairo during the first half of the fourteenth century CE. Indeed, nothing comparable survives from the whole Mamluk period, which extends from 1260 until the Ottoman invasion and conquest of Egypt in 1516. But its value does not derive merely from its fortuitous isolation: it is important, rather, because of the richness of the information it provides with regard to modal and rhythmic structures, and also because of the extent to which the definitions it offers differ from those set forth in an interrelated series of major theoretical works in both Arabic and Persian that span the period from the middle of the thirteenth century to the late fifteenth. Alongside the presumption of transregional uniformity these texts suggest, it consequently asserts the significance of local particularism.Owen Wright provides a critical edition of the text itself, together with a glossary, prefaced by an introduction and a detailed commentary and analysis. The introduction provides immediate context, situating the work in relation to the dominant theoretical tradition of the period and providing biographical information about the author, active in Cairo during the first half of the fourteenth century.

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