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A Potion, a Powder, a Little Bit of Magic

Or, Like Lightning in an Umbrella Storm

Illustrated by Philip C. Stead
Look inside
Hardcover
$18.99 US
6.29"W x 8.29"H x 1.15"D   | 23 oz | 12 per carton
On sale Apr 07, 2026 | 328 Pages | 9780823458097
Age 10 and up | Grade 5 & Up

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A plucky young goatkeeper sets out on a misadventurous rescue mission in this uproarious debut novel with premium hardcover features, perfect for fans of Kate DiCamillo and Lemony Snicket.

In a kingdom ruled by a capricious king, the castle rests on the backs of twenty-four goats, and the welfare of those goats rests on the back of a girl called Bernadette. So when one goat escapes, it's up to her—with the help of a very forgetful wizard and a Boat That Does Not Grant Wishes—to bring it back safely.

Her task may be straightforward, but this book is anything but. Like a swirling herd of restless goats, the chapters are all out of order. The ending may prove to have been the beginning all along. All the while, the author of Bernadette's saga—a character himself—hurries to write her a resolution, with very mixed results. And if you're feeling lost, don't worry; the story has twenty-four morals, of varying advisability, to edify you along the way.

Award-winning picture book author and illustrator Philip Stead makes a confident debut as a novelist in this laugh-out-loud, one-of-a-kind illustrated tale, chock-full of running gags, broken fourth walls, and underdog triumph.

Gilded edges, a velvet-touch jacket with foil accents and embossing, a foil-stamped cloth case and printed endpapers make A Potion, a Powder, a Little Bit of Magic as thrilling to hold as it is to open, a perfect gift for any young reader.
Gleefully ignores all the storytelling rules. . . . [R]eaders who only recently learned the rules [will] take pleasure in watching them get blown to pieces. . . . I have to applaud the quality of the production. . . . My respect goes to any publisher willing to invest in creating an object that is pleasing to the hands as well as to the eyes. Books can still be a rich tactile experience for young readers who tire of swiping and tapping on glass.
—The New York Times

A ragtag ensemble, a daunting task, an uncertain journey: Here are all the makings of a classic fantasy tale, with the bonus additions of Mr. Stead’s droll humor and eye for whimsical detail.
—The Wall Street Journal

[A] warmhearted middle grade debut, told via nonlinear chronology and tongue-in-cheek prose. . . . Stead employs delightfully absurd, intricately labyrinthine plotting to comedic and dramatic effect, wittily manipulating structure and narrative while using clever wordplay to weave an inspiring tale that intrigues from the jump. Finely lined grayscale artwork renders the ragtag cast with rich texture and fairy tale charm.
—Publishers Weekly (starred review)

Exuberant wordplay and a wryly witty narrative distinguish this broadly humorous and endearing fantasy in which a young goatherd’s charges escape their servitude. . . . Stead’s narrative voice is warm, intimate, and slightly goofy, enveloping the reader in the storytelling process. Running jokes invite giggles, homey adages are sandwiched between tiny goat silhouettes, and Latin phrases (many hilariously misused) and their translations pepper the text. Atmospheric, whimsical drawings enhance this story, which will please fans of Norton Juster and Terry Pratchett. . . . A perfect amount of magic.
—Kirkus Reviews (starred review)

Playful is the first word that comes to mind when describing lauded picture-book creator Stead’s first novel. . . . Throughout this clever tale, Stead contributes finely lined and crosshatched illustrations that play to its humor and absurdities. These qualities will delight fans of Matt Phelan’s Knights Vs. books, while the underlying warmheartedness, sturdy as a goat, and Stead’s storytelling aplomb will resonate with Kate DiCamillo devotees.
—Booklist (starred review)

A charmingly labyrinthine fantasy with broad appeal for those who enjoy clever narration and lightly chaotic quests; a strong addition to collections.
—School Library Journal (starred review)

Brimming with clever wordplay, entertaining absurdity, and tremendous creativity.
—Shelf Awareness (starred review)

The gentleness and originality of this story recalls tales like The Princess Bride. Bernadette and her friends come to life through Stead’s prose and quirky drawings. This is a book about the journey rather than the destination. For sensitive story-loving kids, this will be a landmark fairytale. A Potion, a Powder, and Bit of Magic offers giggle-worthy entertainment, lovely illustrations and a wholly unpredictable plot.
—BookPage (starred review)

For fans of goats, wordplay, and the absurd.
—The Horn Book

Fans of choose-your-own adventure books will traipse along the various storylines as happily as Steve. . . .
—Bulletin of the Center for Children’s Books

This book is absolutely marvelous. It’s delightful, exciting, profound, and FUN all at once. I deeply enjoyed and was wildly inspired by every single page. It’s timely, but reads like a classic, and it peppered with excellent, artfully placed illustrations. And that’s my only complaint about the whole entire book (it’s not really a complaint): that there weren’t MORE of Philip Stead’s crosshatched drawings. Kids will love exploring this book, and if read with an adult, it could leave to some awesome discussions.
—Jarrett Lerner, New York Times bestselling author

Phil Stead’s debut novel is a ‘Dada’ playbook of crafty nonsense that takes the genre of cut-ups, dice-rolls, and winks to the reader and tumbles them into a clever reading romp. The story refreshes itself as it deftly shifts about, turning the structure into a medley of charming mischief. Duchamp would approve! You don’t have to know why you are reading it—just read it at full speed and enjoy!
—Jack Gantos, Newbery Honor–winning author of Joey Pigza Swallowed the Key

A Potion, a Powder, a Little Bit of Magic is exactly right. Wildly funny, completely discombobulated, and deeply heartfelt. A must-read for all humans, and goats.
——Jon Scieszka, National Ambassador for Young People's Literature and New York Times bestselling author of The True Story of the 3 Little Pigs!

You know how when you tell a story you start in the middle, then you back up, add characters, jump forward, and then try to tie it all together but you can’t? Well, that’s what Philip Stead does in A Potion, a Powder, a Little Bit of Magic. Only he can. You know, tie it all together. And he adds twenty-four morals. Here’s one more: 'Read this book and rejoice.'
—Chris Raschka, two-time Caldecott Medal winner and Hans Christian Andersen Medal nominee
Philip Stead is the author of the Caldecott Medal-winning book A Sick Day for Amos McGee, also named a New York Times Best Illustrated Book and a Publishers Weekly Best Children’s Book, illustrated by his wife and frequent collaborator, Erin Stead. He is the author and illustrator of The North Wind and the Sun, a Bank Street Best Children’s Book of the Year. He lives with Erin, their daughter, and their dog in a hundred-year-old barn in Ann Arbor, Michigan.
Hello! Welcome to the story! As you have probably noticed, it is a story with two titles. The author could not decide which he liked better. So he kept them both and placed them one right after the other. It is important not to be wasteful! he thought. Then, because he was proud of it, he wrote his thought down in very large print and all capital letters, like this:

IT IS IMPORTANT NOT TO BE WASTEFUL!

He decided this should be the first moral of the story.
Most stories have only one moral. Some have none at all. This story has several—twenty-four, to be exact. The author encourages you to write them down as you go. He has provided blank pages at the end of the book for you to do so. As we will later learn in Chapter Fifteen, it is easier to remember a thing if it is written down.
The author was quite pleased with himself so far. But the more he looked at his first moral, written in very large print and all capital letters, he began to worry: Is it impolite to shout? The author did not want to call too much attention to the morals of his story—that would be obnoxious. So from here on, he decided, additional morals would be quietly and unobnoxiously sandwiched between two goats, like this:

It is important not to be wasteful!

There, thought the author, that’s better. Twenty-three more to go!
You are probably wondering: Why sandwich a moral between two goats? Ha! Why indeed! The answer to this question is, coincidentally, the eighth moral of the story.
Most authors choose a title only after their story is complete. That way, they have time to learn what sorts of things happen in the story and what the story is really about. But the author of this particular story could not see the sense in waiting. If a title is the first thing you read, he thought to himself, then it should be the first thing written down. So he wrote down his two titles, figuring that, like the reader, he would learn what they meant as he went along.
It felt right to begin at the beginning. The author felt strongly that things with beginnings ought to begin at their beginning and move more or less in a straight line from there.
But on the other hand, he thought, maybe the beginning is NOT the right place to begin. The author was always changing his mind about things. He sometimes felt that his mind was like a river of uncertainty, constantly shifting course. “Statuere stultum est!” he called out to no one from his wobbly wooden writing table.
Statuere stultum est is a Latin phrase that means: “To decide is folly.” The author liked to sprinkle little Latin phrases into his speech whenever possible. He did this, a solis ortu usque ad occasum, to the everlasting annoyance of his friends. A solis ortu usque ad occasum is a phrase that means: “from sunup to sundown.”
The author knew all sorts of Latin phrases. His favorite one was: in medias res. It means: “in the middle of things,” and it’s used to describe a story that begins, for some reason, in its middle instead of its beginning. There is no good reason to begin a story in its middle. But there is no good reason to learn Latin, either, unless you are a magician, or someone who hopes to appear smarter than they really are. Of these two professions—magician/nincompoop—one is exceedingly rare. But the other is quite common. So we should not be surprised at all when we turn the next page and discover a story that begins not at its beginning, where it probably ought to, but instead in medias res, at the start of
Chapter . . .

Photos

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About

A plucky young goatkeeper sets out on a misadventurous rescue mission in this uproarious debut novel with premium hardcover features, perfect for fans of Kate DiCamillo and Lemony Snicket.

In a kingdom ruled by a capricious king, the castle rests on the backs of twenty-four goats, and the welfare of those goats rests on the back of a girl called Bernadette. So when one goat escapes, it's up to her—with the help of a very forgetful wizard and a Boat That Does Not Grant Wishes—to bring it back safely.

Her task may be straightforward, but this book is anything but. Like a swirling herd of restless goats, the chapters are all out of order. The ending may prove to have been the beginning all along. All the while, the author of Bernadette's saga—a character himself—hurries to write her a resolution, with very mixed results. And if you're feeling lost, don't worry; the story has twenty-four morals, of varying advisability, to edify you along the way.

Award-winning picture book author and illustrator Philip Stead makes a confident debut as a novelist in this laugh-out-loud, one-of-a-kind illustrated tale, chock-full of running gags, broken fourth walls, and underdog triumph.

Gilded edges, a velvet-touch jacket with foil accents and embossing, a foil-stamped cloth case and printed endpapers make A Potion, a Powder, a Little Bit of Magic as thrilling to hold as it is to open, a perfect gift for any young reader.

Praise

Gleefully ignores all the storytelling rules. . . . [R]eaders who only recently learned the rules [will] take pleasure in watching them get blown to pieces. . . . I have to applaud the quality of the production. . . . My respect goes to any publisher willing to invest in creating an object that is pleasing to the hands as well as to the eyes. Books can still be a rich tactile experience for young readers who tire of swiping and tapping on glass.
—The New York Times

A ragtag ensemble, a daunting task, an uncertain journey: Here are all the makings of a classic fantasy tale, with the bonus additions of Mr. Stead’s droll humor and eye for whimsical detail.
—The Wall Street Journal

[A] warmhearted middle grade debut, told via nonlinear chronology and tongue-in-cheek prose. . . . Stead employs delightfully absurd, intricately labyrinthine plotting to comedic and dramatic effect, wittily manipulating structure and narrative while using clever wordplay to weave an inspiring tale that intrigues from the jump. Finely lined grayscale artwork renders the ragtag cast with rich texture and fairy tale charm.
—Publishers Weekly (starred review)

Exuberant wordplay and a wryly witty narrative distinguish this broadly humorous and endearing fantasy in which a young goatherd’s charges escape their servitude. . . . Stead’s narrative voice is warm, intimate, and slightly goofy, enveloping the reader in the storytelling process. Running jokes invite giggles, homey adages are sandwiched between tiny goat silhouettes, and Latin phrases (many hilariously misused) and their translations pepper the text. Atmospheric, whimsical drawings enhance this story, which will please fans of Norton Juster and Terry Pratchett. . . . A perfect amount of magic.
—Kirkus Reviews (starred review)

Playful is the first word that comes to mind when describing lauded picture-book creator Stead’s first novel. . . . Throughout this clever tale, Stead contributes finely lined and crosshatched illustrations that play to its humor and absurdities. These qualities will delight fans of Matt Phelan’s Knights Vs. books, while the underlying warmheartedness, sturdy as a goat, and Stead’s storytelling aplomb will resonate with Kate DiCamillo devotees.
—Booklist (starred review)

A charmingly labyrinthine fantasy with broad appeal for those who enjoy clever narration and lightly chaotic quests; a strong addition to collections.
—School Library Journal (starred review)

Brimming with clever wordplay, entertaining absurdity, and tremendous creativity.
—Shelf Awareness (starred review)

The gentleness and originality of this story recalls tales like The Princess Bride. Bernadette and her friends come to life through Stead’s prose and quirky drawings. This is a book about the journey rather than the destination. For sensitive story-loving kids, this will be a landmark fairytale. A Potion, a Powder, and Bit of Magic offers giggle-worthy entertainment, lovely illustrations and a wholly unpredictable plot.
—BookPage (starred review)

For fans of goats, wordplay, and the absurd.
—The Horn Book

Fans of choose-your-own adventure books will traipse along the various storylines as happily as Steve. . . .
—Bulletin of the Center for Children’s Books

This book is absolutely marvelous. It’s delightful, exciting, profound, and FUN all at once. I deeply enjoyed and was wildly inspired by every single page. It’s timely, but reads like a classic, and it peppered with excellent, artfully placed illustrations. And that’s my only complaint about the whole entire book (it’s not really a complaint): that there weren’t MORE of Philip Stead’s crosshatched drawings. Kids will love exploring this book, and if read with an adult, it could leave to some awesome discussions.
—Jarrett Lerner, New York Times bestselling author

Phil Stead’s debut novel is a ‘Dada’ playbook of crafty nonsense that takes the genre of cut-ups, dice-rolls, and winks to the reader and tumbles them into a clever reading romp. The story refreshes itself as it deftly shifts about, turning the structure into a medley of charming mischief. Duchamp would approve! You don’t have to know why you are reading it—just read it at full speed and enjoy!
—Jack Gantos, Newbery Honor–winning author of Joey Pigza Swallowed the Key

A Potion, a Powder, a Little Bit of Magic is exactly right. Wildly funny, completely discombobulated, and deeply heartfelt. A must-read for all humans, and goats.
——Jon Scieszka, National Ambassador for Young People's Literature and New York Times bestselling author of The True Story of the 3 Little Pigs!

You know how when you tell a story you start in the middle, then you back up, add characters, jump forward, and then try to tie it all together but you can’t? Well, that’s what Philip Stead does in A Potion, a Powder, a Little Bit of Magic. Only he can. You know, tie it all together. And he adds twenty-four morals. Here’s one more: 'Read this book and rejoice.'
—Chris Raschka, two-time Caldecott Medal winner and Hans Christian Andersen Medal nominee

Author

Philip Stead is the author of the Caldecott Medal-winning book A Sick Day for Amos McGee, also named a New York Times Best Illustrated Book and a Publishers Weekly Best Children’s Book, illustrated by his wife and frequent collaborator, Erin Stead. He is the author and illustrator of The North Wind and the Sun, a Bank Street Best Children’s Book of the Year. He lives with Erin, their daughter, and their dog in a hundred-year-old barn in Ann Arbor, Michigan.

Excerpt

Hello! Welcome to the story! As you have probably noticed, it is a story with two titles. The author could not decide which he liked better. So he kept them both and placed them one right after the other. It is important not to be wasteful! he thought. Then, because he was proud of it, he wrote his thought down in very large print and all capital letters, like this:

IT IS IMPORTANT NOT TO BE WASTEFUL!

He decided this should be the first moral of the story.
Most stories have only one moral. Some have none at all. This story has several—twenty-four, to be exact. The author encourages you to write them down as you go. He has provided blank pages at the end of the book for you to do so. As we will later learn in Chapter Fifteen, it is easier to remember a thing if it is written down.
The author was quite pleased with himself so far. But the more he looked at his first moral, written in very large print and all capital letters, he began to worry: Is it impolite to shout? The author did not want to call too much attention to the morals of his story—that would be obnoxious. So from here on, he decided, additional morals would be quietly and unobnoxiously sandwiched between two goats, like this:

It is important not to be wasteful!

There, thought the author, that’s better. Twenty-three more to go!
You are probably wondering: Why sandwich a moral between two goats? Ha! Why indeed! The answer to this question is, coincidentally, the eighth moral of the story.
Most authors choose a title only after their story is complete. That way, they have time to learn what sorts of things happen in the story and what the story is really about. But the author of this particular story could not see the sense in waiting. If a title is the first thing you read, he thought to himself, then it should be the first thing written down. So he wrote down his two titles, figuring that, like the reader, he would learn what they meant as he went along.
It felt right to begin at the beginning. The author felt strongly that things with beginnings ought to begin at their beginning and move more or less in a straight line from there.
But on the other hand, he thought, maybe the beginning is NOT the right place to begin. The author was always changing his mind about things. He sometimes felt that his mind was like a river of uncertainty, constantly shifting course. “Statuere stultum est!” he called out to no one from his wobbly wooden writing table.
Statuere stultum est is a Latin phrase that means: “To decide is folly.” The author liked to sprinkle little Latin phrases into his speech whenever possible. He did this, a solis ortu usque ad occasum, to the everlasting annoyance of his friends. A solis ortu usque ad occasum is a phrase that means: “from sunup to sundown.”
The author knew all sorts of Latin phrases. His favorite one was: in medias res. It means: “in the middle of things,” and it’s used to describe a story that begins, for some reason, in its middle instead of its beginning. There is no good reason to begin a story in its middle. But there is no good reason to learn Latin, either, unless you are a magician, or someone who hopes to appear smarter than they really are. Of these two professions—magician/nincompoop—one is exceedingly rare. But the other is quite common. So we should not be surprised at all when we turn the next page and discover a story that begins not at its beginning, where it probably ought to, but instead in medias res, at the start of
Chapter . . .