“A tense, moving, and wondrously strange first novel. The photographs and text work together brilliantly to create an unforgettable story.” —John Green, #1 New York Times bestselling author The Fault in Our Stars
“Readers searching for the next Harry Potter may want to visit Miss Peregrine’s Home for Peculiar Children.” —CNN
“A Map of Days reveals Ransom Riggs at the peak of his powers, leaving loyal fans ravenous for more.” –NY Journal of Books
“‘Peculiar’ doesn’t even begin to cover it. Riggs’ chilling, wondrous novel is already headed to the movies.”—People
1: Visit the shop and register for all the things your child has been dreaming of with a one-on-one service experience. This is similar to creating a wedding registry- you/your child pick the things that the child wants for Christmas and we will scan them into our system- ensuring you get exactly what they want and that there will be no duplicate gifts. You are welcome to pop in at anytime to check on your families registry and modify it if need be.
2: Upon registering a child we will ask you to supply the child’s first name, age and a few things he or she has excelled at throughout the year as well as a few they may need a bit of help with. This helps Santa when he writes his personal letter to the child.
3: Tell everyone you have a registry and they can come in and shop it while receiveing FREE gift wrapping services. We can assist them in finding the items on the wish list and make their shopping experience a pleasant one.
4: Look for your child’s personal letter after Thanksgiving from the BIG MAN himself. These have become quite the hit in town.
How to Vote
Here’s how you can vote for your favorite book on The Great American Read.
Now through October 17, 2018 at 11:59pm PT, there are four methods of voting, which include:
Online: By using the voting app on The Great American Read website. You’ll have to register before your first vote, using either your email address or a Facebook login, but after that you’ll be able to vote with just a few clicks.
Social Media: By posting an original post to Facebook or Twitter using the official hashtag for your favorite book. The hashtags for each book can be found on the individual book pages in the READ THE LIST section. You can also download a PDF of the hashtag list here. You can also vote on Facebook by using the hashtags in the comments on specific posts on the Great American Read Facebook site. These posts will be clearly identified with instructions of how to vote in the post.
SMS: You can vote by sending a text message with a unique keyword hashtag for your favorite book to the Great American Read SMS short code - 97979. The unique keyword hashtags per book can be found here.
Toll-Free: A Toll-Free phone number is available for each book to vote. The phone numbers for per book can be found here.
You can place one vote for each book per voting method every day, so go ahead and vote for all of your favorite books!
All voting methods will close on October 17, 2018 at 11:59pm PT. We’ll reveal the results and announce The Great American Read winner in the Grand Finale show.
Additional Information about Voting:
It's July, and you know what that means? Waldo is back in town! Little Village Toy & Book Shop will be hosting another exciting month-long scavenger hunt to find Waldo in participating local businesses in Littleton.
Want to play? Yes? Here's how you do it:
Step 1- Pick up a Where's Waldo Passport at Little Village Toy & Book Shop
Step 2- Visit the local businesses listed on the passport and hunt for Waldo. Once you spot Waldo, find an employee, secretly tell them where you spotted Waldo. They will sign your passport.
Step 3- Collect as many signatures are you can. Once you have found as many as you can, bring your Passport back to Little village Toy & Book Shop. Make sure to fill out our contact information on the passport. The first 125 players who collect store stamps/ signatures from at least 10 different businesses and turn their passports into the book shop win an “I Found Waldo” button and a “$1 Off (Where's Waldo Books)” coupon. Players who collect at least 15 of the 20 possible stamps/signatures win an “I Found Waldo” button and a “$1 Off (Where's Waldo Books)” coupon PLUS they are entered in a drawing on July 28th for other larger prizes.
Step 4- Join us on July 28th at 11am for our Where's Waldo Party where we will draw a lucky winner for all kinds of prizes.
Be sure to pick up your #FindWaldoLocal passport at Little Village Toy & Book Shop so you can start searching on 7/1!
Ethan's Cancer Battle
Angie's nephew, Ethan, is an outgoing and energetic young man who is attending 8th grade at Mountview Middle School in Holden, MA. Achieving excellent grades and close relationships with his friends are something that comes natural for him. Him and his group of friends can be found during the week after school at the local light department fields, trips to Dunkin Donuts, McDonald's and any other place that can feed a hungry 13 year old. Ethan's passions become part of his lifestyle, including creating and mixing music, playing and training in paintball, and well of course, eating.
In early May of 2016, a small lump was found on his right temple. It grew slightly and was brought to the doctors for a checkup. After 3-4 weeks of doctors visits, the lump developed in a large golf ball sized lump . He went in for surgery to have it removed in early September. A biopsy was performed on the tissue, and was found to be malignant. Ethan was diagnosed with Synovial Cell Sarcoma on September 19th, 2016.
Synovial Cell Sarcoma is a rare soft tissue cancer that is usually found in joints in adolescents.
It was discovered this May that Ethan’s Cancer has metastasized to his lungs, in such a way that is now incurable. This disease will now live inside of him forever. We are helping Ethan navigate thru different options as to how the treatment should go.
Are you looking to connect with poets or find opportunities to hear or study poetry?
To find poetry events and resources near you, simply go to: www.poets.org/poetsorg/poetry-near-you and enter your zip code in the search field.
You can also click on the states menu and select your state to find festivals, conferences, writing programs, literary organizations, landmarks, poetry-friendly bookstores, and more in your area. You can also submit events with the Poets.org audience!
Exquisite Corpse is a collaborative poetry game that traces its roots to the Parisian Surrealist Movement. Exquisite Corpse is played by several people, each of whom writes a word on a sheet of paper, folds the paper to conceal it, and passes it on to the next player for his or her contribution.
In order to write a poem, participants should agree on a sentence structure beforehand. For example, each sentence in the poem could be structured “Adjective, Noun, Verb, Adjective, Noun.” Articles and verb tenses may be added later or adjusted after the poem has been written. The game was also adapted to drawing, where one participant would draw thehead of a figure, the next the torso, etc. The name “Exquisite Corpse” comes from a line of poetry created using the technique: “The exquisite corpse will drink the young wine.”
The only hard and fast rule of Exquisite Corpse is that each participant is unaware of what the others have written, thus producing a surprising—sometimes absurd—yet often beautiful poem. Exquisite Corpse is a great way to collaborate with other poets, and to free oneself from imaginative constraints or habits. Remember, many of the most effective phrases or metaphors are those that are most surprising. So get a couple of friends and try writing an exquisite corpse.
As an example, the following is an Exquisite Corpse composed by the intrepid Academy staff using the sentence construction Adjective, Noun, Verb, Adjective, Noun.
Slung trousers melt in a roseate box.
A broken calendar oscillates like sunny tin.
The craven linden growls swimmingly. Blowfish.
A glittering roof slaps at crazy ephemera.
While we may not all collect stamps, it’s always fun when an interesting or attractive stamp catches your eye. Poet-themed stamps are a great way to share the importance of poetry and America’s literary heritage with the entire country. Langston Hughes, Emily Dickinson, and T.S. Eliot are a few of the poets who have made their way onto a postage stamp and into the mailboxes of people everywhere.
Help promote poetry by writing a letter requesting more poet stamps. To be eligible, suggested poets must have been deceased for at least ten years and must be American or of American descent. Read more about the Citizens’ Stamp Advisory Committee and the stamp selection process online.
Send your suggestions to:
Citizens’ Stamp Advisory Committee
c/o Stamp Development
U.S. Postal Service
475 L’Enfant Plaza, SW
Washington, D.C. 20260-2437
Reading poetry isn't as straight forward as many would believe. Learning how to read a poem will enhance your experience.
Reading poetry well is part attitude and part technique. Curiosity is a useful attitude, especially when it’s free of preconceived ideas about what poetry is or should be. Effective technique directs your curiosity into asking questions, drawing you into a conversation with the poem.
The goal of careful reading is often to take up a question of meaning, an interpretive question that has more than one answer. Since the form of a poem is part of its meaning (for example, features such as repetition and rhyme may amplify or extend the meaning of a word or idea, adding emphasis, texture, or dimension), questions about form and technique, about the observable features of a poem, provide an effective point of entry for interpretation. To ask some of these questions, you’ll need to develop a good ear for the musical qualities of language, particularly how sound and rhythm relate to meaning. This approach is one of many ways into a poem.
Getting Started: Prior Assumptions
Most readers make three false assumptions when addressing an unfamiliar poem. The first is assuming that they should understand what they encounter on the first reading, and if they don’t, that something is wrong with them or with the poem. The second is assuming that the poem is a kind of code, that each detail corresponds to one, and only one, thing, and unless they can crack this code, they’ve missed the point. The third is assuming that the poem can mean anything readers want it to mean.
William Carlos Williams wrote a verse addressed to his wife in the poem “January Morning,":
was for you, old woman.
I wanted to write a poem
that you would understand.
For what good is it to me
if you can’t understand it?
but you got to try hard—
Williams admits in these lines that poetry is often difficult. He also suggests that a poet depends on the effort of a reader; somehow, a reader must “complete” what the poet has begun.
This act of completion begins when you enter the imaginative play of a poem, bringing to it your experience and point of view. If a poem is “play” in the sense of a game or a sport, then you enjoy that it makes you work a little, that it makes you sweat a bit. Reading poetry is a challenge, but like so many other things, it takes practice, and your skills and insight improve as you progress.
Literature is, and has always been, the sharing of experience, the pooling of human understanding about living, loving, and dying. Successful poems welcome you in, revealing ideas that may not have been foremost in the writer’s mind in the moment of composition. The best poetry has a magical quality—a sense of being more than the sum of its parts—and even when it’s impossible to articulate this sense, this something more, the power of the poem is left undiminished.
Poems speak to us in many ways. Though their forms may not always be direct or narrative, keep in mind that a real person formed the moment of the poem, and it’s wise to seek an understanding of that moment. Sometimes the job of the poem is to come closer to saying what cannot be said in other forms of writing, to suggest an experience, idea, or feeling that you can know but not entirely express in any direct or literal way. The techniques of word and line arrangement, sound and rhythm, add to—and in some cases, multiply—the meaning of words to go beyond the literal, giving you an impression of an idea or feeling, an experience that you can’t quite put into words but that you know is real.
Reading a Poem Aloud
Before you get very far with a poem, you have to read it. In fact, you can learn quite a few things just by looking at it. The title may give you some image or association to start with. Looking at the poem’s shape, you can see whether the lines are continuous or broken into groups (called stanzas), or how long the lines are, and so how dense, on a physical level, the poem is. You can also see whether it looks like the last poem you read by the same poet or even a poem by another poet. All of these are good qualities to notice, and they may lead you to a better understanding of the poem in the end.
But sooner or later, you’re going to have to read the poem, word by word. To begin, read the poem aloud. Read it more than once. Listen to your voice, to the sounds the words make. Do you notice any special effects? Do any of the words rhyme? Is there a cluster of sounds that seem the same or similar? Is there a section of the poem that seems to have a rhythm that’s distinct from the rest of the poem? Don’t worry about why the poem might use these effects. The first step is to hear what’s going on. If you find your own voice distracting, have a friend read the poem to you.
That said, it can still be uncomfortable to read aloud or to make more than one pass through a poem. Some of this attitude comes from the misconception that we should understand a poem after we first read it, while some stems from sheer embarrassment. Where could I possibly go to read aloud? What if my friends hear me?
What determines where a line stops in poetry? There is, of course, more than one answer to this question. Lines are often determined by meaning, sound and rhythm, breath, or typography. Poets may use several of these elements at the same time. Some poems are metrical in a strict sense. But what if the lines aren’t metrical? What if the lines are irregular?
The relationship between meaning, sound, and movement intended by the poet is sometimes hard to recognize, but there is an interplay between the grammar of a line, the breath of a line, and the way lines are broken out in the poem—this is called lineation. For example, lines that end with punctuation, called end-stopped lines, are fairly simple. In that case, the punctuation and the lineation, and perhaps even breathing, coincide to make the reading familiar and even predictable. But lines that are not end-stopped present different challenges for readers because they either end with an incomplete phrase or sentence or they break before the first punctuation mark is reached. The most natural approach is to pay strict attention to the grammar and punctuation. Reading to the end of a phrase or sentence, even if it carries over one or several lines, is the best way to retain the grammatical sense of a poem.
But lineation introduces another variable that some poets use to their advantage. Robert Creeley is perhaps best known for breaking lines across expected grammatical pauses. This technique often introduces secondary meaning, sometimes in ironic contrast with the actual meaning of the complete grammatical phrase. Consider these lines from Creeley’s poem “The Language”:
love you some-
Reading the lines as written, as opposed to their grammatical relationship, yields some strange meanings. “Locate I" seems to indicate a search for identity, and indeed it may, but the next line, which continues with “love you some-," seems to make a diminishing statement about a relationship. On its own, “eyes bite” is very disturbing.
Hearing Creeley read his poems can often be disquieting, because he pauses at the end of each line, and these pauses create a kind of tension or counterpoint in relation to the poem’s sentence structure. His halting, hesitant, breathless style is immediately recognizable, and it presents writers with new ideas about meaning, purely through lineation. But many poets who break lines disregarding grammatical units do so only for visual irony, something that may be lost in performance. Among metrical, free verse, and even experimental poets of today, there are those who do not interrupt grammatical sense when reading a poem aloud as much as they interrupt it in the poem’s typography. What to do as a reader? Try a variety of methods. It’s fun to “Creeleyize” any poem, just to hear what the lineation is doing. But if the results seem to detract from the poem’s impact, in terms of its imagery or concept, drop the literal treatment of line breaks and read for grammar or visual image. Reading a poem several ways allows you to see further into the poem simply through repetition.
With poets who use techniques drawn from music—particularly jazz, such as Michael S. Harper or Yusef Komunyakaa—or poets like Walt Whitman who employ unusually long lines, there may be another guiding principle: breath. Some poets think of their words as music flowing from a horn; they think of phrases the way a saxophonist might. Poems composed in this way have varied line lengths but they have a musicality in their lineation and a naturalness to their performance. They may have a recognizable sense of measure, an equivalent duration between lines, or, for the sake of contrast, one rhythmic pattern or duration that gives way to successive variations.
For some poems, visual impact may also be important. In “shaped poetry," as well as many other types of writing that are meant to be seen as a painting might be seen, the line is determined by its placement in space. Some visually oriented poets present real challenges in that the course of the poem may not be entirely clear. Visual choices presented by the poet may be confusing. Sometimes the arrangements of words on a page are intended to represent different voices in a dialogue, or even a more complex discourse on a subject. Overlapping and layering might be the poet’s intent, which no single voice can achieve. It’s best to be aware that poems with multiple voices, or focuses exist and, again, looking for the inherent rules that determine the shape of the poem is the best approach.
Remember that the use of these techniques, in any combination, pushes the words of the poem beyond their literal meanings. If you find more in a poem than the words alone convey, then something larger is at work, making the poem more than the sum of its parts.
Starting the Conversation
We mentioned earlier that encountering a difficult poem is like a game or sport, say rock climbing, that makes you work a bit. The idea of finding handholds and footholds and ascending one bit at a time is apt. But some climbs are easier than others; some are very easy. You may enjoy an easy climb for a while, but you may also find that you want a bigger challenge. Reading poetry works the same way, and, fortunately, poets leave trails to help you look for the way “up” a poem. You’ll have to do some work, hard work in some cases, but most of the time, the trails are there for you to discover.
The best way to discover and learn about a poem is through shared inquiry discussion. Although your first experience of the poem may be private and personal, talking about the poem is a natural and important next step. Beginning with a focus question about the poem, the discussion addresses various possible answers to the question, reshaping and clarifying it along the way. The discussion should remain grounded in the text as much as possible. Responses that move away from what is written into personal anecdotes or tangential leaps should be gently urged back into analyzing the text. The basis for shared inquiry is close reading. Good readers “dirty the text” with notes in the margins. They make the inquiry their own.
Talking Back to a Poem
It would be convenient if there were a short list of universal questions, ones that could be used anytime with any poem. In the absence of such a list, here are a few general questions that you might ask when approaching a poem for the first time:
Who is the speaker?
What circumstances gave rise to the poem?
What situation is presented?
Who or what is the audience?
What is the tone?
What form, if any, does the poem take?
How is form related to content?
Is sound an important, active element of the poem?
Does the poem spring from an identifiable historical moment?
Does the poem speak from a specific culture?
Does the poem have its own vernacular?
Does the poem use imagery to achieve a particular effect?
What kind of figurative language, if any, does the poem use?
If the poem is a question, what is the answer?
If the poem is an answer, what is the question?
What does the title suggest?
Does the poem use unusual words or use words in an unusual way?
You can fall back on these questions as needed, but experience suggests that since each poem is unique, such questions will not go the necessary distance. In many instances, knowing who the speaker is may not yield any useful information. There may be no identifiable occasion that inspired the poem. But poems do offer clues about where to start. Asking questions about the observable features of a poem will help you find a way in.
We’ll now bring inquiry to bear on two very different poems, each of which presents its own challenges:
“The Red Wheelbarrow” by William Carlos Williams
“Diving into the Wreck” by Adrienne Rich
Text and Context
Some people say that a poem is always an independent work of art and that readers can make full sense of it without having to use any source outside the poem itself. Others say that no text exists in a vacuum. However, the truth lies somewhere in between. Most poems are open to interpretation without the aid of historical context or knowledge about the author’s life. In fact, it’s often best to approach a poem without the kind of preconceived ideas that can accompany this kind of information. Other poems, however, overtly political poems in particular, will benefit from some knowledge of the poet’s life and times. The amount of information needed to clearly understand depends on you and your encounter with the poem. It’s possible, of course, even for someone with a deep background in poetry to be unaware of certain associations or implications in a poem. This is because poems are made of words that accumulate new meanings over time.
Consider this situation, a true story, of a poet who found a “text” at the San Mateo coast in northern California. As she scrambled over rocks behind the beach, near the artichoke fields that separate the shore from the coast highway, she found a large smear of graffiti painted on the rocks, proclaiming "La Raza," a Chicano political slogan meaning “the struggle.” She sat down and wrote a poem. Why? her poem asked. I understand, she wrote, why someone would write La Raza on the side of a building, or on public transport. There it would be seen and would shout its protest from the very foundations of the oppressive system. But why here, in nature, in beauty, so far from that political arena. Couldn’t you leave the coast unspoiled? Then, one evening while reading the poem in Berkeley she got her answer. A man came up to her and asked her, “Do you want to know?” “I beg your pardon," she said. “Those fields," the man went on, “were where Chicanos had been virtually enslaved, beaten, and forced to live in squalor for decades.” The landscape was not innocent of political struggle. The text was not out of place.
Here’s a tricky issue: the task is to grasp, to connect, to understand. But such a task is to some degree impossible, and most people want clarity. At the end of class, at the end of the day, we want revelation, a glimpse of the skyline through the lifting fog. Aesthetically, this is understandable. Some magic, some satisfaction, some “Ahhh!” is one of the rewards of any reading, and particularly the reading of poetry. But a poem that reveals itself completely in one or two readings will, over time, seem less of a poem than one that constantly reveals subtle recesses and previously unrecognized meanings.
Here’s a useful analogy. A life partner, a husband, a wife—these are people with whom we hope to constantly renew our love. Despite the routine, the drone of familiarity, the daily preparation of meals and doing of dishes, the conversations we’ve had before, we hope to find a sense of discovery, of surprise. The same is true of poems. The most magical and wonderful poems are ever renewing themselves, which is to say they remain ever mysterious.
Too often we resist ambiguity. Perhaps our lives are changing so fast that we long for stability somewhere, and because most of the reading we do is for instruction or information, we prefer it without shades of gray. We want it to be predictable and easy to digest. And so difficult poetry is the ultimate torment.
Some literary critics would link this as well to the power of seeing, to the relationship between subject and object. We wish the poem to be object so we can possess it through our “seeing” its internal workings. When it won’t allow us to “objectify” it, we feel powerless.
Torment, powerlessness—these are the desired ends? Well, no. The issue is our reaction, how we shape our thoughts through words. We have to give up our material attitude, which makes us want to possess the poem. Maybe we’ve bought the book but we don’t own the poem. We have to cultivate a new mindset, a new practice of enjoying the inconclusive.
Embracing ambiguity is a much harder task for some than for others. Nothing scares some people like the idea (even the idea) of improvisation as a writing or analytical tool. Some actors hate being without a script; the same is true of some musicians. Ask even some excellent players to improvise and they start to sweat. Of course, actors and musicians will say that there is mystery in what they do with a script or a score, and it would be pointless to disagree. The point, after all, is that text is mysterious. Playing the same character night after night, an actor discovers something in the lines, some empathy for the character, that he or she had never felt before. Playing or listening to a song for the hundredth time—if it is a great song—will yield new interpretation and discovery. So it is with great poetry.
It's National Poetry Month! Little Village Toy & Book Shop, with the help of the Academy of American Poets (www.poets.org), will be posting different ways to celebrate poetry throughout the month of April.
Let's start by memorizing a poem.
Select a poem from the book you’re reading, or an old favorite, and begin to memorize it. While memorization may seem like a relic from your school days, the rewards of recalling a private anthology of well-loved poems are both immediate and long-lasting.
If you are new to memorization, pick a short poem with a strong rhythmic underpinning. Rhythm has long been used as a tool to aid the memory, particularly by oral storytellers before the advent of the written word. By choosing and memorizing a poem that you love, you connect yourself to this long tradition of passing along stories and customs through the power of poetic language. Make sure that you understand the sense of the poem—this will give meaning to the rote act of learning each line and transform a string of sounds into a message that you can easily absorb and transmit.
Browse our poetry section at Little Village Toy & Book Shop to find the perfect poem to memorize.
You can also browse a list of poems to memorize, perform, or recite—part of a feature on Great Poems to Teach. (https://www.poets.org/poetsorg/anthology/popular-poems-teach)
Have you heard all the buzz about Girls Auto Clinic?
Girls Auto Clinic is a female empowerment company that educates, empowers, and caters to women by offering automotive buying and repair resources, services, and products based on trust, education, inclusion, and empowerment.
It’s no secret most women hate their automotive buying and repair experiences because we feel misunderstood, taken advantage of, and/or mistreated. To make things worse, the automotive industry has not done much to ease concerns, anxiety, and fear despite the fact more than half their customers are women and spend $200 Billion (with a B) a year on buying and repairing their cars.
Patrice Banks was once one of these women. A self-proclaimed “auto airhead,” Patrice created a business model that supports a need in the lives of millions. Girls Auto Clinic.
Now she's written a book: Girls Auto Clinic Glove Box Guide
Too many of us women feel powerless when it comes to their cars. Mechanic-speak sounds like a foreign language, and the auto repair bill contains a lot of unnecessary or overpriced repairs. How do you tell if you need new brakes? How often are you supposed to change your air filter? What does that light on your dashboard mean?
THE GIRLS AUTO CLINIC GLOVE BOX GUIDE has all the answers. It’s a one-stop do-it- herself guide to auto maintenance, repairs, and roadside emergencies. Author Patrice Banks, a self-described “auto-airhead,” was like many of us: she didn’t know the first thing about her car, and was accustomed to ignoring the dashboard lights because she felt so uncomfortable taking her car in. She sought out a female mechanic and found that, despite making up the majority of car owners and licensed drivers, women account for less than 2% of auto mechanics. So Patrice took her engineering degree and became a certified automotive technician, giving auto-workshops to women and girls all across the Philadelphia area. Now with THE GIRLS AUTO CLINIC GLOVE BOX GUIDE, Patrice will empower all women to take care of their cars.
"It’s simply written, it’s not condescending or cutesy, and it removes the mystery from something that many of us find a little scary. “Girls Auto Clinic” is not about how we feel about our cars; it’s about what we can learn to do. And that’s some pretty excellent roaring right there."
-The New York Times Book Review
"This comprehensive DIY guide is indispensable for everyone who owns and maintains an automobile."
-The Library Journal
"It’s quite a remarkable feat to make such an extensive automotive manual not only informative but also so relatable and entertaining. Banks’ reassuring voice and vast knowledge jumps off the page, and it feels like you’re learning from a trusted friend."
-The News Wheel
Now available at Little Village Toy & Book Shop (in the Reference section)
Spring is here... so they tell us... Thaw-out with us at Little Village Toy & Book Shop and play some games!
Here's the deal: 18+, Arrive by 5:45, games start at 6pm sharp. No entry past 6pm. RSVP here, call the shop at 603-444-4869, or swing by the shop. We'll supply a healthy snack, feel free to bring the junk food!
We have several games to choose from: Loaded Questions, Werewolf, Cards Against Humanity and Kwizniac. Tell us which one you'd choose to play!
Here's a little about each game:
Cards Against Humanity:
Cards Against Humanity is a party game for horrible
people. Unlike most of the party games you've played
before, Cards Against Humanity is as despicable and
awkward as you and your friends.
The game is simple. Each round, one player asks a
question from a black card, and everyone else answers
with their funniest white card.
In Ultimate Werewolf, you and any number of other
players (as few as 7 and as many as 75) attempt to figure
out who is a werewolf over the course of several game
days and nights. Each day you'll choose a player
(hopefully a werewolf) to eliminate.
Each night. ..the werewolves will eliminate a villager.
Fortunately for you, some of the villagers have special
powers, like the Seer, who learns the true identity of a
player each night. The game continues until only villagers.
..or werewolves. ..remain.
Kwizniac, The Trivia Countdown Game, is a twist on trivia
games designed to test your knowledge. The object of
Kwizniac is to accumulate as many points as possible by
correctly answering trivia questions with as few clues as
possible. Unlike most trivia games that give you a single
question about a subject, each Kwizniac clue card has a
set of 10 clues in decreasing order of difficulty. The more
clues it takes to answer the question, the less points you
receive. Kwizniac offers a more enjoyable trivia
experience where you’ll always get the answer-
Get ready for fun questions, ridiculous answers and
nonstop laughter, as you and your friends take turns
guessing which player wrote which answer while writing
your own personal answers to 308 suggestive, silly and
stimulating questions. With highly desirable VIP cards
awarding your efforts on every turn, Adult Loaded
Questions guarantees all players a very happy ending.
For 4-6 Players / Ages 17+
Let’s Say It’s Your Turn…
1) Flick the spinner, pick the next card, and read aloud
the corresponding question. (Let’s say the question is
“What would you NOT want to find in your partner’s
2) All other players write a personal answer for the
question on their answer sheets, which are then collected
and read aloud by the player to your right.
3) After hearing all of the answers, choose your favorite
and match which player wrote which answer. Match
correctly and pick one of the highly desirable VIP cards.
The player who wrote your favorite answer also wins one
of these cards. The first lucky player to collect 8 VIP cards
wins the game!
Looking for something for that special someone? Little Village has a variety of cards, valentines and gifts that will do the trick!