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นิทานภาษาอังกฤษ “เจ้าหญิงนิทรา” Sleeping Beauty มาอ่านเรื่องราวความเป็นมาเป็นไปของเจ้าหญิงผู้เลอโฉมที่ต้องกลายเป็นเจ้าหญิงนิทราเป็นร้อยๆปี แล้วเจ้าหญิงสามารถฟื้นตื่นจากการหลับไหลได้อย่างไร มาติดตามอ่านดูกันนะครับ
นิทานภาษาอังกฤษ “เจ้าหญิงนิทรา” Sleeping Beauty
Once there was a royal couple who grieved excessively because they had no children. When at last, after long waiting, the queen presented her husband with a little daughter, his majesty showed his joy by giving a christening feast, so grand that the like of it was never known. He invited all the fairies in the land—there were seven altogether—to stand godmothers to the little princess; hoping that each might bestow on her some good gift, as was the custom of good fairies in those days.
After the ceremony, all the guests returned to the palace, where there was set before each fairy-godmother a magnificent covered dish, with an embroidered table-napkin, and a knife and fork of pure gold, studded with diamonds and rubies. But alas! as they placed themselves at the table, there entered an old fairy who had never been invited, because more than fifty years since she had left the king’s dominion on a tour of pleasure, and had not been heard of until this day. His majesty, much troubled, desired a cover to be placed for her, but it was of common delf, for he had ordered from his jeweller only seven gold dishes for the seven fairies aforesaid. The elderly fairy thought herself neglected, and muttered angry menaces, which were overheard by one of the younger fairies, who chanced to sit beside her. This good godmother, afraid of harm to the pretty baby, hastened to hide herself behind the tapestry in the hall. She did this, because she wished all the others to speak first—so that if any ill gift were bestowed on the child, she might be able to counteract it.
The six now offered their good wishes—which, unlike most wishes, were sure to come true. The fortunate little princess was to grow up the fairest woman in the world; to have a temper sweet as an angel; to be perfectly graceful and gracious; to sing like a nightingale; to dance like a leaf on a tree, and to possess every accomplishment under the sun. Then the old fairy’s turn came. Shaking her head spitefully, she uttered the wish that when the baby grew up into a young lady, and learned to spin, she might prick her finger with the spindle and die of the wound.
At this terrible prophecy all the guests shuddered; and some of the more tender-hearted began to weep. The lately happy parents were almost out of their wits with grief. Upon which the wise young fairy appeared from behind the tapestry, saying cheerfully “Your majesties may comfort yourselves; the princess shall not die. I have no power to alter the ill-fortune just wished her by my ancient sister—her finger must be pierced; and she shall then sink, not into the sleep of death, but into a sleep that will last a hundred years. After that time is ended, the son of a king will find her, awaken her, and marry her.”
Immediately all the fairies vanished.
The king, in the hope of avoiding his daughter’s doom, issued an edict, forbidding all persons to spin, and even to have spinning-wheels in their houses, on pain of instant death. But it was in vain. One day, when she was just fifteen years of age, the king and queen left their daughter alone in one of their castles, when, wandering about at her will, she came to an ancient donjon tower, climbed to the top of it, and there found a very old woman—so old and deaf that she had never heard of the king’s edict—busy with her wheel.
“What are you doing, good old woman?” said the princess.
“I’m spinning, my pretty child.”
“Ah, how charming! Let me try if I can spin also.”
She had no sooner taken up the spindle than, being lively and obstinate, she handled it so awkwardly and carelessly that the point pierced her finger. Though it was so small a wound, she fainted away at once, and dropped silently down on the floor. The poor frightened old woman called for help; shortly came the ladies in waiting, who tried every means to restore their young mistress, but all their care was useless. She lay, beautiful as an angel, the colour still lingering in her lips and cheeks; her fair bosom softly stirred with her breath: only her eyes were fast closed. When the king her father and the queen her mother beheld her thus, they knew regret was idle—all had happened as the cruel fairy meant. But they also knew that their daughter would not sleep forever, though after one hundred years it was not likely they would either of them behold her awakening. Until that happy hour should arrive, they determined to leave her in repose. They sent away all the physicians and attendants, and themselves sorrowfully laid her upon a bed of embroidery, in the most elegant apartment of the palace. There she slept and looked like a sleeping angel still.
When this misfortune happened, the kindly young fairy who had saved the princess by changing her sleep of death into this sleep of a hundred years, was twelve thousand leagues away in the kingdom of Mataquin. But being informed of everything, she arrived speedily, in a chariot of fire drawn by dragons. The king was somewhat startled by the sight, but nevertheless went to the door of his palace, and, with a mournful countenance, presented her his hand to descend.
The fairy condoled with his majesty, and approved of all he had done. Then, being a fairy of great common sense and foresight, she suggested that the princess, awakening after a hundred years in this ancient castle, might be a good deal embarrassed, especially with a young prince by her side, to find herself alone. Accordingly, without asking any one’s leave, she touched with her magic wand the entire population of the palace—except the king and queen; governesses, ladies of honour, waiting-maids, gentlemen ushers, cooks, kitchen-girls, pages, footmen—down to the horses that were in the stables, and the grooms that attended them, she touched each and all. Nay, with kind consideration for the feelings of the princess, she even touched the little fat lap-dog, Puffy, who had laid himself down beside his mistress on her splendid bed. He, like all the rest, fell fast asleep in a moment. The very spits that were before the kitchen-fire ceased turning, and the fire itself went out, and everything became as silent as if it were the middle of the night, or as if the palace were a palace of the dead.
The king and queen—having kissed their daughter and wept over her a little, but not much, she looked so sweet and content—departed from the castle, giving orders that it was to be approached no more. The command was unnecessary; for in one quarter of an hour there sprung up around it a wood so thick and thorny that neither beasts nor men could attempt to penetrate there. Above this dense mass of forest could only be perceived the top of the high tower where the lovely princess slept.
A great many changes happen in a hundred years. The king, who never had a second child, died, and his throne passed into another royal family. So entirely was the story of the poor princess forgotten, that when the reigning king’s son, being one day out hunting and stopped in the chase by this formidable wood, inquired what wood it was and what were those towers which he saw appearing out of the midst of it, no one could answer him. At length, an old peasant was found who remembered having heard his grandfather say to his father, that in this tower was a princess, beautiful as the day, who was doomed to sleep there for one hundred years until awakened by a king’s son, her destined bridegroom.
At this, the young prince, who had the spirit of a hero, determined to find out the truth for himself. Spurred on by both generosity and curiosity, he leaped from his horse and began to force his way through the thick wood. To his amazement the stiff branches all gave way, and the ugly thorns sheathed themselves of their own accord, and the brambles buried themselves in the earth to let him pass. This done, they closed behind him, allowing none of his suite to follow: but, ardent and young, he went boldly on alone. The first thing he saw was enough to smite him with fear. Bodies of men and horses lay extended on the ground; but the men had faces, not death-white, but red as peonies, and beside them were glasses half filled with wine, showing that they had gone to sleep drinking. Next he entered a large court, paved with marble, where stood rows of guards presenting arms, but motionless as if cut out of stone; then he passed through many chambers where gentlemen and ladies, all in the costume of the past century, slept at their ease, some standing, some sitting. The pages were lurking in corners, the ladies of honour were stooping over their embroidery frames, or listening apparently with polite attention to the gentlemen of the court, but all were as silent as statues and as immoveable. Their clothes, strange to say, were fresh and new as ever: and not a particle of dust or spider-web had gathered over the furniture, though it had not known a broom for a hundred years. Finally, the astonished prince came to an inner chamber, where was the fairest sight his eyes had ever beheld.
A young girl of wonderful beauty lay asleep on an embroidered bed, and she looked as if she had only just closed her eyes. Trembling, the prince approached and knelt beside her. Some say he kissed her, but as nobody saw it, and she never told, we cannot be quite sure of the fact. However, as the end of the enchantment had come, the princess awakened at once, and looking at him with eyes of the tenderest regard, said drowsily, “Is it you, my prince? I have waited for you very long.”
Charmed with these words, and still more with the tone in which they were uttered, the prince assured her that he loved her more than his life. Nevertheless, he was the most embarrassed of the two; for, thanks to the kind fairy, the princess had plenty of time to dream of him during her century of slumber, while he had never even heard of her till an hour before. For a long time did they sit conversing, and yet had not said half enough. Their only interruption was the little dog Puffy, who had awakened with his mistress, and now began to be exceedingly jealous that the princess did not notice him as much as she was wont to do.
Meantime all the attendants, whose enchantment was also broken, not being in love, were ready to die of hunger after their fast of a hundred years. A lady of honour ventured to intimate that dinner was served; whereupon the prince handed his beloved princess at once to the great hall. She did not wait to dress for dinner, being already perfectly and magnificently attired, though in a fashion somewhat out of date. However, her lover had the politeness not to notice this, nor to remind her that she was dressed exactly like her royal grandmother, whose portrait still hung on the palace walls.
During the banquet a concert took place by the attendant musicians, and considering they had not touched their instruments for a century they played extremely well. They ended with a wedding march: for that very evening the marriage of the prince and princess was celebrated, and though the bride was nearly one hundred years older than the bridegroom, it is remarkable that the fact would never have been discovered by any one unacquainted therewith.
After a few days, they went together out of the castle and enchanted wood, both of which immediately vanished, and were never more beheld by mortal eyes. The princess was restored to her ancestral kingdom, but it was not generally declared who she was, as during a hundred years people had grown so very much cleverer that nobody then living would ever have believed the story. So nothing was explained, and nobody presumed to ask any questions about her, for ought not a prince be able to marry whomsoever he pleases?
Nor—whether or not the day of fairies was over—did the princess ever see anything further of her seven godmothers. She lived a long and happy life, like any other ordinary woman, and died at length, beloved, regretted, but, the prince being already no more, perfectly contented.


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Db2 utility guide and reference v10 pdf
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DB2 10 for zOS Product Documentation. Find resources to help you learn the skills that you need if your are new to Db2 for zOS. PDF books for Db2 10 for zOS. Utility Guide and Reference: SC: What's New? GC: Licensed publications are not available for downloading on the web. You can obtain these licensed publications if db2 utility guide and reference v10 pdf Db2 V10 Utilities Manual Migrating to IBM DB2 10 for zOS Program Directory for DB2 10 Uptodate Program Directory and Utility Guide and Reference documents for all in service.Rating: 4.88 / Views: 748


Chiriguayo, Danielle. "Using an iPad as a canvas: A tour of David Hockney’s new exhibit." KCRW Press Play with Madeleine Brand, 20 Dec 2022. kcrw.com
Teicholz, Tom. "David Hockney’s Beautiful World." Forbes, 30 Nov 2022. full article, PDF
Teale, Steve. "Hockney’s Bigger Pictures." The Yorkshire Post, 29 Oct 2022. full article, PDF
Alberge, Dalya. "'An incredible work’: David Hockney’s new 5-metre digital artwork unveiled." The Guardian, 8 Oct 2022. full article, PDF
Finkel, Jori. "David Hockney’s latest floral iPad works to blossom at five different galleries, from Los Angeles to Paris." The Art Newspaper, 4 Oct 2022. full article, PDF | theartnewspaper.com
To accompany the exhibition, L.A. Louver, Galerie Lelong & Co., Annely Juda Fine Art, GRAY, and Pace are pleased to announce the release of David Hockney: 20 Flowers and Some Bigger Pictures (English and French, 76 pages, 24 x 31 cm). The book features an essay by the artist and color illustrations of the works on view in the exhibition.
Five of the world’s leading galleries are coming together to present 20 Flowers and Some Bigger Pictures, an unprecedented international exhibition by David Hockney. The global exhibition will be jointly presented this fall and winter across five cities: Annely Juda Fine Art in London; Galerie Lelong & Co. in Paris; GRAY in Chicago; L.A. Louver in Los Angeles; and Pace in New York.
20 Flowers and Some Bigger Pictures presents works created by Hockney in 2021, expanding on a series of iPad paintings in 2020 while quarantining at his studio and residence in Normandy, France. Inspired by his daily observations, Hockney devoted himself to the iPad, a medium of unique immediacy that allowed him to be prolific in his depictions of his home, the changing seasons, and surrounding countryside.


As you know, my grandfather's a writer and he also has this most amazing library, full of really old and rare books, as well as his own, of course! Here are some of them:the red books at the end are two of his books about Napoleon, published in a special Academie Francaise edition, very classic and all that--
these books above are some of the things in his collection, rare books from the eighteenth and nineteenth centuries. Also on the bottom shelf you can see some of my father's childhood books..this book above was published before Australia was settled!
this illustration by a French artist called Gustave Dore, of Bluebeard giving his wife the keys to the castle, is in a beautiful old book of fairytales my grandfather owns.


Since I read a lot of books about psychology, relationships, mental health and related topics, I will post reviews of books that I have read. This time I am writing about a book that helped me a great deal to make sense of the behaviours I have observed in many people I know. Although this book is targeted at women, I sincerely believe that there is a great deal of benefit for men interested in narcissism to read it too, if only to understand many of the young women they will meet on dates these days.
Estimated Interest Level, (out of 5 stars), For:
Parents: 3 stars
Teachers: 1 stars
Adults: 5 stars (women) / 4 stars (men)
This book opened up my understanding of narcissism more than any other single book. Karyl McBride writes with compassion as well as understanding for the people most of us prefer to despise in ignorance of their inner world. This book is directed towards women and focuses on the mother-daughter relationship and how mothers can have a devastating influence on their daughters self-esteem and outlook on life. Filled with plenty of real-life testimonies from women suffering from narcissism and narcissistic mothers it opens up a world that one does not usually see because narcissists cover up their genuine feelings and opinions.
If you have a narcissistic mother, this book is simply a fantastic resource you will only be able to put down between periods of letting the revelations fully sink in. If you have to deal with a narcissist on a regular basis, then this book will help you to understand and deal with them with a clearer perspective. Parents concerned about how their emotional issues might be impacting their children can get something out of this book, but it simply is not written for them specifically. Teachers might find it intellectually interesting, but treating the types of narcissism described in this book are well outside the scope of the classroom.
Features of the Book:
- A guide to identifying different types of narcissistic mothers and daughters.
- A guide for understanding approximately how narcissistic one is.
- Detailed discussion with strategies about learning how to grieve and deal with emotional pain.
- Advice on relationships concerning how to find genuinely caring and understanding men as well as how to have a healthy and satisfying relationship with a man.
- Testimony to help understand the narcissistic mindset and the motivations between their destructive behaviour.
Who Would Benefit Most From This Book:
- Women who find themselves struggling in their romantic relationships, be it attracting a decent man or maintaining the relationship long term.
- Women who are overachievers who nonetheless feel deeply disappointed and dissatisfied with their lives.
- Men and women who have a cold, distant or overcritical mother and want to understand her better.
- Women with self-image problems and low self-esteem.
- Men struggling to comprehend many of the women they have dated who seemed perfect at first but turned into controlling, selfish manipulators by the end.
- daughters of narcissistic mothers (saraneau.wordpress.com)
- Narcissism- Is your partner selfish, dominant and arrogant? (creativebeautyhealth.com)
- How to Survive Loving a Narcissist (drandrewmgoodman.wordpress.com)
- Nichi Hodgson: 7 Signs You’re Dating A Narcissist (huffingtonpost.com)
- 7 signs you might be a narcissist (rappler.com)
- In Dating Game, Narcissists Get the Girl (news.health.com)
- A Word About Narcissism (200poundstolose.wordpress.com)
Pingback: Introducing Narcissism | Four Birds Education


I have lived many ages of men, Steven. Centuries without end. I have seen many great men, and known countless honors. But the greatest honor of this ancient and tired soul has been the privilege of fighting beside you, and calling you my friend. May grace and peace be with you, to the end of all things.
I want you always to remember me. Will you remember that I existed, and that I existed, and that I stood next to you here like this?
— Norwegian Wood, Haruki Murakami


Digitip 085 – Adobe InDesign CS4: A story about Table of Contents and Bookmarks
This is the 6th tip in a series of tips on Interactive PDFs. We’ve learnt in previous tips to create buttons, add cool roll over effects, add actions to buttons, create hyperlinks to pages and more. In this tip we’ll look at how we can create a Table of Contents in InDesign and automatically use the inclusion of an interactive Table of Contents during export to PDF as well as create navigational bookmarks in the PDF. The preparation as we’ll see is all on how we define and set-up our Table of Contents.
Building a Table of Contents
Rule number 1: In order to automatically generate a Table of Contents list in an InDesign document, you must use paragraph style consistently throughout your document.
So what do paragraph styles have to do with building a Table of Contents? Through-out your InDesign document (or document that is part of an InDesign Book), you use paragraph styles to format the text in the document. Styles such as “Heading1″, “Heading2″, “BodyText”, “Normal” and so on. Generally when we create a Table of Contents we want to create a copy of text, such as headings that is used through-out the document, or figure-names or table-names etc. InDesign’s Table of Contents feature can automatially filter out this text from an InDesign document IF you have formatted those headings with a unique paragraph style. Let’s say Heading1. Here’s how it all works together…
Step 1: Format headings etc. consistently with paragraph styles
Step 2: Design your Table of Content
First of all, if you are looking at building a Table of Contents from different heading levels, consider how many levels deep you’d like the Table of Contents to be. For example will you only include “Heading 1″ text? Or do you want to see different levels, such as “Heading 1″ and “Heading 2″?
Once you’ve determine this think ahead a little. When the text is formatted in the Table of Contents:
- Would you like to see a Page Number?
- If Yes, will that be preceding the heading text that is filtered out of the document? or will it follow the text?
- If there is a page number, would you like to separate it from the text in some way. Say by entering a tab-character, or maybe even an En-Space then a Tab-character? etc.
- Build a small temporary Table of Contents in which you mimic this formatting in your document.
- Also include the Table of Contents Title… that is if you want to have the ability to also generate this text during the TOC creation.
- With the formatting in place, create some paragraph styles specifically designed to format your Table of Contents.
- In the sample here, we’re keeping things pretty simple. Just a single level table of contents preceded by a title.
- Clear the content from the dummy Table of Contents text frame, and leave the frame on the page.
Step 3: Defining a New Table of Contents Style
Time to define your Table of Contents Style. From the Layout Menu choose Table of Contents Styles…
The Table of Contents Styles dialog appears. Click New… to define a new style.
Click the More Options button to see the full TOC dialog.
Let’s review this dialog top to bottom…
First of all we’ll name the Table of Content Style. Let’s say “Newsletter TOC”
The Title refers to the first bit of text that preceeds the contents listing itself. We’ll make this “In this week’s edition:”. The paragraph style next to it is the style used to format this text. We’ve created the “TOC_Title” style for this earlier.
Now we get to the good bits. Which text formatted with which paragraph style do you want to copy from the InDesign document into the Table of Contents? Answer in this example ChapterTitle_Black and ChapterTitle_White.
From the list of Other Styles you can select any of the paragraph styles that need to be included in the Table of Contents. To select multiple non-continuous styles hold down the Cmd (Mac) or Ctrl (PC) key as you are clicking style names. Press shift to select a continuous style range.
Next click the Add button to move the styles to the Include Paragraph Styles list.
InDesign automatically increments the Level numbers for each additional style included (up to 10 levels).
For each style listed set the correct level. As the ChapterTitle can appear in either Black or White I’ll set both to “Level 1″ in this example.
Now let’s go back to the list of questions we asked ourselves when designing the look of the Table of Contents.
- We created a Paragraph style called TOC_Level1 to format the Table of Contents Entries
- We decided to have the page number After the Entry and to enter a Right-Indent Tab between the Entry and the PageNumber.
Select each of the Included Paragraph Styles and set its settings for Entry Style, Page Number and Between Entry and Number
We’re almost done now…
When it comes to creating our Interactive PDF with interactive Table of Contents and PDF Bookmarks, we must enable the Create PDF Bookmarks option. Yep… you’re right… all this hard work and all we need to do is click this one button to get some extra interactivity in our PDF? Well kinda… we’ll still have create our Table of Contents in the document
Click OK twice to add the Table of Contents Style to the InDesign document.
Step 4: Create a Table of Contents
Yay. Finally… we’re going to see our Table of Contents appear in the document.
Choose Layout > Table of Contents, and in the dialog select TOC Style created earlier in this example “Newsletter TOC” created and click OK.
The loaded text cursor appears containing all of the Table of Contents text. Click in the Table of Contents frame placed on the document page earlier or simply place the text wherever it needs placing.
And… ta da… There it is…
We’re now ready to test this rollover effect in the interactive PDF.
Creating the PDF
Choose a File > Adobe PDF Presets and select a PDF setting from the list of settings. Alternatively choose File > Export and set Format to PDF.
In the General section of the Export Adobe PDF dialog ensure the Bookmarks option is enabled for inclusion. Next click Export and generate the PDF.


In this review, you will discover everything you need to know about the “Naruto: The Official Character Data Book.” We will provide you with an overview of this product, its features, and what you can expect to find inside. By the end, you will have a clear understanding of whether this data book is worth adding to your collection for all the Naruto fans out there. So, let’s dive in and explore the world of Naruto together!
Features and Benefits
If you’re a fan of the popular anime and manga series Naruto, then you’ll definitely want to get your hands on the “Naruto: The Official Character Data Book.” This comprehensive guidebook is packed with detailed information about the beloved characters, providing you with an immersive experience into the world of Naruto. Whether you’re a casual viewer or a die-hard fan, this character data book is a must-have addition to your collection.
Dive Into the Depths of Naruto’s Characters
One of the standout features of this character data book is its ability to delve into the depths of each character in the Naruto universe. From the iconic main characters like Naruto Uzumaki and Sasuke Uchiha to the supporting cast, each character is given their own dedicated section filled with in-depth information. This includes their background, abilities, personality traits, and even their relationships with other characters. You’ll gain a deeper understanding and appreciation for your favorite characters through the wealth of knowledge presented in this guidebook.
Stunning Artwork and Design
Apart from the detailed character profiles, “Naruto: The Official Character Data Book” also impresses with its stunning artwork and design. The book is filled with beautiful illustrations that bring the characters to life, capturing their unique personalities and emotions. The layout of the book is clean and organized, making it easy to navigate through the wealth of information provided. Not only is it informative, but it’s also visually appealing, making it a joy to flip through the pages.
Comprehensive Encyclopedia of Naruto
This character data book serves as a comprehensive encyclopedia for all things Naruto. It goes beyond just character profiles and includes additional information on various aspects of the series, such as jutsu (ninja techniques), clans, villages, and more. Whether you’re a long-time fan of Naruto or a beginner who wants to learn more about the series, this guidebook is a valuable resource that covers a wide range of topics. It provides a deeper understanding of the Naruto universe and enhances your overall enjoyment of the series.
Ways to Use It
Explore the Backstories of Your Favorite Characters
One of the main uses of this character data book is to explore the backstories of your favorite Naruto characters in more detail. With each character having their own dedicated section, you can dive deeper into their pasts, gaining insight into what shaped them into the characters they are today. It’s like having a personal guide to the hidden layers of each character’s journey, providing a richer viewing experience when watching the anime or reading the manga.
Settle Debates and Answer Questions
Have you ever had a debate with your friends about who would win in a fight between two Naruto characters? Or maybe you found yourself pondering the origins of a particular jutsu. This character data book is your ultimate resource to settle those debates and answer those lingering questions. With detailed information on abilities, relationships, and more, you’ll have concrete evidence at your fingertips to support your arguments or satisfy your curiosity.
Enhance Your Naruto Collection
For avid collectors, “Naruto: The Official Character Data Book” is a valuable addition to your Naruto collection. Not only does it provide valuable information and stunning artwork, but it also serves as a physical representation of your love for the series. Display it alongside your other Naruto merchandise or place it on your bookshelf to showcase your dedication and passion for the world of Naruto.
|Title||Naruto: The Official Character Data Book|
|Publisher||VIZ Media LLC|
|Dimensions||6.6 x 1 x 9.6 inches|
Who Is It For
“Naruto: The Official Character Data Book” is perfect for anyone who’s a fan of the Naruto series. It caters to both casual viewers who want to learn more about the characters and die-hard fans who want to dive deeper into the Naruto universe. Whether you’ve followed the anime and manga since its inception or are just starting your Naruto journey, this character data book has something to offer for everyone.
Pros and Cons
- In-depth character profiles
- Stunning artwork and design
- Comprehensive coverage of the Naruto universe
- Limited to the Naruto series, may not interest non-fans
(1) Is this book suitable for someone who has never watched Naruto before? Although “Naruto: The Official Character Data Book” is primarily targeted towards Naruto fans, it can still be enjoyed by newcomers who want to learn more about the series. The detailed character profiles and comprehensive information provide a great starting point to familiarize yourself with the Naruto universe.
(2) Are there spoilers in the book? Yes, as this character data book covers various aspects of the Naruto series, including character developments and events, there are potential spoilers for those who haven’t completed the series.
(3) Is the artwork exclusive to this book? Yes, “Naruto: The Official Character Data Book” features exclusive artwork created specifically for the book. It showcases the characters in unique poses and styles, making it a treat for fans.
What Customers Are Saying
Customers who have purchased “Naruto: The Official Character Data Book” have praised its thoroughness and attention to detail. Many appreciated the additional insights into their favorite characters’ stories, while others were impressed by the quality of the artwork and layout. Fans have described it as a must-have for any Naruto enthusiast and have found it to be an invaluable companion to the anime and manga series.
In terms of value, “Naruto: The Official Character Data Book” offers a wealth of information and stunning visuals that enhance the Naruto experience. It provides a deeper understanding of the characters and the series as a whole, allowing fans to appreciate the intricacies of the Naruto universe. While it may not appeal to non-fans, for those who love Naruto, this character data book is an invaluable resource that adds value to their collection and enriches their fandom.
Tips and Tricks For Best Results
To make the most out of your “Naruto: The Official Character Data Book” experience, here are a few tips and tricks:
- Take your time: Don’t rush through the book. Take the time to soak in the information and appreciate the artwork to fully immerse yourself in the Naruto universe.
- Use it as a reference: Keep the book handy while watching the anime or reading the manga. You can refer to it whenever you come across a character or concept you want to know more about.
- Share your knowledge: Use the book to impress your friends with your newfound Naruto knowledge or engage in discussions with fellow fans. Sharing your insights and love for the series can deepen your connection with the Naruto community.
“Naruto: The Official Character Data Book” is an essential guidebook for any fan of the Naruto series. Packed with detailed character profiles, stunning artwork, and comprehensive information, it offers a deeper understanding and appreciation of the beloved characters and the Naruto universe as a whole. Whether you’re a casual viewer or a seasoned fan, this character data book is a worthwhile addition to your collection.
If you’re passionate about Naruto, “Naruto: The Official Character Data Book” is a must-have. The wealth of information, beautiful artwork, and comprehensive coverage make it a valuable resource that enhances your enjoyment of the series. Whether you’re looking to dive deeper into the characters’ backstories or settle debates with your friends, this character data book will become your go-to reference. Invest in this guidebook and embark on an immersive journey through the captivating world of Naruto.


What You Didnt Know About Wisdom Teeth Removal
This is an instructional tooth removal video that highlights the different types of wisdom teeth removal that exist and what causes these teeth to need removal.
He details a number of situations where an impacted tooth needs removal and provides a step-by-step narration of how each removal will be conducted. He details a number of wisdom teeth removal procedures such as no bone removal, partial bone removal, full bone removal, removal of upper wisdom teeth without corresponding lower wisdom counterparts and wisdom teeth that need removal due to gum covering that has caused inflammation.
In his narration, he also touches on the flap repositioning after removal, suture placement and dissolution, socket substitutes used during healing, and different treatment processes in the procedures mentioned. This video also explains what happens with teeth that grow under the tissue, and how they impact adjacent teeth. These teeth also impact the alignment of teeth that have dental aids such as braces, and the narrator demonstrates how this happens.
The video provides a clear picture for anyone who needs to understand the procedures as a patient or reader.


Image credit: Artsy Bee on Pixabay / CC0 (Public Domain)
I think it’s very amusing to see how there seems to be a common image in modern global pop culture when it concerns elves. Had I asked this question one hundred years ago, answers would have been completely different. Back then, the general understanding was that elves are very small and they would have a mischievous character. Elves were known to prank people. Going further back into time, people would think elves would be of a normal size and their physical appearance would make it hard to distinguish them from humans. As you can see, elves’ physical appearance changed over time: sometimes there are small, sometimes they are normal-sized. They are always fair and youthful. Male elves never have facial hair.
People back then did not have the same interest in elves like people do now. The reason why elves are so popular now lies in the works of one man: J.R.R. Tolkien, writer of “The Hobbit”, “The Silmarillion” and “The Lord of the Rings”. I think the genius of this man lies not so much in telling fairy tales but in creating an almost parallel universe where these creatures live. It’s a very different world but very similar to ours. It fits people’s intuition when they read it for the first time because the story is new and old at the same time, which makes it very powerful.
J.R.R. Tolkien was a professor of Anglo-Saxon literature and knew a lot about history, folklore and mythology of the people of Northwest Europe. He loved the culture and folklore of Iceland. Tolkien was not a professional writer like the ones we know today. His goal was not to write books in order to make a lot of money, but to create a mythology for England. His first book, ‘The Hobbit’, is a children’s book that emerged from the tales he narrated to his own children. In his work he combines age-old mythologies with modern storytelling to create a unique world. He gets his inspiration from the old mythologies, but shapes the stories in an original way, which means there’s no one on one comparison.
If we want to know more about elves, we need to go back to Norse / Icelandic mythology. That’s the only place where they show up. There is one surviving work which deals with Norse mythology: ‘The Edda’.
The Edda is relatively young: most of what we have now was written down in the 12th-13th century, probably using 8th-9th century sources. It disappeared for a while only to turn up again in 1643 when the bishop of Skáholt, Brynjólfur Sveinsson, took possession of it. It’s not totally clear who recorded everything.
One name, though is brought into connection with the book, was Saemundr the Learned, a 12th century Catholic priest from Iceland. The prose version is attributed to Snorri Sturlesson, a 12th century politician ‘lawspeaker’ from Iceland with great interest in the roots of Icelandic culture. Without these interested individuals, most stories of Norse mythology would probably be lost forever.
Tolkien and The Edda
The first similarity between The Edda and Tolkien’s works is the existence of several ‘realms’ or worlds. The Norse gods form two tribes or families. I’m not sure if they come from one source or not. There are the Æsir who live in a place called Asgard and the Vanir who live in Vanaheimr. Sometimes these families fight each other, much like Olympians and Titans.
And then there’s our realm, our world which is called “Midgard”. The prefix ‘mid’ means ‘middle’ and the suffix -gard refers to ‘place’ or ‘earth’. Our word ‘garden’ has the same root. So Midgard actually means “Middle-earth”.
In total there are nine worlds, there six more from the three I just mentioned. For us, one is of interest: Alfheim (English: Elphame). The suffix -heim means ‘home’ or ‘dwelling place / world’. The word home probably has the same root as ‘heim’. In German you call your home still ‘Heim’. The prefix ‘Alf’ means ‘Elf’. Which makes Alfheim or Alfrheim the place where elves dwell.
Elves and Angels
Norse mythology is a bit vague on the origins of Elves. What is clear is that they are a divine-like kind of creatures. They do have some powers and they dwell near the gods. According to some sources, the god Freya/Freyr lives among elves.
The descriptions in Norse mythology make it clear that elves seem quite similar to what we now refer to as angels: they are creatures made by the gods and share some godlike powers but are not as powerful as gods. They are usually benevolent except when they are treated in a bad way. When people anger elves all kinds of bad luck is crossing their paths.
In Christian mythology angels look exactly like humans, but their beauty makes them stand out from the crowd, so to speak.
Elves and Pixies
In Tolkien’s world elves are like the pinnacle of creation: they are very wise, very civilised, their architecture is very elegant and they are the only race with interest in academics and the arts. Elves in Norse mythology are nothing like that: their “culture” (if you can use that word in this context) is much more “primitive”.
In modern folklore, elves have pointy ears, are very beautiful, have almond shaped eyes and their eyebrows curve up to their temples. Their frame is very delicate. This would be the perfect description of a pixie, not of an elf. In Norse mythology, elves look exactly like humans, they are indeed very beautiful but there’s nothing in their appearance that gives away their true identity.
Light and Dark Elves
When we read a bit more in the prose Edda, we find that Sturlesson divides the race of elves into three groups. There’s the Light Elves, the Dark Elves and the Black Elves. The way Sturlesson writes about elves is utterly confusing. Sometimes it seems that Black Elves and Dark Elves are interchangeable and sometimes they seem to be separate groups.
The Light Elves are the elves we met so far: they are the benevolent creatures who live in Alfheim and who are friends with the god Freya. They are ‘good’ elves, so to say. Then there are those not so benevolent elves, the Svártalfr (Black Elves).
It is interesting to note that dwarves (dverger) and goblins (kobold in German, kabouter in Dutch) are in fact black elves. They are of elven origin but evil. Dwarves in Norse and Germanic mythology are nothing like Gimli and his friends in ‘The Lord of the Rings’. It’s not clear how the relationship between dwarves en elves works, you can find a number of dwarves in Norse mythology with elven names, but it sure explains the animosity between Gimli and Legolas.
It could be that there has been a war and part of the elves went to the “Dark Side”, thus becoming “Black Elves”. This would be similar to the clash between angels in the Bible which led to the emerge of demons in our world. The devil and his demonic minions are fallen angels.
In Tolkien’s world the elves became divided by a historical sundering: there as a group called “Calaquendi” (Elves of Light who have seen the light of the two Trees of Valinor) and the Avari, who did not want to go to Valinor. There was also this inbetween group of the “Elves of Twilight”, the grey elves. To make things even more confusing, Tolkien calls Eöl “Dark elf”. Indeed, Eöl had close relations with the dwarves.
When you read the Silmarillion, it becomes clear that despite being a noble race, very wise and intelligent, Elves still are susceptible to Melkor’s machinations. In the end, we are all equal in that respect: men, elves, dwarves and hobbits.
Links for further reading:
- Wikipedia entry on elves.
- Encyclopedia of Arda: Index of Elves.
- Talking about Tolkien: Lore of Middle-earth.


- About Us
Don Juan Avila 1821-1889
Rancho Niguel, which was owned by Mission San Juan Capistrano and covered the land north-west of San Juan Capistrano, was valued for its oak and alder trees, as well as its limestone which was used in the making of cement for the Mission.
Don Juan Avila was born in Los Angeles in 1821. He was one of the first private landowners in what was to become Orange County. For many years, Don Juan Avila had permission from Mission authorities to graze his cattle on Rancho Niguel property. After the Mission was taken from the Padres and fell into disrepair, he and his widowed sister applied to Governor Juan B. Alvarado for a grant to the land which he was given in 1842.
Juan Avila, also referred to as “El Rico,” and his wife, Soledad, were known for their hospitality, humor and generosity. Travelers on their way to Los Angeles or San Diego were often entertained at his home in San Juan Capistrano. It is said that Juan Avila kept a calf-skin “safe” filled with gold coins in his home, which likely earned him the name “El Rico” (the “Rich One”). When most of his adobe home burned to the ground in 1879, it took several strong men to remove the “safe” and then bury it. Since that time, people have searched for the lost coins, but no one claims to have found them. After the fire, all that remained of his home were three southern rooms.
Juan Avila was an important historic person not only in the San Juan Capistrano area, but throughout California. He carried the official Flag of Truce (his own handkerchief tied to a stick) to Commodore Stockton after the Battle of Cahuenga Pass (near Hollywood Bowl).
When the United States acquired California in 1848, Juan Avila realized he would have to prove his claim to Rancho Niguel. By selling and trading meat, hides and fallow for gold coins, he was able to survive long legal battles in San Francisco and received clear title to the rancho. In 1865, he sold most of Rancho Niguel and retired to the remaining three rooms of the adobe in San Juan Capistrano. He died in 1889.
Due to his skillful political acumen, he succeeded in helping to obtain donated land for the first permanent school site in the area and was Grantee of Rancho Niguel in the 1850’s and 1860’s. Don Juan Avila served on the first Board of Education in San Juan Capistrano. Our school, Don Juan Avila Middle School, is located at 26278 Wood Canyon in Aliso Viejo, the northern part of the historic Don Juan Avila Rancho called “El Niguel.”
He was a prominent figure at Mission San Juan Capistrano and a pioneer in education in the Capistrano Valley area. The life of Don Juan Avila is so entwined with the historic beginnings of San Juan Capistrano as to render impossible a chronicle of one without the other.


Some people are like an iceberg; only one-tenth of their personality would be visible. Krishnalal Shridharani, who would have been only two years short now of centenary, had he been alive, is a prime example.
Known to Gujarat mostly as a very sensitive poet of the freedom struggle vintage, he is also vaguely recalled as having been a journalist. Even in the city of Bhavnagar that boasts of him as one of its own, most think of him as Kavi Shridharani, a poet in Gujarati. Yet, this was only one part of his warm, vibrant, radiant and multifaceted totality.
Though little remembered today, Krishnalal’s lasting contribution in the world beyond the boundaries of Gujarat, was in his pioneering efforts at explaining Gandhi and his tactics of fighting the British Empire, to the world at large in English, through writing and books. He was a follower of the Mahatma in strangely contrary ways. He did not believe in aping the Mahatma in his outward appearance and style; he loved pipe-smoking, was always nattily dressed and could easily pass off as a pucca Brown Sahib. But he was not. At heart, he was an Indian, who understood Gandhi and opted to tell the world about the Mahatma through words, rather than through clothes. In the process, he acquired the Western idiom, but remained a staunch Indian in values.
It is perhaps ironical, as also symbolic of his home state, Gujarat, hardly anyone seemed to think of Shridharani, the youngest participant in the epoch-making Dandi March in 1930, save in Bhavnagar.
The city Bhavnagar appears to particularly revel in nostalgia in a general way, and in remembering those who made a name for themselves in arts, literature and culture. It boldly takes pride, pleasure and initiative in reminding itself and others of the greats it had produced.Shridharani’s alma mater, Dakshinamurti, the Bhavnagar Sahitya Sabha, his friends and admirers unfailingly think of the man, with gratitude and affection, on his birthday in September, something the rest of the State too ought to do, at least to erase the stigma that it is a land of the forgetful and the ungrateful.
Although he studied at Dakshinamurti and Gujarat Vidyapeeth,Shridharani was apparently not cut out to be a conventional khadi-clad.He struck his own path and went to Shantiniketan.Rabindranath Tagore was highly impressed by the sensitive Gujarati and urged him to travel to the West. It was to be a momentous journey; it changed the course of his life.Gujarati literature was perhaps the only loser.
Late Harindra Dave, another sensitive soul, poet and journalist, once introduced Shridharani as a man who would swim against not just the current but also the flood. Anybody can make speed with the current, but only those with a rare force of soul could do so against the flow. At Karadi, just before reaching Dandi for the salt satyagrah, Krishnalal wrote a piece, Saput, and earned Gandhiji’s affectionate rebuke for spinning yarn instead of the wheel.
His lifelong passion was writing. He was a journalist par excellence and an equally perceptive radio commentator, and in those days one of the rare breed of those who would wield their pens with facility both in Gujarati and English.
His books in English, including his auto-biography, My India My America, became best-sellers in the early 1940s.Long before he went abroad and began writing in English; Shridharani had won recognition as a poet and dramatist in Gujarati.
Born on September 16, 1911, at Umrala, Krishnalal’s childhood passed mostly in Umrala, Bhavnagar and Junagadh. He lost his father, Jethalal, a lawyer with a roaring practice, when Shridharani was barely eight. The man that grew up did not remember much about his father, but a lot about his mother, Laheriben.
Krishnalal wrote about his mother in a poem, Maari Baa
Aradhanaman smarun roop Baanu,
Ne Baane smarine Prabhuroop pamun.
In 1957,in the revised edition of Kodiyan, Krishnalal noted that the first thing he would see while doing dhyan, just before getting up and when retiring for the day, was that instead of Om,his mind will show him the image of his mother.
His early days carried vivid memories of Girnar, the Gir, its flora and fauna. He joined an innovative educational institution, Dakshinamurti in Bhavnagar. The schooling, full of experiments, proved beneficial for Krishnalal. He would not only take interest in poetry, but also took a hand at painting. When he was hardly 12,he wrote a raasdo, a folk song ,Halya Talakchand Sasare Lo.He penned innumerable such things while in school, but his critical faculty was so sharp that he never included many of these in his collections published later, rejecting them as containing little of poetic elements. But some were really brilliant, such as when he wrote about Gandhi, Daahbhari aankhon Matani,tenu tun aansu tapakyun. His love for painting reflected in his poems too.
Way back in 1941, Balwantray Thakore thought that Krishnalal’s poetry was markedly different from that of either Umashankar Joshi or Sundaram, both tall poets. How and in what specific way,Thakore could not pinpoint but he underlined the language and art as having achieved a fusion in Krishnalal’s poems.His diction, other critics judged , was superb and the sensuousness of his poetry reminded a reader of Keats.
Poetry was not all. Shridharani also did considerable work in drama.
He joined Gujarat Vidyapeeth and was with Mahatma Gandhi during the Dandi March. For his part in the freedom struggle, Krishnalal served a term in jail. He also spent a couple of years at Shantiniketan and was one of the Gurudev’s favourite pupils. He then went to the U.S. for studies ,and during his 12 years there took PhD in Sociology and Political Theory at Columbia University.
He continued writing at a breakneck speed in America, and the outcome was spectacular. In 1939, he gave a book in English, War Without Violence, explaining to the materialist West,the spiritual onslaught of the satyagrah, a non-violent and yet deadly weapon against repression and injustice. In 1946, he returned to India and made Delhi his home, joined the External Affairs Ministry, then under Jawahar Lal Nehru as an officer on special duty. But the poet did not fit in with the Babu culture of government and left the job to become a journalist, writing for the Amrita Bazar Patrika, travelling all over the country and world. In those days Delhi was not as crowded as it is today, and certainly not the madhouse of busybodies that it has become in the past three decades. He used to pen a column for the Gujarati daily, Sandesh too.
He married Sundari, artist daughter of noted Sindhi writer,philosopher and nationalist,Dayaram Didumal,in March,1950.He had wide ranging contacts and was very friendly with a lot of leaders including Nehru, Mrs Indira Gandhi, her husband, Phiroze Gandhi,and Dr S.Radhakrishnan,as also a host of foreign dignitaries.
When in Delhi and not doing anything else, he would potter around his flower-beds and lilly-ponds and read stories to children.
His contribution to the Gujarati literature was immense, mainly as a poet and dramatist. Yet, he was recognised rather belatedly only. Even Gujarat did nothing. It was only in 1958, Krishnalal was suddenly discovered by the literary establishment. He was named for the Ranjitram gold medal for services to literature.
Krihsnalal died unexpectedly on July 23,1960,when he was hardly 49. It was not an age to go and considering what he had already written, much more was yet to come. That was not to be.
Among the noteworthy literary creations of Krishnalal, besides Kodiyan, are Punarpi, Vadlo, Sonapari and three plays, Piyo Gori, Morna Inda and Padmini. His English books include My India,My America, War Without Violence, Warning to the West, The Big Four of India, The Adventures of the Upside-Down, The Journalist in India, Smiles From Kashmir and the Mahatma and the World.
All his works in both languages have a common thread; all reveal him to be a highly sensitive and equally perceptive person. My India,My America won Shridharani ecstatic reviews in the American Press. Thomas Sigrue writing in the New York Herald Tribune hailed it as a “fascinating mixture of autobiography, biography, political analysis,philosophical exposition and fine writing.” The 646-page book’s writer was described by others as a young man who has the wisdom of the ages of his people.
On his return to India, he kept on writing. His four portraits in words of Nehru,Rajendra Prasad,Rajaji and Sardar Patel,as also his monograph on journalism show him as a journalist far ahead of his time,in his style of wrting, his assessment of people and events and his perception of the future.He wrote of India’s first prime minister,Nehru , as a man who seldom had intimate friends who was most of the time,”mangificently and dangerously aloof.The passing away of the Mahatma and Patel had removed from the Indian scene the last men who could admonish Nehu.”Every individual,in order to keep his sanity, must have some people who can tell him when the occasion arises that ‘ you are making a fool of yourself’. The man who occupies too high a pedestal for anybody to stand on equal level with him,runs the risk of losing his sense of proportion”, Krishnalal observed.Of Sardar Patel whom he called a practical man,Krishnalal said: “The death of Patel marked a sharper turning point in the infant career of independent India than did the martyrdom of Mahatma Gandhi….Gandhi left a universal void; the void created by Patel’s passing away is purely national, and so it is felt more intensely…Patel was a strong man, and now India is without a strong man.The passing away of a strong man always creates a serious situation.For,when a strong man dies, he not only creates a void,but he also removes the lid. Pent-up, seething forces begin to find expression.” These portraits were illustrated by caricatures drawn by late cartoonist, Shankar, who later started the celebrated, and now defunct Shankar’s Weekly, a world class cartoon journal.
Most of Shridharani’s English books are not available now. Those few copies that are there are the possessions of pride for their owners.That Krishnalal Shridharani should have passed away so early in his life was a tragic loss not only to literature but also to journalism.The best way to commemorate his memory would be to republish some of his unavailable literature and scan the family archives to see if there was anything unpublished left behind.
And Wikipedia Biography:
(16 September 1911 – 23 July 1960)
Was the world famous Indian poet,Author,playwright,and journalist from India and USA.
Dr.Krishnalal Shridharani (16 September 1911 – 23 July 1960) was an Indian poet, playwright and journalist. He studied sociology, economics and journalism at various institutions in India and the US. He participated in the Indian independence movement and was imprisoned, during which time he started writing plays and poetry. He also wrote many non-fiction books in English.
Shridharani was born in Umrala near Bhavnagar on 16 September 1911. He spent his childhood in Junagadh. He completed his primary education in Umrala and secondary education from Dakshinamurti Vinay Mandir, Bhavnagar. He joined Gujarat Vidyapith in 1929 and participated as a young man in the Dandi March of 1930. He was arrested near Karadi when he was going for Dharasana Satyagraha. He spent some time in Sabarmati and Nasik jails. He joined Shantiniketan in 1931 and completed his graduation in 1933. In 1934, he went to US for further studies on the advice of James Pratt and Rabindranath Tagore, which made a lasting impression on his attitude. He completed Masters in Sociology and Economics from New York University in 1935. He completed MS in 1936 and PhD in 1940 from Columbia University Graduate School of Journalism.
He started writing for Amrita Bazar Patrika in 1945 and returned to India in 1946. He worked with the Ministry of External Affairs for some time. He married Sundari, a dancer and performing artist. He presided over the history and economics department of Gujarati Sahitya Parishad in 1946. He died following heart attack in Delhi on 23 July 1960.
His book which analyses Gandhian philosophy and tactics of nonviolence, War Without Violence (1939) influenced the members and strategies of Congress of Racial Equality, and was widely circulated by African-American leaders during the Civil Rights Movement in the US. It was studied by Martin Luther King, Jr. during the Montgomery bus boycott.
He wrote total sixteen plays. He wrote Vadlo (1931), a children’s play, during his imprisonment during Dandi March. Peela Palash (1934), Piya Gori, Dusku, Dungali no Dado, Sonpari, Vijali, Vrushal, Mor na Inda are his other plays. Padmini is a historical play.
In 1934, his first poetry collection Kodiya was published, followed by Punarapi in 1961. Insan Mita Doonga is a short story based on his experiences with inmates during imprisonment.
His original works in English include My India, My America (1941) which is about his experiences during his life in the US. His book War without Violence had a great impact on the American civil rights movement. Others are Warning to the West (1943), The Big Four of India (1941), The Adventures of the Upside-Down Tree (1959), Story of The Indian Telegraph (1953), The Journalist in India (1956), Smiles From Kashmir (1959) and The Mahatma and the World ( 1946). He contributed in several journals and newspapers including The New York Times and Vogue.
નવેમ્બરની ૩૦ તારીખે ભવન્સમાં ‘સ્વરકાર શ્રી દક્ષેશ ધ્રુવના ગીતો’ નો કાર્યક્રમ થયો – એનું ઇન્ટરનેટ પર ‘live streaming’ – એટલે કે ‘સીધું પ્રસારણ’ થયું હતું – (એનું રેકોર્ડિંગ હજુ પણ અહીં નીચે ક્લિક કરી ને સાંભળી/જોઇ શકાશે).
Live Streaming Link : bit.ly/daksheshbhaidhruv
અને એ જ કાર્યક્રમમાં પ્રસ્તુત થયેલ એક આજે તમારા માટે અહિં… શબ્દો અને સ્વરાંકન સાથે…!! ૨૬મી નવેમ્બર સ્વરકાર શ્રી દક્ષેશભાઇનો જન્મદિવસ – અને ૨૭મી નવેમ્બર કવિ શ્રી રમેશ પારેખનો..!! એટલે એ બહાને પણ ટહુકો પર એમને યાદ કરી એમને શ્રધ્ધાંજલી આપીએ..!!
સ્વર – સમૂહગાન
સ્વરાંકન – દક્ષેશ ધ્રુવ
(Picture from : http://theholidayindia.blogspot.com)
ગામ ચોમાસા હેઠ ભીંજાતું હોય એવા વરસાદના ટાણે
તમને તમે ગમવા માંડ્યા હો તે બીજું કોઈ ન જાણે!


NATURES BLUEPRINT - Western Cape Gardening Guide
A MONTH BY MONTH GARDEN MAINTENANCE ALMANAC, DESIGNED SPECIFICALLY FOR WESTERN CAPE CONDITIONS & FLORA
EVERYTHING YOU NEED TO KNOW ABOUT GARDENING IN A EASY TO USE FORMAT
Natures Blueprint is a pro-active, commercial Garden Maintenance Program, specifically designed for Western Cape Gardens and gives you the heads up of what to do when.
This easy to follow gardening program is indispensable to garden owners, either as a supervisional guide for gardening staff, or an ideal gardening program for the DIY gardening enthusiast to follow.
With monthly chapters, relating to the maintenance, pruning, planting, feeding, spraying, and watering of individual plant types such as lawns, roses, annuals, plants, fruit, vegetables, blubs and shrubs, you can set about the maintenance of your garden with know how and never have to guess again.
For hassle free, low maintenance gardening, follow this cost saving program which is designed to give advice for themanagement of your garden during natures seasonal changes and offers a useful chemical guide and conversion table.


In 1973, Kat Kinkade's highly acclaimed A Walden Two Experiment told the country how a unique attempt at shared living had struggled andtriumphed in it's first five years.
Now, with Is It Utopia Yet?, Kat brings us another lively, firsthand account of Twin Oaks' continued development as one of America's most prominent and successful cooperative communities.
The book includes detail about some of the conflicts that Twin Oaks has lived through and the people who were caught up in them. Kat speaks frankly and thoughtfully about the changes Twin Oaks has gone through and her own changing role in the Community.
As a bonus, the 320 page book also contains over sixty cartoons about community living from the pen of Twin Oaks member Jonathan Roth.
What is it really like to live in a "Utopian" community? What happens to the high ideals of equality and social justice under the pressures of daily living with a continually-changing population of nearly a hundred people?
Creating a new society presents many challenges—making a living, inventing a government, sharing the labor, raising children collectively, and reaching agreement about such things as diet, standard of living, and commitment to caring for the environment. Facing these tasks as a group means taking a hard look at the original principles. Does full economic equality really work? How far can a group compromise its ideals for the sake of holding its members? How much social conformity is necessary for peaceful cooperative living? Just how simple should the simple life be? Kat tells how these fundamental issues have been worked on through 25 years of communal living at Twin Oaks.
"Is It Utopia Yet? is a wonderful read, full of humor and insight."
- R. Seth Friedman, Factsheet Five
" A beautifully written chronicle."
- Deborah Altus, Communities magazine
"Is It Utopia Yet? presents a fascinating and honest look at both the joys and problems of community life. Kat has always been one of our favorite writers on the community scene, as she speaks so honestly from her own experience. Current community members, as well as aspiring ones, can learn much from this in-depth story of an important experiment in human equality."
- Corinne McLaughlin, Author, Builders of the Dawn
" This book is an excellent introduction to the practical aspects of building community. The story of Twin Oaks' development offers valuable insights into group dynamics anywhere - specially for non-hierarchic groups grappling with questions of leadership and decision making among equals. I don't always agree with her conclusions, but Kat is always worth listening to"
- Laird Schaub, Secretary, Fellowship for Intentional Community
" The result is an absorbing account interspersed with whimsical illustrations and some very funny cartoons."
- Allan Antliff, Alternative Press Review
Is It Utopia Yet?
by Kat Kinkade
319 pages, 6 x 9 inch. ISBN 0-9640445-0-1
Twin Oaks Publishing ©1994, reprinted Nov 1997 and Aug 2004. Paperback.
Order retail copies of the book online from the Fellowship for Intentional Community.
For institutional and wholesale sales or other information contact:
Twin Oaks Publishing
138 Twin Oaks Rd
Louisa, VA 23093-6337
540-894-5126 | 540-894-4112 Fax


Who We Are
The Agenda for Children is a unique collaboration between various public and private entities
that identifies the needs of Cambridge children and to formulate cooperative strategies and
programs to address those needs.
The Center for Families offers families with children birth to age 8 parenting education and
support programs held throughout the city.
Free and open to all, the Cambridge Public Library serves as the doorway to opportunity, self-development and recreation as well as a forum for sharing ideas, cultures and resources.
Liz is a librarian in the Cambridge Public Schools. She is the Massachusetts School Library Association's Legislative Co-chair, she serves on two state library commissions and serves on
the board of advisors for Libraries Without Borders.
Many thanks to our Kickstarter supporters and to the volunteers that help the Book Bike
in all sorts of other ways!


Feb 14, 2018
Another great dose of information and inspiration on your journey to helping your kids. This interview with Dr. Perro and Dr. Adams re-news my faith in the medical system. The fact that doctors and researchers are beginning to pay attention to food and environment in relation to our children's health is a big step in the right direction! I loved this book and chatting with the authors on the show. I think you will enjoy hearing what they have to say and they've got good science to back them up!
Brief Book Description:
What’s Making Our Children Sick? is a radical rethinking of the relationships between our children’s food, medicine, and health in the twenty-first century. Michelle Perro, MD, a veteran pediatrician with over 35 years experience successfully treating children, and Vincanne Adams, PhD, from the University of California, provide a clinical and scientifically sound explanation of the pediatric health crisis the agrochemical industry has helped to create, and present a food-focused, go-to resource for parents, practitioners, and health educators to follow. This book explores the links between GM foods, pesticides like glyphosate, and the emerging science around our gut health and offers a path forward to help heal our kids and reverse the compromised health of our food supply.
Here is a little bit about the authors:
Michelle Perro, MD is a veteran pediatrician with over thirty-five years of experience in acute and integrative medicine. More than ten years ago, Dr. Perro transformed her clinical practice to include pesticide and health advocacy. She has both directed and worked as attending physician from New York’s Metropolitan Hospital to UCSF Benioff Children’s Hospital Oakland. Dr. Perro has managed her own business, Down to Earth Pediatrics. She is currently lecturing and consulting as well as working with Gordon Medical Associates, an integrative health center in Northern California.
Vincanne Adams, PhD is a professor and vice-chair of Medical Anthropology, in the Department of Anthropology, History, and Social Medicine at the University of California, San Francisco. Dr. Adams has previously published six books on the social dynamics of health, scientific knowledge and politics, including most recently, Markets of Sorrow, Labors of Faith: New Orleans in the Wake of Katrina (2013), and Metrics: What Counts in Global Health (2016). She is currently editor for Medical Anthropology Quarterly, the flagship journal for the Society for Medical Anthropology of the American Anthropological Association.
Their new book can be found here. It is a game changer and I recommend you pick it up.


Events & Presentations
Presentation: From Outlaws to Inlaws: An Emotional History of Same-Sex Marriage
Date(s) - 20/09/2019
5:30 pm - 6:30 pm
UPDATE: this presentation has been RESCHEDULED for September 20th, 2019.
Most people think of same-sex marriage as a recent issue, but lesbian and gay couples have been staging their own wedding ceremonies since at least the 1920s.
On September 20th, from 5:30-6:30pm, join Elise Chenier, professor at Simon Fraser University, for From Outlaws to Inlaws: An Emotional History of Same-Sex Marriage. In this evening presentation, Chenier draws on oral and archival records to explore the diverse meanings weddings and marriage has had for lesbian and gay couples. While the political debate amongst LGBTQ2+ people over the marriage equality movement’s “normalizing” tendencies frames this discussion, Chenier focuses on the affective, emotional and psychic aspects of queering this iconic heterosexual ritual.
This talk will be of interest to anyone who enjoys learning about thinking historically, about the LGBTQ2+ experience, and about weddings in general, and is appropriate for people of all ages. This presentation is inclusive of the experiences of people of colour.
No registration is required. Suggested entry fee: $2. Please arrive about 15 minutes ahead of the start time, through either the Commercial Street or Gordon Street doors.
Elise Chenier is a Professor in the Department of History at Simon Fraser University where she has taught since 2004. She is the founder and director of the Archives of Lesbian Oral Testimony (alotarchives.org), an online, open access project dedicated to preserving and making widely available queer women and lesbian experience. She conducted her first oral history interview in 1990 with a woman who nursed on the front lines during World War One and has been hooked ever since. Her article Rethinking Class in Lesbian Bar Culture: Living “The Gay Life” in Toronto, 1955-1965 uses interviews she conducted in the 1990s for her first major oral history study. A copy of this article is available upon request (firstname.lastname@example.org).


Quentin Willson has transferred his knowledge and experience in the motor industry into print as the author of the BBC publications, Top Gear The Good Car Guide in both 1993 and 1994.
He also wrote the Ultimate Classic Car Book and Classic American Cars, both published by Dorling Kindersley. He has also written for a number of magazines and newspapers including, The Times, The Sunday Times, The Telegraph, Daily Express, What Car, BBC Good Homes, Classic & Sportscar, AA Magazine and The Mirror.
Available from Amazon.co.uk
90 of the world's greatest classic cars, specially photographed in glowing detail, including interior shots and engine close-ups, historical, technical, and performance data.
With Quentin's witty yet authoritative prose, Sports Car is a beautiful tribute to the world's most coveted automobiles, detailing profiles of more than 50 models.
Quentin takes a nostalgic spin through the golden days of motoring with this illustrated history of classic cars from all over the globe. A fabulous collection of over 150 classic cars.
More than 680 full-color photos reveal the design flourishes that make each car a classic. Fascinating technical, design, and historical detail of over 60 models.


Shown below is a history of Eye Grammar School from the 16th Century up until the school was closed in 1965. The period up to the introduction of the 1944 Education Act is fully covered in detail by an extract from Clive Paine's 1993 book 'The History of Eye'. In giving his permission for the reproduction of his work, Mr Paine asked that his valuable assistant in producing the book, Mrs Jan Perry is acknowledged.
The History of Eye is available by post from Mrs Perry at 37 Castle Street, Eye at a cost of £5.75 + p&p. and we hope to have it available to buy at the reunion in 2007. The book is also usually available for purchase at Eye Library, Maynards, the chemist and the newsagents shop.
However, the period from 1944 to 1965 is covered only in passing by Clive Paine's book. Therefore, If you have a written history of the school or part history for the period 1944 - 1965, please contact David Chapman on 01291 628178 or at firstname.lastname@example.org
. The Grammar School and Guildhall
The origins of the Grammar School date from c.1495, although there are references to a school in the 1450s. In 1488 John Fisk bequeathed £53 6s 8d to the Guilds of St Mary and St Peter in Eye, to purchase land to maintain a Guild or Chantry Priest in Eye. The land had to be purchased within four years of his death, which occurred in 1491, or the bequest would be void.
Sometime between 1530 and 1532 Thomas Golding, vicar of Eye 1489 -1529, then vicar of Barrowby in Lincolnshire, recalled the events surrounding the purchase of the land, in a letter to the Prior, which is worth quoting at length. '. . . we coulde not finde none in no place that was mete for us. I thank Almighty God for it that it was my fortune that I desired John Fanner to breake his fast withe me in the vicaridge the daye before New Year in Christmas, and as we satte by the fyer we comonyd [commented] howe that the towne should lose this service the whiche should be greate rebuke on to all the towne. Then the holy goste putte him in minde ... "I will selle you (15 acres at Cranley) . . . for 9 score marks" (180 marks or £120) ... I went into the pulpet the next daye and shewed unto all the parishe that we were like to lose the service . . . "How saye", now said I unto them, "if I have bought a ground for you so that ye may stond in the church yard and see it," and I showed them how I had made a bargaine with John Fanner, and showed them the daies of payment . . . "and if it be a bargaine, because it for the common wele, speake all Una Voce [one voice] and seye ye this was a godly hearing"; every man, woman and child said yea, yea . . .'
Money was raised from donations and bequests to the 'priest's service', and the land purchased by the feoffees or trustees in 1495.
The feoffees of the land immediately widened John Fisk's original intention, in order that the chantry priest should also be the master of the town school. In 1495 Thomas Golding went to John Cornwallis of Ling Hall in Brome, and obtained '. . . a grant or licence that no Grammar school should be kept within seven miles, and that they might teach all the seven sciences'. These were grammar, logic, rhetoric, arithmetic, music, geometry and astronomy.
Domestic economy class
The establishment of the chantry priest, and the grant of the licence in 1495, marks the foundation of Eye Grammar School, which was to continue for 470 years until 1965. Because the chantry priest was also the schoolmaster, the school was held in the Guiidhall next to the church. A yard, adjoining the churchyard, was given by John Upson, for the good of his soul, c.1488. The yard may have formed part of the Guildhall property as the names 'Guildhall' and 'Upson's tenement' are often used for the building.
In the same letter of 1530-32 quoted above, Thomas Golding protested that the feoffment was under threat of being lost '. . . my mischevos men (who) will break John Fisk's will, and all sowles to be unprayed for', and appealed to the Prior in order that '. . . the sowles shall not be deceyved'
. As a result of this protest to the Prior, a new feoffment was drawn up in 1533.
Thomas Blow, one of the Bailiffs, in 1535 '. . . 'did cut in sunder'
the 1495 licence, and made measure of it for a tailor'. However, the Chantry Certificate of 1548 shows that the 'scoole hath contynued tyil Michaelmas 1547'
, but was now without a master, as one could not be found
As Chantries had been abolished in 1547, the next master to be appointed was a layman, Robert Shene, who was also parish clerk. An unknown commentator on the events of the Reformation in Eye, writing in the reign of Queen Mary, noted '. . . whan thes layeman had the service than goddes service began to decay in the chirche, and the scholars were not so dilygently applyed and taughte, neyther in nurture or in lernyng of vertu and good maners'
In the Autumn of 1556 the Bishop of Norwich ordered Sir William Cordell of Long Melford, and Sir Edward Waldegrave of Bures to investigate the Bailiffs of Eye for '. . . abusyng of the Town Land'
. After examining the relevant deeds and papers. Sir William decided that the '. . . chief intent and purpose' had been for a chantry priest, but also that there was another meaning in the intention of the donors, '. . . that the same preste shud be a Scolemaster and lernyd in latyn tunng, to teache and trayne up the yowught of the towne in good lernyng and vertu'
. The Bailiffs agreed to return to having a priest as the Schoolmaster in the future. In 1566, however, they changed the qualification to that of '. . . a learned man - apt to teach a Grammar School'
. Over the next 400 years, clergymen occupied the position of schoolmaster for less than 80 years.
The 1566 Borough Constitutions included regulations for the school. The pupils were to '. . . learn the grammar and latin tongue'
and had to be able to read Latin and English before they were admitted. The schoolmaster was to receive £10 a year, and had also to maintain the church choir when required, and present a comedy or tragedy performed by the scholars once a year. He also had to ensure that the scholars attended church once on Sundays and holy days. In 1650 the master and scholars were described as '....having antiently satt on the north side of the chauncel'
A bequest by Francis Kent of Oxborough in Norfolk, in 1593, extended the educational provision to 'elementary' as well as 'secondary' levels. Kent's bequest comprised a house and 26 acres of land in Bedfield and Worlingworth, the income from which was to maintain an Usher, or second master, at Eye Grammar School. He was to teach grammar and writing to the children of Eye, Horham, Athelington and Bedfield, who were to '. . . learn Grammar until such time as they shall have learned to say by harte all the English Rules in the Queene's Grammar, and can reasonably construe the Latin Rules, and also to wright'
The first Usher, William Lambert, was appointed in 1599. The Bailiffs and Burgesses drew up rules for the Usher in 1600. He was to behave himself as '. . . underteacher and inferior to the mayster'; to be under the direction of the master as to the method of teaching, and the school hours; and to be able to write Secretary and Roman hands; and to teach writing and casting of accounts'
In 1614 Edward Mallows bequeathed £200 to help maintain two or three scholars from Eye at Cambridge University.
In the mid-17th century the salary of the Master was £16 and that of the Usher £12 a year. The school was described as 'very low' in 1672, when the position of master and Usher were united '. . . until the school shall increase'
, which it did in 1675.
Thomas Brown, who had been Master since before 1650 until 1672, subsequently opened a private school in the district. In 1675 he was invited to return as Master and to 'bring his boarders with him, which it is hoped may bee a good means to restore the schoole, which is nowe decayed and near to nothing'
. Under Brown, the school seems to have been kept as a private, rather than a public school, although Brown received the salary for being Master and Usher.
In 1681 James Harvey of Eye, one of the feoffees of the school charities, protested to the other feoffees that '. . . for some yeares past there hath bin no publique school kept for the said towne nor cither Scholemaster or Usher . . . for the publique benefitt of the said towne according to the originall foundation of the said Schole and the intent of the guifts for manitenace there . . .'
. The outcome of the protest is unknown, but it seems Brown or his pupils left, as in 1692 the school was '. . . not so great but that one man might well discharge both the places of Master and Usher'
. The salary was then £36 a year, being £20 as Master and £16 as Usher. The united office continued from 1692-1876 with an average salary of £18 a year. The School had an 'English Schoolmaster' 1738-88, indicating that only English was being taught, which was contrary both to the foundation and the Borough Constitutions.
In 1822 the school seems to have been put on a new footing when Rev. John Knevett was appointed Master at £20 a year. He was to teach 20 boys to read, to write the common rules of arithmetic, to catechise and accompany the boys to church on Fridays and Sundays. The 20 boys were to be educated free, except for books, pens, ink and fuel. He was allowed to take a further 20 fee-paying boys and 4 boarders for his own profit. The Chaiity Commissioners Report of 1830 shows that Knevett had 20 free scholars and 18-20 fee-paying day boys, who were taught the 3 Rs, Geography and Land Surveying. There were also 7 boarders who with a few of the day scholars, were also taught Latin in a separate class.
By the Municipal Corporations Act of 1835, the management of the town charities was removed from the Corporation, and placed in the hands of municipal charity trustees. However, the foundation charity had become part of the Corporation income since 1692. The Corporation paid for repairs and maintenance to the Guildhall, and the schoolmaster was paid for from Kent's charity. The Corporation refused to make any contribution towards the school from 1840 until 1876, and the income was therefore limited to Kent's charity, which amounted to £37 a year. EGS c1960
A report was made for the Schools Inquiry Commission in 1867. There were then 23 free and 7 fee-paying scholars at £3 a year who were all the sons of tradesmen and farmers. There were no boarders, but there had been 15 in the 1840s. Part of the Guildhall was the master's residence, and the schoolroom with its '. . . low ceiling and insufficient means of ventilation
, was quite filled by the 30 boys present'
. The boys were divided into two classes, and were tested by the Commission's Inspector. He found that pupils in the senior class could only work simple rules of arithmetic; their spelling was only average for a village school; there was little progress in history or geography; not one pupil could parse a simple sentence; and none had learnt Latin. The lower class was '. . . exceedingly backward and ignorant', and apart from simple arithmetic and erratic spelling '. . . it cannot be said that they know anything'
. The Inspector, Mr Richmond, noted that there was no discontent in Eye about the state of the school, which was now no more than an elementary school. He found it was never visited nor examined except by the master, and that the parents seemed to 'care little about their sons' education.
'. . . If it is to be redeemed to real usefulness, the first impulse must come from without, for the attitude of the borough is one of perfect quiescence'.
The Endowed Schools Act of 1868 provided the impulse with the prospect of a new scheme for the administrations of the school's endowments. The resignation of Rev. Charles Notley, master from 1837 in 1874, and the appointment of Sir Edward Clarence Kerrison as Chairman of the trustees gave a further impetus to the school.
Lady Caroline Kerrison paid for the restoration of the Guildhall by the architect James Colling in 1875. The building was stripped down to the frame and the interior redesigned. The Guildhall became the residence of the Master and 15-20 boarders, and a new schoolroom was built on the adjoining site. The Kerrisons paid £1,170 of the total cost of £1,450, and their coat of arms was carved on the sill of the middle oriel window on the south side, and those of Eye on the west gable window of the Guildhall.
In 1876, a new scheme for the school's endowments combined the foundation charity, Kent's and Mallow's gifts into a single trust. The school now became fee paying, and boys were admitted at 8 years after an examination, and left at 15 years of age. Boys from Eye, Horham, Athelington and Bedfield were to have precedence over all other applicants. The curriculum was brought up to date and included the 3 Rs, Geography, History, Land Surveying, Latin, a European Language, Natural Science, Drawing and Vocal Music. Further additions to the school accommodation included a new wing to the school house in 1876, a dining hall in 1882, and the acquisition of the adjoining house by 1885 when there were 40 day and 30 boarding pupils.
A new scheme for the school was agreed in 1909 when the East Suffolk County Council took control of the school, as a County Secondary School for girls as well as boys. The age range was now from 8 to 18 years, and 25% of the senior pupils were to have free scholarships awarded, by the County Council, to pupils sitting an examination aged 11-13 years. In 1910, there were 20 boarders and 44 day pupils, with a staff of a Headmaster, three Assistants and one part-time Assistant.
In 1911 most of the school buildings, except the Guildhall, were demolished, and new premises built, with accommodation for 100 pupils, at the cost of £4,000. The buildings were designed by Joseph Webb, Education Surveyor to East Suffolk County Council, and were opened in December 1911. The building, which was altered and extended after 1974, still has the Arms of Eye, flanked by the Tudor emblems of a Garter and Rose on the front. The facilities included 5 classrooms, dining hall, dormitories, library, bathrooms, sanitorium and a chemistry laboratory. Manual instruction was given in woodwork and gardening for boys, and cookery and laundry for girls. The first girls entered the school in 1912, and by 1914 there were 8 girl and 17 boy boarders, 43 girl and 35 boy day pupils, and a staff comprising the Headmaster and seven Assistants.
Between 1916 and 1925 the land belonging to Kent's and Mallow's charities was sold, and the funds used to purchase new playing fields. The school prospectus of c. 1930 lists the subjects as English, French, Mathematics, Surveying, Physics, Chemistry, Botany, Nature Study, History, Geography, Vocal Music, Dancing and Physical Training which included Old English Folk Dancing. In addition there were Agricultural Science, Experimental Gardening, Beekeeping and Woodwork for boys; and Hygiene, First Aid and Housewifery for girls.
The school ceased to be fee paying after the 1944 Education Act, the pupils now having to pass the 11+ examination. In 1965, against much local opposition, the school was closed and the pupils were transferred to Diss and Stowmarket. The last Headmaster was Mr Eric Crinean who had been in office since 1937.
The buildings subsequently became St Peter and St Paul, Church of England VoluntaryAided Primary School.


Our friend ChrisMCMine over at utk.io has updated his super useful app for converting and installing Minecraft PC resource packs on your Android device. An app to convert resource packs is very handy, as you don’t need to manually rearrange and edit files just to run a cool resource pack in Minecraft PE.
This app is really easy to use. To convert a resource pack, there’s only a few simple steps.
How to convert resource packs
- Tap the ‘Pick a PC resource pack .zip‘ button
- Look through your files and select the PC resource pack
- Tap the ‘Convert to Pocket Edition resource pack‘ button
- Tap the ‘Apply‘ button
- The resource pack will now be available to use in Minecraft PE!
Do note that the app is only for Android, and PC resource packs should be in the format of Minecraft 1.10 resource packs. As of writing this article, the app converts resource packs to the MCPE 0.16.0 format.


The Little Office of the Blessed Virgin Mary is not the oldest of the short breviary
texts; it can, however, claim the honor of being the most used and popular of them all. The Little Office contained Matins,
Lauds, Prime, Terce, Sext, None, Vespers and Compline.
Below are listed the Psalter schema for the Little Office of the BVM. Although the Psalters seem
very similar, when they are analyzed with their related antiphons and other texts, it is easier to discern the differences
of the various uses
The Carthusians refer to the office as The Office of the Blessed Virgin Mary,
without the word "Little". The Office is prayed alone by the monk in his cell, but he is
required to maintain the ceremonial that is used in the monastery church for the Divine Office (standing, bowing, the 'venia',
head covered or uncovered, gestures, etc.). The Carthusians regard the celebration of the Office with great respect,
and everything concerning the office is treated accordingly.
While the Roman "Little Office" is without additions, the Carthusians use the Office
of Our Lady as an opportunity for deeper and further prayer. For example, there are two additional psalms and a number
of other prayers at the end of Lauds and some of the other hours. There is also, at the end of Prime, the Mass of the
BVM, sometimes known as the Missa Sicca.
For many medieval priests, the Missa Sicca was generally prayed right after the celebration
of a private Mass, and the priest continued to wear the Mass vestments of the day. For the Carthusian, it was prayed
by the choir monk alone, in the cell, without vestments.
It is, in essence, a recitation of the "proper" (and a few of the "ordinary") texts of one
of two common Masses of the Blessed Virgin (Salve, Sancta Parens for ordinary time, and Rorate Caeli, for Advent).
Among Carthusians, it has always been prayed in the cell, i.e., alone, and it was generally attached to the end of hour of
Prime or Terce of the daily Office of the Blessed Virgin.
Carthusian Prime of the Office of Our Lady
Carthusian Terce of the Office of Our Lady