Brett Helquist

After the sudden death of their parents, the three Baudelaire children must depend on each other and their wits when it turns out that the distant relative who is appointed their guardian is determined to use any means necessary to get their fortune.

Catastrophes and misfortune continue to plague the Baudelaire orphans after they're sent to live with fearful Aunt Josephine who offers little protection against Count Olaf's treachery.

As their outrageous misfortune continues, the Baudelaire orphans are shipped off to a miserable boarding school, where they befriend the two Quagmire triplets and find that they have been followed by the dreaded Count Olaf.

On the run after being falsely accused of murder, the three Baudelaire orphans find themselves in the Heimlich Hospital, with the evil Count Olaf in close pursuit.

On the run as suspected murderers, the unlucky Baudelaire orphans find themselves trapped in the Caligari Carnival, where they must masquerade as freaks in order to hide from the evil Count Olaf.

Under a new government program based on the saying "It takes a village to raise a child," the Baudelaire orphans are adopted by an entire town, with disastrous results.

Still pursued by the evil Count Olaf, the Baudelaire orphans attempt to reach a very important VFD meeting, but first they must travel in a rattletrap submarine to the Gorgonian Grotto, a dangerous underwater cave, in search of the sugar bowl.

"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...

When seemingly unrelated and strange events start to happen and a precious Vermeer painting disappears, eleven-year-olds Petra and Calder combine their talents to solve an international art scandal.

"All Cezanne wants is to be a great painter like his friends Monet, Pissarro, and Renoir. But when he shows his works, the professors, the critics, and the collectors all dismiss him: "Too flat!" "Too much paint!" "These are rough and unfinished!" Even his own pet parrot, Bisou, can't be brought to say, "Cezanne is a great painter!" And who can blame them? Cezanne doesn't care about tradition, and he doesn't follow the rules. He's painting in a way...