Article by Jacqueline Leung (MGBH)
In recent years, Florence Price (OBM), described as “something of a mystery (1),” is beginning to emerge as an American composer of important contributions. One can gather from many online sources that Price was the first African American female composer to have a major symphonic work performed by a major American orchestra – the Chicago Symphony. Therefore, at a first glance, it appears that Price achieved major success in her career by reaching this important milestone. However, upon closer examination, once can see that her musical path was paved with obstacles and struggles.
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Florence Price, née Florence Beatrice Smith was born in Little Rock, Arkansas in 1887 to parents of French, Spanish, English, Indian, and “Negro” heritage (2). Despite her white bloodline, her African roots inadvertently “tainted” her chances of substantial success in the classical music world. It may be argued that she had already achieved success with the performance by the Chicago Symphony Orchestra, however, many have ignored the fact that the performance took place on World Fair Day and not a regular season series concert, hence, her work still hovered on the periphery of the dominant white world. Towards the end of her life, she wrote to a friend in Atlanta after having struggled to secure a concert engagement for 20 years, “I have finally learned that the successful ones amongst us are usually recognized by us only after the white man has put his stamp of approval on us (3).”
Price was first taught the piano by her mother and had her first composition published at age 11. Her musical talent was recognized early. Growing up in a household where the cream of travelling African American artists and intelligentsia often frequented, she had broad exposure to the arts world since childhood. World travelling pianist Blind Boone (OBM) was once a houseguest of the Smiths and reportedly showed interest in hearing Florence play. Florence continued her tertiary education at the New England Conservatory in Boston, Massachusetts, majoring in piano and organ as well as studying composition. She was one of the very few students with a double major and graduated with honors in 1906. In her year, a mere 58 students out of 2000 graduated, and she was the only student who pursued two degrees. At NEC, she was selected to play at various important concerts, and the repertoire she performed showcased her as a highly skilled organist and pianist. However, after graduation she did not stay in Boston to pursue a performing career, but returned to the South where she became a teacher of music. Later, between 1910-1912, she headed the Music Department of Clark University in Atlanta. In her personal life, she met her husband Thomas J. Price (OBM), an attorney with a career of promise.
After a few years of settling in the South and raising a family with two daughters in Little Rock, she started experiencing escalated racial tension. The White American Music Teachers Association turned down her applications to join the society. With lynching and segregation laws being implemented, the movement evoked a massive ‘migration,’ some 6 million African Americans emigrated north. As the racial segregation situation worsened, the Prices moved the whole family to Chicago to escape from the brutal situation down south. In Chicago, Florence’s career was able to flourish. She mingled among the most gifted and influential African American social circles. The support led to more compositions despite leading a busy life. Invitations flowed in, including lectures on rare instruments for the Chicago Music Association. However, Florence’s husband suffered from the Great Depression and lost many clients. His law firm and client lists dwindled, and facing increasing financial difficulties, he became abusive towards Florence. Inevitably, she had to divorce him to lead a single mother life with her two daughters. Being the sole breadwinner of the family meant that she had to work as much as possible to provide for the household. Her various jobs included being the organist for silent film screenings. It is important to note that this was a position tailored for white musicians, in a theatre with predominantly white audiences. Thus, Florence must have been hired for her skills. Other jobs included running a large private piano studio at home and publishing her own teaching pieces to supplement her income as well as composing songs for radio under a pen name.
During a period when she broke her foot, she was forced to stay at home and rest. With more time on her hands, she devoted time to compose her first symphony. Despite her injury, the time she had for composing this large-scale work proved to be a fortuitous turning point in her career. She entered two compositions – her Symphony in E minor and Piano Sonata – into a competition hosted by the Wanamaker Foundation. Out of a total of $1, 000 awards, her Symphony won first prize of $500 and the Piano Sonata won the 3rd prize of $250. This very success garnered attention of Frederic Stock (OBM), the conductor of the Chicago Symphony at the time, who thought very highly of her work and decided to program her symphony. In 1940, following the accolades she received for her composition at this performance, she was inducted into the American Society of Composers, Authors and Publishers. Aside from composing large-scale works such as symphonies, sonatas, and concertos, Price was an avid arranger of spirituals. Delving into her heritage for musical inspiration, she utilized elements of African American music in her compositions. Her 3rd Symphony, for example, is written in the Juba dance style, of West African heritage. Not only did Price arrange spirituals, she also incorporated them into her compositions. The second movement of her piano sonata for example, is a poignant movement and uses elements of spirituals as a basis of the musical language. It is a known fact that Antonin Dvořák (OBM) recognized the importance of incorporating ‘folk’ or ‘common people’ elements into Western classical art music, and he once predicted that spirituals would become the basis of American compositions.
Leading African American musicians including Marian Anderson (OBM) and Leontyne Price (OBM) performed her works in public concerts, during national events, and on radio. Her Piano Concerto gained the support of Frederic Stock again, who conducted the premiere of her piano concerto with her student and Margaret Bond (OBM) as a soloist. In the 1950s, Sir John Barbirolli (OBM), director of the Halle Orchestra in England, asked her to write a work made up of spirituals, which is a testament of how well- regarded her compositions were. Other ensembles, which performed her other works included the U.S. Marine Band, the Pittsburg Symphony, the New York City Symphonic Band, and the Michigan Symphony. For a period, she wrote using the pseudo name of Vee Jay, which, perhaps, gives us a hint of her fear of rejection due to her ethnical heritage if her real name is recognized. A particular work, At the Cotton Gin was published by Schirmer (OBM). A thorough examination of her correspondence reveals, however, that while she did receive praise for some of her works, it was at times difficult to have all of her submitted compositions published. Having received her formal musical education in Boston, she especially lamented being rejected by Serge Koussevitzky (OBM), the music director of the Boston Symphony, who turned a blind eye to her plead to look at her scores. She wrote, “I’m a woman and I have Negro blood in my veins,” (5) and she understood that race and gender were her two ‘handicaps’, limiting her path to wider success.
Despite rejection by some American organizations, she did receive recognition from key figures such as Eleanor Roosevelt (OBM), who recognized her contribution in 1933 after attending the World’s Fair concert in Chicago. In 1953, she received a letter from Clayton F. Summy Co. music publishers, which referred to her works as ‘attractive’ and that they ‘hope to see more of [her] compositions. Valter Poole (OBM), conductor of the Michigan Symphony Orchestra was “very interested and quite anxious to do something from [her] pen.” She appeared at the NANM (National Association of Negro Musicians) Convention in Chicago, and attendees were referred to as the “Finest Music Talent In the Country.” Rae Linda Brown (OBM), a scholar of Price’s work, remarked in Drew Magazine, 2011 that Price was “a piece of African-American history, a very important piece of history.”
To this day, Florence Price is far from being a household name. Along with her counterpart, the African American composer William Grant Still (OBM), also from Little Rock, their works are still awaiting to be widely recognized. Price’s lively piano teaching pieces for children with animated titles such as ‘Tip-Toe To the Cookie Jar,’ ‘Pop Corn,’ ‘Washing Machine,’ and ‘Criss Cross’ would appeal to children who could relate the music to their everyday lives. Many of these pieces are still relatively unknown in piano pedagogical circles. Among these, a short teaching piece, “The Goblin and the Mosquito”, written for the elementary level pianist is a great study of hand coordination, yet containing varied thematic material. Works available online are few and far between and to date, and many of these compositions are still unpublished. Her Piano Concerto, with the complete score lost since the 1940s, was reconstructed in 2011 by composer Trevor Weston (MGBH) with a commission from Center for Black Music Research. It received a premiere by Dr. Karen Walwyn (MGBH), a devotee of Price’s music. Yet, her compositions including her violin concertos and numerous other works, would be a very welcome addition to the American art music repertoire.
The compositions of Florence Price deserve much closer attention and recognition from classical music circles. The story of her life is a courageous and heroic one, with her having upheld herself as a strong willed, capable, and independent woman living in challenging times of the history of the United States. Traditionally, female composers have always been outnumbered by male composers, and being a female African American composer is a rarity. Her efforts and perseverance to break down the invisible walls, inch by inch, are still very much relevant today.
(1) “Price, Florence Beatrice Smith (1887-1953) | The Black Past: Remembered and Reclaimed.” www.blackpast.org/aah/price-florence-beatrice-smith-1887-1953.
(2) Gordon, Ashleigh. “The Life and Music of Florence Price: An Interview with Rae Linda Brown.” AAIHS, www.aaihs.org/the-life-and-music-of-florence-price-an-interview-with-rae-linda-brown/. Accessed 14 Aug. 2017.
(3) Hann, Christopher. “The Lost Concerto | Drew Today | Drew University.” Drew Today, 2011, www.drew.edu/news/2016/04/21/the-lost-concerto-2. Accessed 14 Aug. 2017.
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About The Author:
Jacqueline Leung is a Hong Kong based concert pianist and educator. She was trained at the Royal Academy of Music in London and Texas Christian University in Fort Worth. She has performed on four continents and is in demand as a solo and chamber musician, lecturer and adjudicator. Alongside music, her passions include traveling and cooking. She also holds a MA in Comparative Literature from the University of Hong Kong. She has recently been appointed as Senior Lecturer of Music (Piano) at United International College, China.
 Christopher Hann, Drew Magazine 2011
 Handwritten document on a form from the University of Arkansas Special Collections archives
 WQXR Radio Feature by Terrance McKnight
 Great Divide at the Concert Hall, New York Times, Aug 2014


由于母亲（Tara Reid饰演，曾出演美国派）与父亲正经历一场婚姻危机，小男孩Steven被送到了宾夕法尼亚的乡村与祖父母一同居住。祖母（艾美奖得主Cloris Leachman饰演）和祖父非常高兴地接待了他，但也警告他不许进入房子边上的玉米地。与此同时，Steven听说了臭名昭著的Manson一家和他们中可怕的杀人狂魔。他开始对杀人组织产生病态的迷恋，同时又禁不住神秘玉米地的(违禁词语-已隐藏)而卷入其中。最终他违背了祖父母的意愿进入了这片玉米地，发现了一具死尸，但没有人相信他。之后，每到夜里，危险的声音便开始盘旋在这个家的周围，家里的两条狗也神秘失踪。尽管Steven的家族试图保护他，但在玉米田里潜藏着东西正把他们的生活变成一场噩梦。
Tells the story of a young boy and his family who are terrorized by an unseen presence.
The Fields is a suspense thriller based on the true events that took place in a small Pennsylvania town in the fall of 1973. It tells the story of a young boy and his family who are terrorized by a mysterious presence in the endless fields of corn surrounding their old farm house.
During the summer of 1973, eight-year-old Steven (Joshua Ormond) is sent to live in the Pennsylvania countryside with his grandparents while his mother (Tara Reid, American Reunion, The Big Lebowski) and father (Faust Checho) work through their marital troubles. Though his grandmother (Academy Award winner Cloris Leachman, TV's Raising Hope) and grandfather (Bev Appleton) are happy to host him, they warn Steven not to enter the cornfields next to their house.
Haunted by news reports of the Manson murders' aftermath, Steven's world intertwines with his grandmother's love of late night horror films and pushes him toward the mystery and darkness of the cornfields that surround their small farm. Eventually Steven enters the fields, where he makes a terrible discovery. Then, menacing noises being haunting the family from outside at night and soon turn to violence. Though Steven's family tries to protect him, whatever's lurking in the fields is about to make their lives a living nightmare.


Students’ Perceptions of Academic Writing as a Mode of Communication
Instructor: Natasha Artemeva
Carleton University, 2005
The social theory of writing and the new rhetorical genre studies (Bakhtin, 1986; Miller, 1984/1994; Freedman & Medway, 1994; Dias, Freedman, Medway, & Paré, 1999) suggest that upon entering the university, student writers engage in situations in which they have to produce written texts, particularly academic essays as responses to the motives socially accepted and defined in academia. In this study I intend to use the new rhetorical genre theory to examine students’ perceptions of academic writing as a mode of communication in academia. I would like to investigate whether students see their essay writing as a way to participate in academic communication; to what extent they perceive their writing as a way through which they can engage in academic social discourse; and whether they consider themselves as members of academic discourse community.
Literature Review and Theoretical Background
In my search for the resources I found two studies that that have examined the same research issue. In the first study (Gambell, 1987), students’ attitudes toward writing are investigated according to process-based approach to writing and in the other one (Nelson, 1990), many contextual factors involved in how students interpret and respond to academic writing tasks are examined from the social perspective on writing. However, neither of these two studies has investigated the students’ perceptions of academic writing from the new rhetorical genre perspective as discussed by scholars such as Miller (1994), Bakhtin (1986), Swales (1990) and Giltrow (2002). In this study I intend to discover students’ motives to write, their interpretations of writing as social action realized in essays and some textual features of an academic essay genre. As Miller (1994) argues, these features and regularities are the results of the rhetorical situation that comprises the purpose of writing, classroom social context, the course materials, instructor, student writers, etc.
This qualitative exploratory small-scale project is based on 20-30 minute tape- recorded interviews using seven open-ended questions (Appendix A). In addition to the analysis of the interviews, I have conducted textual analysis of the final drafts of the first essays that the study participants wrote in their master’s program. In textual analysis, I have focused on some of the genre specific features of an academic essay, which are: discursive “I”, discipline specific terms, nominal style and citations.
The study participants include two male and two female students in their second semester of the master's program in the School of Linguistics and Applied Language Studies (SLALS) at Carleton University. The participants have been recruited individually and on the volunteer basis. For conducting this project I have received the ethics committee approval and offered the participants anonymity by using pseudonyms, which are Jack, Sara, Mary and Peter.
While listening to the tape-recorded interviews for several times I realized that many of the concepts discussed in the interviews were interrelated. Therefore, I decided to discuss the main themes in the interviews rather than the answers to each single question. The main four themes that will be discussed are: 1) students’ social motive to write, 2) rhetorical situation and the writing process, 3) students’ sense of the addressee and 4) students’ sense of belonging to academia.
1. Students’ social motive to write
In students’ view the social motive to write academic essays is learning and grasping concepts covered in their courses. As Freedman (1996) notes, the social motive of student writing at university is “epistemic” (p. 92); that is, students interpret knowledge that is in the literature, think about it, synthesize it and finally demonstrate their understanding of it through writing. Through writing students do not produce new knowledge; however, as they mention in the interviews, they demonstrate to the instructors that they have learned the concepts covered in the course, fulfilled the course requirements, presented their own opinions and structured their own taughts.
2. Rhetorical situations and the writing process
The interviews demonstrate that students’ interpretation of the rhetorical situation and their actions realized in the essays are affected by various contextual factors. Factors such as the instructor’s explanation of the required writing task, the assigned readings in the course, the classroom activities and the instructor’s lectures have a crucial effect on the stages involved in the writing process starting from choosing the topic to writing the final draft. Based on the interviews it can be said that writing for students has been a complex process of thinking, evaluating published scholars’ ideas and developing a stance and presenting ideas considering the instructor as the sole reader.
3. Students’ sense of the addressee
The interviews clearly demonstrate that all the study participants have partially tacit and partially explicit knowledge of the instructor who they identify as their only reader to whom they direct their essays. Also the interviews suggest that knowledge of the reader, the addressee, that has been gained through the discursive classroom context have helped the students to interpret and respond to the writing task and produce samples of the academic essay genre.
4. Students’ sense of belonging to academia
The last and the most important theme is that all the study participants have the idea that through academic essay writing they do not get into the center of the academic discourse community. They consider themselves as “novices” in academic discourse community since 1) they have no reader except the instructor, 2) they are not yet specialized in a specific field of study in the discipline since they are all at the beginning of their graduate studies, 3) their essays are not published anywhere, and 4) they are still learning rather than producing new knowledge (Swales, 1990, p. 27). These opinions suggest that students are “as apprentice[s] on the margins of community membership” (Ivanic, 1998, p. 297) who see “themselves as learners rather than researchers” (p. 297).
The features I have analyzed are discipline specific terms, nominal style, discursive “I” and citations. For analyzing these features I have taken into account Giltrow’s (2002) discussion of these features as constituent of academic essay genre.
The most explicit feature in the essays is discipline specific terms that are understandable and frequently used in Applied Language Studies. In other words, these terms characterize the academic essay genre produced in Applied Language Studies discipline (Freedman, 1996). Using these terms without explaining them in most of the cases suggests that the student writers have adopted the role of contributors to academia rather than “a student role” or learner role (Ivanic, 1998, p.297). Also the students’ use of these terms as “presupposed shared knowledge” between themselves and the instructor as a full-fledged member of the disciplinary discourse community conveys the impression that the students have a sense of belonging to the community (p. 302).
Nominal style refers to the use of noun phrases that may impose a high cognitive load on the reader and even distort the communication between the reader and the writer. All the students have used noun phrases, the majority of which are likely to be easy to understand for the instructors since they are “expert” members of the disciplinary discourse community (Swales, 1990, 27). Students’ avoidance of using big noun phrases as an evidence of “plain writing” suggests that they have intended to prevent ambiguity on the part of the readers as well as to communicate with their reader (Giltrow, 2002, p. 219).
All the students except Peter have used discursive “I” in their essays. According to Ivanic (1998), it can be said that Peter’s avoidance of the first person suggests his “relatively objective view of knowledge-making” and that he is not “personally involved” in what he is writing about (pp. 272-273); he seems to be distinct from his subject of study. In all the cases discursive “I” is followed with verbs such as suggest and propose that refer to some “discourse action” (cf, Giltrow, 2002, p.235). These verbs not only show the organization of the argument that helps “readers manage the content of their mental desktop” (p. 238), but also as Chafe (1986) argues, suggest that the source of knowledge is student writers’ belief; conveying the impression that student writers are responsible for “knowledge claims and beliefs” (Ivanic, 1998, p. 308). In addition to discursive “I”, Jack has used first person plural “we” in his essay that may suggest his sense of belonging to academia.
Students' use of citations as “one of the distinctive sounds (and looks) of scholarly writing suggests that they use citations to seem “impressive and authoritative” (Giltrow, 2002, p. 32 & 38). Citations not only demonstrate the student writer’s knowledge of “research communities’ beliefs” (p. 27), but also the social nature of thinking and writing: writing occurs in a context that comprises the writer, the addressee, the purpose of writing, etc., all of which influence the writing process as well as the written product, academic essay genre. Students have used citations or “hearsay” as a reliable source of evidence to show their attitudes toward knowledge (Chafe, 1986, p. 263). Naming the sources of citations, students have used different citation techniques to back up their own ideas, to present a claim in a new paragraph and to define a complex theoretical concept.
The interview and text analysis have shown that from the students’ point of view, the social motive to write is indeed epistemic in that through writing in the academic essay genre they reproduce the already existing knowledge they have learned. In other words, they do not write to construct knowledge and contribute to academia but to get a deeper understanding of the concepts and demonstrate their understanding to the instructor. Their interpretation of writing realized in the essay genre is affected by the academic discursive context in which they have been immersed; that is, by the instructor’s lectures, assigned readings etc. According to Miller (1994) and Giltrow (2002), the analyzed textual features are the reflections of the specific disciplinary social context in which the action of essay writing has been conducted. Although the students do not consider themselves full-fledged members of academia, their essays appear to reflect their learning of the concepts shared in the disciplinary discourse community and the techniques used in the community for “interpreting the world” (Giltrow, 2002, p. 27).
By analyzing students' interviews and their essays, I have examined their perspectives on academic writing and explored their sense of belonging to academia as expressed through writing. This study reveals the determining role of the academic context in students’ perceptions of academic writing and demonstrates the crucial role of instructors in providing such a context. Future studies with students from other disciplines and even with instructors from different disciplines will provide a more comprehensive understanding of students' and instructors' perceptions of academic writing. Examining instructors’ perceptions of academic writing will probably demonstrate how they respond to students’ academic essays and how they provide the context in which writing is performed.
Implication of the study
Providing students with the opportunity to have readers other than the instructor may have a positive effect on their interpretation of academic writing. Having readers other than the instructor gives the students the feeling that they do not write just to fulfill a course requirement and to be assessed by the instructor to get a grade; they write to express their opinions about concepts shared in the disciplinary discourse community that gives them self-confidence about their writing in academia. Therefore, printing all the essays written in a discipline in the form of booklets and keeping them in the library for borrowing will probably allow students in the same discipline to read each others’ essays and even provide feedback which would help them to develop a sense of academic writing as a mode of communication not only between a student and the instructor but also among students.
Appendix A: The interview questions
1. What kind of writing activities do you do as a university student?
2. What do you think is the purpose of writing the term paper?
3. What do you think are the specific characteristics of a term paper (essay)?
4. Can you explain step by step what do you do for writing the term paper? What are the reasons or purposes of each action you go through?
5. For whom do you write your paper? To what extent you know your reader?
6. What issues do you take into account while writing your term paper?
7. Do you consider yourself as a member of academic social discourse when you write your course paper? Can you explain that?
Gambell, T. J. (1987). University Education Students’ Self-perception of Writing. Retrieved Jan.30, 2005, from http://www.csse.ca/CJE/Articles/FullText/CJE16-4/CJE16-4-03Gambell.pdf
Giltrow, J. (2002). Academic Writing: Writing and Reading in the Disciplines. Canada: Broadview Press.
Nelson, J. (1990). Examining how Students Interpret Academic Writing tasks. Retrieved Jan.30, 2005, from http://www.writingproject.org/downloads/csw/TR43.pdf
Swales, J. (1990). The concept of discourse community. In Swales, J. Genre analysis: English in academic and research settings. Cambridge University Press: Great Britain.


Unique Publications & Samples for the Industry
ADPI members now have access to the following through our “For Members” section of the website (log-in and authentication required):
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These ADPI Standards are designed as industry standards for U.S. produced dairy ingredients, and are therefore neither binding nor enforceable. The standards have been developed with a sufficiently broad framework to allow for individual brand identity and innovation within the standard. The Dairy Ingredient Standards booklet is available for purchase in a PDF electronic format for non-members; ADPI members will have complete access to the Book via the Ingredient Resource Center beginning in early summer 2022.
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Standard Reference Nonfat Dry Milk Samples
One Low- and one High-Heat Nonfat Dry Milk sample (250 grams each) are only used for the purposes of plotting standard curves (usually 12 curves in one set) in determining the undenatured whey protein nitrogen (WPN) by the modified Harland-Ashworth Method.
Biological Properties of Whey Components A Review:
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This review contains updated research covering the time period from November 2001 to December 2003. The primary focus of this document is the health and nutritional benefits of whey, which includes weight control, muscle metabolism, chronic disease, and wellness.


Awakening to Oneness
“Awakening is a process where you wake up from the dream to reality. Life this way is so ordinary that it is extraordinary. One feels that is how one has always been.” ~ Sri Amma Bhagavan.
It's a 374 pages book on awakening, transformation and god-realisation. It brings light on what's happening right now here on earth, to our society and to the collected human consciousness as we are moving into the Golden Age.
The book is a collection of the teachings given by Sri Amma Bhagavan from the Oneness University. The aim is to support and bring clarity to your awakening process as more and more are going through this transformation now. Awakening is a neurological shift happening in the brain resulting in a shift of perception and quality of live.
It is a book for both newcomers and people already involved in the Oneness Movement. The book is to answer commonly asked questions on awakening. And to support your own process.
The book covers topics from how to create healthy relationships, what is our conditionings and where do they come from and how to be liberated from those conditions. How the mind works, emotions, the purpose of life, how to deepen your state of awakening, create more abundance, health, karma, awareness... and many other teachings. Including how-to pray and to be the creator of your life, talking with your divine, grace, miracles... and what stops us from manifesting our dream.
As consciousness rises, there is greater awareness, joy, love, togetherness, and focus in everything that you do and experience.
The central understanding of Oneness is that inner transformation and awakening into higher states of consciousness is not an outcome of a mere intellectual understanding but through a shift in consciousness whereby one’s experience of life is redefined at its core. As you grow in consciousness, less will disturb you and your inner tranquility. You feel one with all that is.


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Let’s talk a bit about teaching our French primary students important French reading skills (not guessing skills!!) today.
Remember this blog post from last year, where I talked about my vowel sound blending books and routine? Those books have been such a hit with my students! I know they’ve been a hit with many of yours, as well.
After I taught my students those books last year, they needed more to help take their French reading skills to the next level. I also had a lot of requests for son composé books to be done in the same way.
(In fact, I got a request for those books just last week. But the books have actually been created and posted to TPT since July!)
So, I figured I’d better make a quick blog post about the son composé books as well. I want to be sure that anyone looking for them can find them. They can really make a difference when teaching reading skills to your French students! :)
As I said, these books are kind of a “next step” for students once they have learned to read the Vowel Sound Blending Books (and I mean READ — as in, decode — not just memorize! If your students can’t blend yet, wait until they can before using these ones).
Each of the stories contain common sight words, and tons of words containing the target sound. Other son composés that students would have learned via previous stories are underlined. Silent letters are written in gray, so students remember not to pronounce them.
And, there is definitely more to this resource than just the stories! Read on to see what all you’ll find inside.
French reading skills – blending cards (digital and print)
These cards are one of my favorite parts of the resource!
Each story includes digital and print blending cards. Words are broken down into each individual sound, with dots underneath each one. Students touch each dot, say each sound, and then blend them together to make a word.
This helps them remember what to do when they come to a new/unknown word in one of their books; look at ALL the sounds in the word and blend them together, left to right (not guess!).
There are also black & white versions of the cards, so students can colour the target sound in red themselves and bring home for more practice.
French reading skills – sight word warm ups
Students will need to know a certain number of sight words to read each story. Some of these words may contain sounds students haven’t learned yet.
To ensure students’ reading success with the story, each book presents sight words at the beginning for students to review before reading. A variety of sounds are also presented for review.
The story (digital/print/teacher version)
Each resource contains three versions of a story that focuses on the target sound; a digital version (in colour), a full-page version for the teacher to print if they wish, and two-per-page student versions.
You can use all of some of these versions of the story; be sure to check out the vowel sound books blog post for some ideas for your routine!
French sentence building cards
Each story also contains sentence building cards. Students can build and read a variety of sentences featuring words from the story and/or other words that contain the target sound.
These blending books have helped my French students SO much when it comes to learning REAL reading and decoding skills (and how to not guess!).
They have also allowed us to not miss a beat when switching between in person and online learning. Knowing that I always have something that I can teach no matter where we are located has been so reassuring to me!
I LOVE seeing my students learn to decode, and watching their confidence grow when attacking new words.
If you want to see a sample from one of the blending books resources (Dion et le lion, for the sound « on »), you can download the student version of the book Dion et le lion for free! Check out the story out and see if it will be a good fit for you and your students!
To grab your copy, just CLICK HERE, enter your first name & email address, hit the pink button, and I’ll send it your way.


IJAL publishes original research articles in different areas of Applied Linguistics; however, preference is given to papers related to research on second or foreign language teaching and learning. Articles displaying an interdisciplinary perspective are also welcome. All articles submitted for publication will be blind reviewed. Submission of a manuscript is taken to mean that it is an original work of the author(s) which has not been published elsewhere, and is not being considered for publication concurrently.
Manuscripts (Word 2000-2003) should be submitted to the journal electronic system (http://ijla.khu.ac.ir). We advise contributors to send their manuscripts as e-mail attachments to the editor as well (Prof. Mahmood Reza Atai: email@example.com and firstname.lastname@example.org). Manuscripts should be typed carefully with generous margins on all sides. Double-spacing should be used throughout including notes, appendices, and references. Submissions should have a separate title page with the author(s)’ name(s), their affiliations, and their complete postal and e-mail addresses. The first page of the manuscript should carry the title of the article without the name(s) of the author(s). Articles must be accompanied by an abstract, on a separate page, of about 200 words. Authors are requested to provide up to six key words, to appear underneath the abstract. British or American spelling is satisfactory, provided that it is used consistently throughout the manuscript.
When a paper has been refereed, revised if necessary, and accepted, a final electronic file containing the final proofread version of the manuscript should be sent to the editor. Authors are requested to follow the style sheet of the American Psychological Association and use Microsoft Word to prepare their manuscripts. Contributors will receive two complimentary copies of IJAL. Contributions and correspondence on all editorial matters should be addressed to Prof. Mahmood Reza Atai: email@example.com and firstname.lastname@example.org, Tehran, No. 43, Mofateh Avenue, Research Institute of Foreign Languages, KharazmiUniversity.
Phone & Fax Number: 021-88304896 / 88828416.
General Submission Guidelines
- Submissions should not normally exceed 8000 words.
- Minimize the number of notes.
- Begin the notes on a new page before references.
- The first note should be the acknowledgement.
- Citations in the text should be indicated by giving the author(s)’ name(s), the year of publication, and page number(s) wherever necessary, e.g. Brown (2004, p. 25).
- All works cited should appear in the ‘References’ section which begins on a new page following the endnotes. References to more than one publication by an author in the same year should be distinguished alphabetically with small letters, for example, Widdowson (1995a). Journal and Book titles must be italicized. References should be listed as follows:
Fairclough, N. (1995). Critical discourse analysis. London: Longman.
Boers, F. (2001). Remembering figurative idioms by hypothesizing about their origin. Prospect, 16(3), 35-43.
Articles in a book
Bandura, A. (1995). Exercise of personal and collective efficacy in changing societies. In A. Bandura (Eds.), Self-efficacy in changing societies (pp. 1-45). New York: CambridgeUniversity Press.
Al-Shumaimeri, A. N. Y. (2005). Gender differences in reading comprehension performance in relation to content familiarity of gender-neutral texts. Retrieved from http://www.faculty.ksu.edu.sa/Yousif/publications
Tables & Figures
- Include tables and figures on separate pages.
- Indicate in the text where the tables and figures must appear.
Please try to avoid footnoting.


Students, show your PAWS!
Be kind & learn
The winners of the poster drawing for this year's book fair are:
Come by the library today to pick up your free poster from the poster display during the fair. First come, first serve.
~ Mr. Dalhberg ~
Resources from ABQ Library
Select the resources you want to use. If you are accessing from home, log in with your library card number and PIN when prompted.
Get help & study!
Learning Express Library
Learning-Express Library features nearly 1,000 online tutorials, practice test and eBooks to help students of all ages. It offers job search and workplace skills improvement, skill building in reading, writing, math, and basic science, career certification and licensure exam prep, college and grad school entrance test prep, GED test prep and more.
Brain-fuse Help Now
Brain-fuse Help-Now offers students three powerful online learning options. Live online tutoring is available everyday from 2-11p.m. in English and Spanish, and writing assistance. Use the study Suite for practice tests and flashcards, and visit the Collaboration Center to work or study with classmates.
(Information provided by the Public Library ABQ-BernCo, for further information visit abqlibrary.org)
UNIFORM DRESS POLICY
John Adams Middle School students have a dress code that they must follow.
Students who come to school out of dress code will have their Accountability Card signed. Consequences will follow the Accountability Card. This dress code policy will apply to all students and is in effect at all after school activities: i.e.: Games, Tutoring, Field Trips, Dances...
Click on the following link:
ST Math & Links


Warning: This package contains Makefiles for Solaris, but they do not work because of an
/RPC/types.h dependency in
tipsy.h. At the moment, the following versions work: Windows, RedHat and SuSE without MPI support. The SuSE version with Scali MPI support works as well (file
Read some technical details here.
First, download the latest version of the program, model and required libraries from the Hubble homepage.
NOTE: The actual distribution already includes binaries for Linux on the Intel x86 platform. If you want the program to run on another platform, you will need to recompile it (see the How to compile section below).
Next, unzip and untar the downloaded packages into the directory of your choosing using:
gunzip package.tar.gz tar -xf package.tar
If you have superuser access on the machine you want to install the program, move the required libraries to
If not, you have different possibilities: you can move the libraries into the same directory of hubble, or you can set up an environment library before you launch the program with:
tcsh: setenv LD_LIBRARY_PATH [path to the libraries] bash: export LD_LIBRARY_PATH=[path to the libraries]
NOTE: you can use
ldd hub to check which libraries are missing.
Once the libraries are in the right place, you can experience the vastness of the Universe by running "Hubble in a bottle!":
./hub [path to the model]
'h' on the window to view the help text and see how to navigate.
Have fun, and remember that the project is open source and new features are welcome! :-)
"Hubble in a bottle!" uses the OpenGL graphics library. You need to download and install Mesa GL (an Open Source implementation of the OpenGL) on your machine. You will need superuser access for this. For example:
su ../configure ../make ../make install
You are almost done. "Hubble in a bottle!" uses the GLUT library, too. Download from the Mesa GL site the package
oss-opengl-glu-20000925-1.i386.rpm and install it. For example with:
rpm -Uhv oss-opengl-glu-20000925-1.i386.rpm
Now move the
/hubble_prj directory into the
/Mesa-5.x directory. In
/Mesa-5.x/hubble_prj, you can compile with
make because the Makefile uses
../ to reference the Mesa files. As far as I know, it should be possible to compile on Linux for Mac and Windows as well. We would be glad to receive your compiled binary on any platform, so that we can offer them on the homepage as well.
In order for "Hubble in a bottle!" to run on clusters you will need (1) a supercomputer or some Linux computers wired together and (2) an MPI library on each of the clustered computers.
Unfortunately, there are different implementations of MPI. The
following instructions apply for the commercial
library only. We would be glad to receive your Makefiles for
MPICH, both Open Source implementations of MPI, so that we can make
them available to the entire community. Thank you!
First, try to compile the code "as-is" using the directions specified in the How to compile section. If that is successful, you are a few steps away from getting Hubble up and running on your cluster.
startracker.hand enable the compiler switch
"cp Makefile.MPI Makefile", so that you get a new
Makefileand make sure it points to the directory where your MPI libraries are installed.
make. Another binary, called
hubpwill be created.
Decide where you want to output the display. This must be a machine the internal nodes can see.
For example, you might decide to display the output on andromeda.bla.ch:0.0, while the nodes are called lcx01y01, lcx01y02, lcx01y03, ...
"xhost lcx01y01", so that the node lcx01y01 has the right to use the monitor of andromeda.bla.ch
The command to run "Hubble in a bottle!" is then:
mpimon ./hubp ../data/virgo2.00500 andromeda.bla.ch:0.0 -- lcx01y01 1 lcx01y02 1 lcx01y03 1
In this example, three nodes are used.
The main node distributes particles to the other nodes. The nodes do the projection, while the main node merges the results.
mpimon ensures that if one process crashes on one processor, all other processes are killed. Never run "Hubble in a bottle!" without
NOTE: The "Hubble in a bottle!" project is partner of "GPU, a giga@lobal processing unit". If you're interested, go and check it out. GPU is an experimental framework for distributed computing based on the peer-to-peer network Gnutella.
"Hubble in a bottle" is developed using the Concurrent Version System (CVS) which is sort of common practice in the Open Source world. Hubble file releases often are behind from one or two weeks in respect to the actual development level. This probably because packaging files requires some work (about 3/4 hour) and because we try to release code in strategic moments, e.g. when the project's activity is low. The development code fixes sometimes bugs and adds new features and therefore new bugs :-). Sometimes, the last development version is broken for some reason. If you still want to be up to date, simply type the following two commands into your console:
cvs -d:pserver:email@example.com:/cvsroot/hubble login cvs -z3 -d:pserver:firstname.lastname@example.org:/cvsroot/hubble co hubble_prj
Et voila, you should now have a new hubble_prj directory with updated source code.
We are happy to provide support to "Hubble in a bottle!" users. Please submit a support request through the project's sourceforge interface. In addition, please inform us of any problems with the documentation.
As this project is free we need your help and motivation to improve it and fix the bugs, so please feel free to send reports, or just tell how you like/hate the software! Sourceforge.net provides a good way of submitting/reading feedbacks, bug reports, features requests or patches. Thanks!


Release Date: 26 Aug 2004
Director: Lu00e9a Pool
Writer: Pete McCormack
Cast: Marc Donato, William Hurt, Pascale Bussiu00e8res, Raoul Trujillo
Duration: 1 h 37 min
IMDB Rating: 6.2/10 (1,063 Votes)
The Blue Butterfly (2004) Plot:
Based on a true story, The Blue Butterfly tells the story of a terminally ill 10-year-old boy whose dream is to catch the most beautiful butterfly on Earth, the mythic and elusive Blue Morpho. His mother persuades a renowned entomologist to take them on a trip to the jungle to search for the butterfly, leading to an adventure that will transform their lives.


I learned to read long before I went to school. My parents used to drive to our seaside holidays down South overnight in hopes my brother and I would sleep on the journey, yet I read in the light of car headlights driving by. By the age of 10 every librarian in my local library knew me by name. Yet since I started second year I’ve only read 2 non-academic books; what the hell happened?
As a child I was completely addicted to reading. I remember sitting up until midnight just trying to get to the end of whatever book I’d checked out of the library that week. My Dad would hear that I still had my radio on (because I was a weird kid that listened to the radio to fall asleep) and see my lights on when he was heading to bed, only to be met with the excuse of “I’ve only got a few more pages”. Sunday afternoons were reserved for going to the library and coming out with an armful of books, to the point where I was bored of the kids section and had moved onto the teenage section way earlier than was probably sensible. I loved escaping into a different reality and learning about different lives as I went, feeling as if I were worlds away from the very homogeneous environment that is rural Cumbria.
When I eventually got to secondary school I was suddenly made aware that I was a massive nerd. Reading a lot was a bit of an add on to the fact that I succeeded in school and was a tad of a teacher’s pet at times. For a while I flirted with the “yeah God reading is so uncool” thing and followed along with everyone else in denouncing books (which probably coincided with the emo phase I’m definitely not secretly still in). It obviously didn’t last very long, because I found social media and a whole community of people in Booktube that adore reading as much as I did.
But, since Sixth Form, I really haven’t read that much. I struggle to get through more than a couple of non-academic books in a term, which is quite surprising considering that a large part of my degree is reading, it just happens to not be in English anymore. In 2017 I only read 13 books. When I was 13 I’d have gotten through that in 2 months.
The thing is though that I don’t think I’ve necessarily fallen out of love with reading. When travelling I usually spend all of my flight time with a book in hand, and tend to take one out on my Metro journeys. I love waking up on a Sunday morning with a small workload and rain outside lending itself to lazing around in bed with strong coffee and a good read. I think the honest truth is that I just need to make more time for it, rather than spending the little time I have at home watching Netflix and oversleeping.
In conclusion: books are good and I want to read more of them in 2019. For some reason, I’ve pledged to read 40. If you want to watch me fail at that then you can check out my Goodreads, and if you’re interested in book-related posts; let me know!
-Megan, listening to The Wombats on Christmas Eve like a 15 year old anti-festivity indie stereotype


A fun way to teach our children values, respect, and effort
Children definitely love spending time with their parents. And a good way to do it is by reading with them. Reading children’s stories with your children is one of the best habits you can acquire.
For this reason, at Arielo we searched for the best stories that you can read with your little one and share quality time with him. Reading stimulates children’s creativity, in addition to reinforcing the clear parent-child bond. Children’s vocabulary is expanded, values are instilled in them but they are also entertained.
Here we leave you the list.
- The boy and the nails.
This particular tale teaches the consequences of always being in a bad mood. It tells of a boy with a bad character who manages to improve his spirits thanks to a very ingenious method that his father teaches him.
- Uga the turtle.
This little turtle never tried hard because she believed that she would always be the slowest and that she would fail. It shows the value of being persistent and that the result will always be more valuable if it is achieved with effort.
- Bubble wants to fly.
This story teaches that dreams can come true. A little fish called a bubble wanted so much to fly that it practiced daily. He did it with the help of his bird friends.
- One of my favorites.
A wooden child who wants to become a child of flesh and blood, but not without first learning what values, respect and effort are.
- Carola’s nightmare.
A girl who is bored by everything, and is constantly angry with her parents. This story may help your children know what is right and what is wrong with their behavior, as well as recognize some of the attitudes that should change.
What better way to teach children about values and education than with magical stories that capture their imagination. And what better now that we must spend more time at home.


Title: Lost Innocence
Medium: Digital (Clip Studio)
Various pages from the webcomic.
The characters and main premise of Fortune’s Fancy.
Drexel is known as the most powerful mage of his time, however, he doesn’t care for the title. He lives in the small town of Northwick, performing small bits of magic to repair items and solve simple problems. The people of Northwick don’t trust him, often staring and whispering as he walks by, underpaying him, and overcharging for items in town.
Drexel wears old, patchy robes and intentionally appears somewhat mundane. The ring in his goatee hides his magic and he is often mistaken for being less powerful. Drexel is straight forward in his approaches. When teaching Mira, he doesn’t show off. He always knows the time although he frequently forgets to eat. He is literal, not getting puns, innuendos, or idioms.
When he meets Mira, he refuses to take her as an apprentice and freezes her in place after she threatens him with a fireball. She gains his attention by claiming Resultum wasn’t his fault. Drexel reluctantly takes her on an apprentice, giving her a one week trial period.
Mira’s father said no one would take her as apprentice and they didn’t have money for a school. She went to Bastion at an insane asylum to ask to learn magic, but found him creepy and unsettling. Bastion spoke of Drexel, making him to seem very kindhearted. Mira set off to find him.
When she first meets Drexel, she demands he take her as an apprentice. She throws a fireball to show her ability, but Drexel is not impressed. She catches his attention by mentioning Resultum wasn’t his fault. After a week’s trial period, Drexel agreed to take her as a full time apprentice. In return, she promised to take care him, citing that he forgets to eat.
Archimedes has traveled as a Fortune Teller when he ends up in Northwick. Drexel was aware of his magic as Archimedes was aware of Drexel’s. Archimedes’s magic centers around being able to read people as well as share feelings through touch. He’s kind and frequently smiles. He always introduces himself as “Archimedes, pleasure,” a play on his last name.


We expected the worst when we heard that the server room had been flooded at school. Thus all access to networked computers, the Internet, email and printing was impossible. What to do?
It seemed at every turn, the tasks we planned to do were unachievable. There was no access for students to log in and check their email, no access to their school files to print off that last minute assignment, and no access to that new web site that they had heard about on the weekend. (But of course they turned on the computers anyway!)
Teachers had been trying to get onto the school server all weekend to upload a few new files they had worked on at home, ready for the new school week. Emails hung somewhere in the ethernet, and messages lingered at a frustratingly short distance – to be released in a flood when things were back to normal, I guess.
So what were we able to do in our day at the library?
Firstly, studies had to rearranged – the dank musty conditions were not suited to staying all day in the library. Where do you send 127 seniors in the first periods of the day? And who will supervise them? And how do you explain to them – NO LIBRARY / NO COMPUTERS.
Staff was also evacuated – with several asthmatics amongst us, the conditions were not conducive to remaining all day in the library – thankfully, the Junior School library space had been saved from the damage of the downpour.
However, none of this stopped the calls from teachers – wanting to use the library space for research and computer access (sorry, we are busy moving furniture; no sorry, I am giving more attention to mopping up soaks; no sorry, we don’t have computer access or internet either!) – but perhaps they were planning ahead – though I can’t see things back to normal for a while yet.
I give up – time to escape – I need to access the ‘Transforming School Libraries’ course. I’m done! I’m going home! At least the internet works there – till tonight’s storm (which might cut it out all together!) Glad I had a look when I first arrived home!


The CUNA Councils are a part of the Credit Union National Association (CUNA), the premier national trade association serving America's credit unions.
In addition to the many resources available to you as part of your Council membership, there are also many free or fee-based benefits offered from CUNA to member credit unions.
The following are highlights of those resources. There are so many features & benefits to each, please visit CUNA's site via the link listed for full details.
Education & Training
- CUNA Professional Development Online (CPD Online)
- Training by Business Area
- Schools & Conferences
- Webinars, Audios & eSchools
- CUNA Economic Update *Sponsored by the CUNA CFO Council
- Compliance Community, File Libraries & Blog
- CUNA e-Guide for Federal Laws and Regulations
- Compliance Training
- Regulatory Agencies
- CUNA RegTrac
Research & Data Resources
- Credit Union Data & Statistics
- Market Research
- Operational Research
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The Slavens family in America is of Irish-Scotch descent. The name of the first of our ancestors in America, of whom we have a record, was John Slavin who was born in Tyrone County, Ireland, in the year 1726.
He was a weaver by trade, in Ireland. He came to America when he was seventeen years old and first located in the state of Pennsylvania, but later removed to what is now Highland County, Virginia, and settled about six miles from Monterey and engaged in farming. His was one of the first three families to locate in that section of the state.
From the best information I have in relation to the origin of the Slavens name it originated from the Irish word Sliabh, meaning "mountain". The earliest form of the spelling of our name was Sliabhan, and some of their sons assume the name O'Sliabhan. The first step toward the anglicization of the name Sleiven or Sleven, appears in the name of certain mountains in Ireland to wit; Sleivenamuck, Sleivenance and Sleivenaght, the latter meaning "snow-mountain". Our pioneer ancestor, John, spelled his name Slavin and some of his children changed it to Slaven. Certain of them, Isaiah being of the number, added "S" making the name Slavens. Some of the descendants now living in Virginia and West Virginia of the fifth and sixth generations have changed the spelling of the name back to Slavin, while members of the same family spell it Slaven.
Our first ancestor John Slavin was married to Elizabeth Stuart in the year 1748. She was a native of Scotland but came to America from England under the Indenture System which I understand to mean that some young women were given passage on ships from Europe to America, with the understanding that whoever should marry one of them should, before such marriage, pay the amount of the passage fee of the young woman to the owner of the ship on which she was a passenger. Hence our ancestor John had to virtually pay for his wife before he could marry her.
John and Elizabeth Stuart Slavin were the parents of ten children of whom their son Isaiah was born in Rockingham County,Virginia; June 12th, 1762. Evidently John Slavin had moved from Highland County to Rockingham County, Virginia some time prior to the last named date. Isaiah Slavens, who was my great-grandfather was a surveyor, farmer and horse trader. He was a Continental soldier in the Revolutionary War from October 1780 to June 1782 and was at the surrender of Cornwallis at Yorktown. He was also a Federal soldier in the War of 1812. After these wars he drew a pension for disability, from the United States government and his pension papers were drawn in the name of Isaiah Slavens. He was married January 2nd, 1786 to Patsy Stuart, a cousin.
It is said that he brought his wife horseback from Baltimore, Maryland, where he made frequent trips to sell or trade horses. From this it would appear that Patsy Stuart was probably a resident of Baltimore at the time of their marriage. There is no record of the date of the death of Patsy Stuart Slavens, but Isaiah was married, date not given, to Mrs. Leaton. To these marriages were born 17 children of which, of the first marriage the second son, my grandfather; William Stuart was born September 15, 1789. At some time between the date of their marriage and the last named date, Isaiah and Patsy Stuart Slavens removed from Rockingham County to Greenbriar County, Virginia, now West Virginia, where William Stuart was born on the date before stated. Later, Isaiah Slavens and family removed from Greenbriar County, Virginia to Montgomery County, Kentucky, locating near Mount Sterling where he lived until the year 1827 when he removed to Indiana and located on a farm in Putnam County about five miles from Greencastle, near Brick Chapel, a Methodist Church, where he died in 1848 and was buried there.
My grandfather, William Stuart Slavens was married five times. He first married Ann Hendricks (born Sept. 5, 1789) July 26, 1808. They had three children. The oldest child James Hervey, my father, was born July 30, 1809 in Montgomery County, Kentucky. Father had two sisters. Aunt Sarah, who was born August 20, 1811 and died September 11, 1818; and Aunt Isabelle who was born March 19, 1814. She was married, date unknown, to William Sanders. I know nothing of her subsequent history or the date of her death.
Grandmother Ann Hendricks Slavens died November 11, 1815 and Grandfather married Mary Riggs November 28, 1816, who lived but a few months after their marriage, and on August 25, 1818 he was married to Elizabeth Ellsbury. They were the parents of ten children, two sons and eight daughters. There is no record of the date of the death of his third wife, but there is an entry of his marriages to Mrs. Thomas and to Mrs. Myers, both widows, his fourth and fifth wives respectively. The dates of marriage are not given.
When Father's mother died November 9, 1815 he was only a few months over six years old, and at the time of Grandfather Slavens second marriage he was a little over seven. His first stepmother only lived a short time, probably less than a year after her marriage,and I never heard Father speak of her. At the time Grandfather married Elizabeth Ellsbury his third wife, Father was 9 years old, and she lived for many years and raised a large family. I have heard Father say she was a good woman, and I am sure he thought a great deal of her and that she treated him well. His oldest sister, Sarah, died September 11, 1818, about two weeks after their father's third marriage when she was seven years old. Father's mother, Ann Hendricks Slavens, was related to the Hendricks family of Indiana, the most prominent member of which Thomas A. Hendricks, became Vice President of the United States. I have heard Father and Mr. H. D. Matthews, a lawyer of Buffalo, Missouri and a relative of Thomas A. Hendricks, converse in regard to their relationship to the Vice President, who I think was a second cousin of my grandmother Slavens.
I think it was in 1821 or 1822 that Grandfather Slavens and family removed from Kentucky to Missouri. I know that Father always regretted having to leave their home near Mount Sterling in Montgomery County, Kentucky not only on account of separating from his grandparents and other relatives but also, he and his sister Isabelle would be deprived of the good school privileges they had enjoyed since they were old enough to attend school. Father at that time was 12 or 13 years old and most of the education he obtained in school was in Kentucky. Grandfather's object in emigrating to Missouri was in order to obtain a home as he could purchase land in Missouri much cheaper than in Kentucky. I do not know whether he had acquired a home in Kentucky, but probably he had not as land was comparatively high in price. I think this too was the reason Great Grandfather Isaiah Slavens removed from Kentucky to Indiana in 1824.
Grandfather on his removal to Missouri settled in the north part of Montgomery County in that state, where later, the settlement in which he located became the village of Middletown. That was a newly settled section of Missouri at that time and very little of the country was in cultivation. I do not know whether there was any improvement on the land Grandfather bought or not, but I am sure he made most, if not all of the improvement, after he purchased it.


Dr Emma Vickers is an oral historian and lecturer at Liverpool John Moores University. Emma is supporting the Now + Then project through professional guidance and training the project volunteers on oral testimony interview techniques. Emma will also be advising on the development of the Now + Then: Three Decades of HIV in Merseyside exhibition and publication.
Helena Smart, Archivist said “Liverpool Libraries and Archive Service fully supports the Now + Then project. The project sets out to mark 30 years of HIV on Merseyside by collecting memories and experiences of those living with and affected by HIV.
Liverpool Archives has a distinct lack of representation in its collections from those living with and affected by HIV on Merseyside. This project will help to document and represent a section of our society which has largely been omitted from traditional sources.
The North West Sound Archive, based at Clitheroe Castle, Lancashire, was established in 1979 to “record, collect and preserve sound recordings of the life, character, history and traditions of North West England”.
Currently the Archive holds over 140,000 recordings relating to all aspects of North West life. The Archive preserves oral history recordings, local radio programmes, sounds of the region, music and dialect poetry – in fact anything that can be recorded.
The Archive undertakes its own recording programme as well as assisting groups who wish to make their own recordings. It offers a safe storage environment for the preservation of the region’s sound collections. Continue reading
Andrew Dineley is the Creative Director of Soft Octopus Design Studio and the Creative Director of the Now+then project. Andrew has designed every aspect of the project from leaflets to the installation at the Museum of Liverpool. He has been designing local and national HIV awareness campaigns since the late 1980s, and brought extensive knowledge, resources and creativity to the Now+then project.
Sandbox Digital created the Now+then website and trained the project team to manage the website content. Sandbox Digital is a Liverpool-based digital media company that specialises in working with voluntary, community and social enterprises, along with new businesses. Continue reading
Danny Kilbride is the Creative Director of Thinking Film and the Film Director of the Now+then short film.
Thinking Film uses film and media to provide communities and young people across Merseyside with a voice. Thinking Film is a Liverpool-based Social Enterprise specialising in the production of educational and issue-based film and media content with marginalised and disadvantaged groups. Continue reading


Peter C. Jones
Peter C. Jones is a fine art photographer, documentary film director and producer, and author. Born and raised in New York City, he graduated from the
Rhode Island School of Design where he studied privately with Harry Callahan. Jones’s artful life is reflected in his numerous and varying artistic roles
and interests. Peter C. Jones is President of the Josef and Yaye Breitenbach Foundation, a former member of the Board of Fellows at The Center For Creative
Photography. Jones is also a former consultant to The Philadelphia Museum of Art, Aperture and the Estate of Paul Strand.
In 2004, Nazraeli Press published Sweep Out Cottage, a compilation of photographs made in and around a house known as the Four Winds in Little
Compton, Rhode Island. The photographs from this series have been exhibited in New York City and KMR Arts. Peter C. Jones’s photographs are in numerous
private and public collections.
A Rising Tide of Silence was Jones’s first documentary production. The film explores the life and international influence of Father Thomas Keating who
introduced Centering Prayer to a wide western audience. A Rising Tide of Silence premiered at the 2013 Aspen Film Festival and won the Audience Choice
Award. The sequel, Thomas Keating: From The Mind to The Heart, is in production.
Additionally, Jones is the author of The Changing Face of America (Prentice Hall Press) and the co-author of three other books including Social Gardens
(Stewart, Tabori & Chang). His photographs, articles, and op-ed pieces have been published by The New York Times Magazine, Connoisseur, Smart Money,
Aperture, and The Providence Journal.
Peter C. Jones lives in Los Angeles with his wife, Charlotte M. Frieze, who is a Fellow of the American Society of Landscape Architects and, for nine years,
the Garden Editor of House & Garden magazine.
Print information for Peter C. Jones, Sweep Out Cottage and 18 Still Lives:
20 x 24 inch chromogenic print, Edition of 15


From the #1 New York Times bestselling author, a thrilling and addictive new novel—a prequel to The Pillars of the Earth—set in England at the dawn of a new era: the Middle Ages
It is 997 CE, the end of the Dark Ages. England is facing attacks from the Welsh in the west and the Vikings in the east. Those in power bend justice according to their will, regardless of ordinary people and often in conflict with the king. Without a clear rule of law, chaos reigns.
In these turbulent times, three characters find their lives intertwined. A young boatbuilder’s life is turned upside down when the only home he’s ever known is raided by Vikings, forcing him and his family to move and start their lives anew in a small hamlet where he does not fit in…. A Norman noblewoman marries for love, following her husband across the sea to a new land, but the customs of her husband’s homeland are shockingly different, and as she begins to realize that everyone around her is engaged in a constant, brutal battle for power, it becomes clear that a single misstep could be catastrophic…. A monk dreams of transforming his humble abbey into a center of learning that will be admired throughout Europe. And each, in turn, comes into dangerous conflict with a clever and ruthless bishop who will do anything to increase his wealth and power.
Thirty years ago, Ken Follett published his most popular novel, The Pillars of the Earth. Now, Follett’s masterful new prequel The Evening and the Morning takes us on an epic journey into a historical past rich with ambition and rivalry, death and birth, love and hate, that will end where The Pillars of the Earth begins.
On Sale Date: September 15, 2020
I bypassed many other ARCs to dive into this treasure. It was so worth it. Total escapism from the world, the story merged seamlessly with The Pillars of the Earth- which I now need to re-read immediately! I know it’s a long time before you can read it, but I wanted to encourage Ken Follett fans to keep your eyes out for it. I’m hoping they may move up the release date.
It has everything, romance, treachery, history, and it’s the kind of book that you can’t put down. One more page, one more chapter, there’s never a good time to put it aside.
There are three principal characters in each novel. They include a builder and planner, a beautiful young lady with a royal background who travels from Normandy in France to marry in Kingsbridge, and a monk whose dream for the abbey that he works in is to make it a learning center for both clergy and laypeople. Remember how much you hated William Hamleigh in Pillars of the Earth? This story has an excellent villain in the Bishop of the area.
All in all, it’s exactly what you’d expect and want from a Ken Follett novel. and was a great immersive escape in these days when you would rather think about a different sort of world.


The one I liked the most from volume 1 is the story from Ignaty Cherry. It is a must read. Santa Claus! Who can turn down a story about the man who defines Christmas? Stranded in outer space, with limited supplies and an overloaded spaceship, three species are about to die off. The Sasquatch, the … Continue reading Editor’s Pick: “Big Foot, Elves, and Santa” from the US
I have loved reading and editing all the stories I was assigned to do in A Pocketful of Dreams. But if I am asked to pick just one, I must say that I got very absorbed in the story about a magic bird and a woman who deserves a break. Add a 1920’s wildly exciting … Continue reading Editor’s Pick: “Good Fortune Arrives Once” from Colombia
I read and critiqued many stories from our book, "A Pocketful of Dreams," but this one, in particular, left a lasting impression on me. This quick read of around 15-20 minutes left me feeling giddy and excited to turn every page that followed. The ending will leave you wanting more. Thank you to José from … Continue reading Editor’s Pick: “Forever to One-Night” from the Dominican Republic
Peter Chikoyi says that no matter where you are, love and respect are all you need to feel at home.
I was born in a tiny prairie town in southern Minnesota. I knew neither woods nor lakes, but changing seasons of the wind: from quiet cool spring mornings, to unending blistering hot summer afternoons, to autumns of falling magical colored leaves and the scent of baking apples, to winters of freezing winds and blankets of … Continue reading Minnesotan Lyn Cramer travels the world through reading and writing
https://youtu.be/XysSe8Jc4wU Mane Mehrabian is an English teacher in Armenia. Teaching is her calling. It is in her blood. She is a specialized teacher of English and German languages. She volunteers to conduct English clubs for teenagers. She is constantly taking training courses. The ongoing process of learning is what provides the fresh insights that inspire … Continue reading Mane’s and Ani’s moving, heartfelt stories from Armenia


(Why) Did Socialism Fail in Poland?
Prof. Brian Porter-Szűcs
Wednesday, October 21, 2020 at 6:00PM
Lecture on line via ZOOM Registration required. After registering, you will receive a confirmation email containing information about joining the lecture.
ABOUT THE LECTURE: Many economists in Poland, after spending decades trying to build socialism, ended up embracing neoliberalism in the 1980s and 1990s. This seemingly radical ideological conversion was based on the growing conviction that the system could not be reformed. This, however, begs the question: what did they think they were trying to accomplish in the first place, and what does this tell us about the historical success or failure of socialism more broadly? At a time when an increasing number of young people are rediscovering socialism, the Soviet Bloc countries are either held up as proof that socialism is impossible, or dismissed as aberrations that were never really socialist to begin with. To figure out which is correct, we need to determine what sort of society and economy they thought they were building, what was or was not distinctly socialist about those goals, and why so many came to agree that these objectives could not be met.
ABOUT THE SPEAKER: Brian Porter-Szűcs is an Arthur F. Thurnau Professor of History at the University of Michigan-Ann Arbor. He is the author of Poland and the Modern World: Beyond Martyrdom (Wiley Blackwell, 2014), Faith and Fatherland: Catholicism, Modernity, and Poland (Oxford University Press, 2010), and When Nationalism Began to Hate: Imagining Modern Politics in 19th Century Poland (Oxford University Press, 2000), which was translated into Polish in 2011. Together with Bruce Berglund, he co-edited Christianity and Modernity in East-Central Europe (Central European University Press, 2010). His most recent book will appear in Polish in early 2021: Całkiem zwyczajny kraj: Historia Polski bez martyrologii (Wydawnictwo Filtr). Porter-Szűcs has been a professor at the University of Michigan since 1994, teaching classes on economic history, the intellectual history of capitalism and socialism, the history of Roman Catholicism, and the history of Poland.


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The Waterloo Historical Review
The Waterloo Historical Review is an annual journal managed by undergraduate History students. It publishes outstanding undergraduate History papers.
All undergraduate students are encourage to submit papers to the History Society for a chance to be published.
We would love to see the papers you have written that meet the following guidelines:
• Must be written independently for a University of Waterloo undergraduate history or cross-listed course and have received a grade of 70% or higher;
• Be between 4 – 25 pages;
• Contain proper and complete citations/footnotes/endnotes/bibliography/works cited;
• Come electronically in .DOC format.
Submission Deadline: We are no longer accepting submissions for this 2019.
Volunteer Editors: We are no longer in need of editors for 2019.
For any questions you may have, please feel free to email email@example.com.
Copies of past editions of the Waterloo Historical Review are available for sale in the History Society Office (Hagey Hall, Room 122) for $10 each.
Have a look at the 2016 edition of the Waterloo Historical Review here.


- Category: Towards Understanding Quran
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The period of the revelation of verses of The Quran, given below, is about 9 A.H., when a delegation from the Christian republic of Najran visited the Prophet (s.a.a.w.). Najran lies between the Hijaz and Yaman, and comprised, at that time, seventy-three towns and villages. Its population can be gauged from the fact that an estimated one hundred and twenty thousand men could bear arms. The entire population was Christian and was under the hegemony of three Christian chiefs. The first of these, 'aqib, was the head of the community. The second, sayyid, looked after the collective and political affairs of the people. The third, usquf (bishop), was their religious leader. (See Ibn Hisham, vol. 1, p. 573; Ibn Ishaq, Life of Muhammad, tr. A. Guillaume, pp. 270 f. - Ed.)
When the Prophet annexed Makka, the whole of Arabia became convinced that the future of the area was bound up with him, and deputations from all parts of the peninsula began to visit him. In this connection the three chiefs of Najran came to Madina accompanied by sixty people. It was on this occasion that God revealed this discourse; it served as an invitation to the people of Najran to accept Islam.


By: Meghan Holland
With the world shutting down due to COVID-19 restrictions, Siouxland Libraries started opening up to new possibilities.
In March of 2020, Siouxland Libraries shut down for the pandemic, and as they realized that it would be more than just a two-week shutdown, they started brainstorming ideas on how to connect with people and continue providing services.
“We had never done virtual programming,” Jodi Fick, Director of Siouxland Libraries said, but despite having no prior experience, they decided to try it out.
The programs they provide are for all age groups and cover various interests. One of the more prominent programs they present virtually is reading books for storytime.
The city defines public innovation as the process of generating and implementing ideas that create value for the community. The innovation of implementing virtual programs allows for continued customer experience from the isolation of one’s home.
Siouxland Libraries communicated about their virtual programs through their online newsletter that is emailed out, as well as through their social media, including Facebook, Twitter and Instagram.
Fick said they went through a period of adjustment when learning about the technology and trying to reach more people.
She said they even had to experiment with the best setup for Facebook lives and Youtube videos.
“It was quite an amateur operation,” Fick said.
Around the same time Siouxland Libraries started these virtual programs, most of the staff also started working from home.
Fick said the staff had to figure out how to present virtual programs from their own homes by adjusting lighting, experimenting with camera angles and testing out how to present a book to their virtual audience.
“I am incredibly proud of the Siouxland Libraries staff,” Fick said. She said they showed dedication, creativity and commitment.
Siouxland Libraries is now open to the public again, but the staff continue to produce virtual programs. Fick said this will continue on in the future, even after the pandemic, to allow more opportunities for people to get involved with programs if they cannot attend a certain event live or if someone from out of state wants to tune in.
Now that they offer more in-person events, Fick said they have decreased the number of virtual programs and increased the quality of those virtual programs.
“We truly are servants, and in the midst of something that none of us could have imagined living through, (the Siouxland Libraries staff) were able to still make human connection,” Fick said. “Virtual programming allowed us to do that.”
I am an aspiring photographer, writer, and adventurer. I love the outdoors and I love to tell a great story with pictures!


2018 was a bit of an oddball year with regards to my reading. I managed to read 35 books in total, 9 of which I scored 3/3 on my personal rating system (ie. gut feeling).
My favorite books of the year included Bear Town by Fredrik Backman, The Martian by Andy Weir and Turtles All The Way Down by John Green. Outside of my usual smattering of novels, I dove deep into a few famous fantasy series including Harry Potter and Lord of the Rings. I'm excited to jump into some more serious fantasy series in 2019.
Finally, I read a few very random wilderness and survival type books which I found really interesting, bringing me back to my days of childhood Boy Scouting.
As usual, I've again designed simplified book titles for each of the 35 read on my reading page.


National Bestselling Author, Joy Deja King, also known as the Literary Sweetheart, has written young, hip and sexy novels that introduced readers to street life in all its complexity, and the glamorous yet toxic entertainment industry. With over fifty novels under her belt and the fact that she was the #1 ESSENCE Bestselling Author seven months straight for her title Queen Bitch, Joy has solidified herself as a legend in the Urban Street Genre. Her journey started when she attended NCCU and then headed to New York City to attend Pace University to obtain her journalism degree. With stars in her eyes, Joy juggled attending classes while interning at a PR firm the Terrie Williams Agency. Along the way Joy quickly realized that New York was definitely the city of dreams but everything in New York is certainly not what it seems.
During Joy’s rollercoaster ride of trying to garner success, she eventually fell into the one situation she had always promised herself she would avoid—depending on a man financially. When she began dating a Grammy Award winning Hip-Hop music producer, her ambitions in life took a backseat and were replaced by endless nights in the studio, traveling to accommodate her man and being there for him. That relationship soon led to the birth of their son, a bitter breakup and an ugly court battle. Joy eventually turned all the drama she witnessed from being in the entertainment industry, the battles she fought and a dose of creativity into a money making machine, called writing. Joy made her literary debut with the release of her first novel, “Dirty Little Secrets”(under St. Martin’s Press), and followed it up with the bestselling sequel “Hooker to Housewife.”
Since the beginning of her career and after the launch and great success of her own publishing company, A King Production, Joy learned the hard way that cutthroat business tactics exist even in the book game. For two years, Joy was in a legal battle with her previous publisher, Triple Crown Publications, who hadn’t paid her royalties in over three years but continued to make money off her books. But think David vs Goliath and yes the underdog won. In February 2010 Joy won back the exclusive rights to her enormously popular Bitch Series.
Now Joy Deja King wants to focus on expanding her brand with speaking engagements, screenplays and television. She would also like to give other authors an opportunity to have their work reach a larger audience under her publishing company A King Production.


May 2008 — Updated Edition!! Announcing an update to the landmark book:
A Headache In The Pelvis:A New Understanding and Treatment
5th Edition of A Headache in the Pelvis
This groundbreaking book describes the Wise-Anderson Protocol, a new understanding and treatment for muscle related pelvic pain in men and women developed at Stanford University. The Wise-Anderson Protocol treats symptoms of prostatitis, chronic pelvic pain syndrome, interstitial cystitis, levator ani syndrome, pelvic floor dysfunction and other muscle related pelvic pain disorders. Presentation of this new paradigm, details of and subjects relating to the protocol, a description and illustrations of the parts of the pelvic floor related to common symptoms and illustrations of some of the physical therapy self treatment methods comprise the major portions of the book.
Specifically, the 5th edition adds 47 pages to the 4th edition including a section on advice to partners and loved ones of people with pelvic pain, practical advice on minimizing the risk of pelvic pain during childbirth, expanded discussion of the possible use of a modified Wise-Anderson Protocol for anal fissures, irritable bowel syndrome, constipation and other anorectal disorders, further clarification for the layman with prostatitis, discussion of the effect of food and drink on interstitial cystitis, discussion of anxiety as the breeding ground for pelvic pain, the central practice of attention training in relaxing the pelvic floor, the use of RSA breathing during Trigger Point Release, further insights in the practice of Paradoxical Relaxation, new drawings illustrating Wise-Anderson Protocol physical therapy self-treatment, the explanation of and interventions for post-bowel movement pain associated with pelvic pain, additions to the section on the medical science being conducted around the world to help those individuals suffering from pelvic pain and more.
for Prostatitis and Chronic Pelvic Pain Syndromes
by David Wise, Ph.,D. and Rodney Anderson, M.D
The long-awaited update to this book is finally available!>>> Click here to buy <<<
Read about the the protocol this book describes here:http://www.chronicprostatitis.com/spasmtx.html


The Anubis Oracle Cards
A Journey into the Shamanic Mysteries of Egypt
by Nicki Scully and Linda Star Wolf, with illustrations by Kris Waldherr
The Anubis Oracle is a guide to the inner workings of the soul. It is also a guide to Inner Egypt and the shamanic mysteries of Egypt that live within us. Inner Egypt is a place of mystery, roots, ancestral wisdom, and love-home of the neteru, the deities of the Egyptian pantheon, who can guide us to the answers we seek today in our personal lives and our outer world.
The full-color deck contains a Key Card, a card for each of the 22 deities and 4 elements, and 8 composite cards that portray several deities together. These composites represent 8 major portals of initiation and complex archetypal relationships. The accompanying book provides detailed interpretations for each card and instructions for 8 divinatory spreads that include entering into the mystery, achieving higher love and wisdom, and identifying our sacred purpose. By divining with the neteru, the shaman within awakens. This allows the neteru to reveal the answers we seek in our personal lives and in our interactions with the world by connecting us with the wisdom, guidance, and shamanic mysteries of Egypt that live within us.
Many cultures and traditions have used oracular devices such as cards, shells, corn, stones, bones, water, mirrors, and a myriad of other tools to elicit a response from spirit. Tarot is a modern interpretation of the ancient oracle that connected the ancestors to the divine original source. Although here we sometimes use the language of tarot, the Anubis Oracle is an emerging new form that is more closely related to an ancient pre-tarot paradigm. This oracle is an elder of modern-day tarot.
The Anubis Oracle is a companion to the recently released book, Shamanic Mysteries of Egypt, Awakening the Healing Power of the Heart. Both contain stand-alone information about the ancient neteru of Egypt, and each offers a unique set of direct experiences related to the Egyptian mysteries. Shamanic Mysteries of Egypt is a series of rites of passage that help us remember our true nature as divine humans with sacred purpose. It provides rituals, meditations, and rites of passage that allow the reader to meet his or her personal and planetary challenges with grace, wisdom, and love. The shamanic initiations provided are invoked, directly experienced, and transformed into embodied wisdom that awakens consciousness and illumines the intelligence of the heart.
About the Authors of The Anubis Oracle
Nicki Scully, who has taught Egyptian mysteries since 1983, lectures worldwide and specializes in spiritual tours to sacred sites. She is the founder of Shamanic Journeys, Ltd. and the Alchemical Healing Academy. The author of Power Animal Meditations and Alchemical Healing, she lives in Oregon.
Linda Star Wolf, founder of Venus Rising Institute for Shamanic Healing Arts, has led transformational workshops worldwide since 1984. She lives in North Carolina. Scully and Star Wolf are co-authors of Shamanic Mysteries of Egypt.
Kris Waldherr is an illustrator, author, and creator of several oracle sets, including The Goddess Tarot, The Lover's Path Tarot, and The Goddess Inspiration Oracle. She lives in New York.
The Anubis Oracle is published by Inner Traditions/Bear & Co.
Click here to see more Inner Traditions books.
wonderful reading. It worked !
thank you !! how perfect of a reading could that be! I am planing to go into energy healing as my future employment.My question was that. and the answer was spot in! My cards were so accurate I was laughing and smiling and of course my last card was thoth who brings in merriment! love and love forever yours...K.S.
Thankyou so much for giving me more clarity and confirmation as to what is coming thru to me at present. I have purchased the oracle for myself only a few days ago and feel very connected with its energy. Thankyou for the gift and may you continue to guide us on our journeys with your love and kindness.
the reading was beautiful and answered my question on a deep inner level. thank you


Once again, here’s the Broke and the Bookish meme, Top Ten Tuesday! This time, it’s “Top Ten Books On My Summer TBR List”. An excellent top ten, as I’m doing a bad job of following it. So, here are my top ten TBR for the summer:
1.) The Laughing Policeman by Sjöwall and Wahlöö- I grew up with Nancy Drew. My mom always read Agatha Christie. These two things mixed give me a weak-spot for the detective novel, even if I don’t read them extensively. This one is the 4th book in the Martin Beck series. Martin Beck is a detective/family-man in Sweden. So far, I wouldn’t say the plot is slow. Just the writing. Which is kind of weird. Then again, I haven’t been following the series. On the night of a huge protest in front of a political building, a double-decker bus is found crashed into the side of a building with 8 people on board, all shot dead. One is a policeman. Martin Beck steps in to figure it out.
2.) Under the Banner of Heaven by Jon Krakauer- It’s a good book so far. I started reading this before The Laughing Policeman but haven’t finished yet. Shame on me for book-hopping. The problem with this book is that it’s awesomely non-fiction and exciting at the same time, but it’s like reading a very long news article. So while interesting, it gets tedious. So really, it’s more a problem with me and a lack of willpower. It will be finished eventually. It’s about fundamental mormanism and the effect it has on the people who practice it. Super super interesting.
3.) Dark Tower: The Wind Through the Keyhole by Stephen King- like I’ve said before, I’m trying to read more King. I don’t really know anything about this book except that it’s a continuation of The Dark Tower series, in which two worlds, our own and a world parallel to it, intersect in a huge adventure involving gunslingers and a bunch of Americans…non-gunslinging ones. Roland (gunslinger) tells his posse his story as they wait for a wind storm to let up.
4.) The Guernsey Literary and Potato Peel Pie Society by Mary Ann Shaffer and Annie Barrows-I read the description for this book on the Bookish Sarah’s blog (http://thebookishsarah.wordpress.com/) and was intrigued. So, I want to read it. Here is Sarah’s summary of the book: “It all starts with a letter from a stranger–a member of the Guernsey Literary and Potato Peel Pie Society–about a book, and then Juliet Ashton, comic writer during WWII in London, begins to learn the extraordinary tale of the channel island during the German Occupation and the society that thrived within it.” Sounds interesting.
5.) Holes by Louis Sachar- I’ve seen the movie, which I love. So I figure it’s about time to read the book, which I’ve heard is pretty good. Three stories are told side-by-side, all taking place at different times, but they intersect in ways that are unexpected, coming together perfectly at the end. It’s so satisfying!
6.) The Giver by Lois Lowry- A kid is given a special job, and he begins to learn that the man who is in charge, the Giver, has some secrets that shatter his perception of the world he lives in. That’s what the summary says anyway. Sounds interesting to me, and it’s been around and gotten a lot of attention. It’s good to learn from the best.
7.) Extremely Loud and Incredibly Close by Jonathon Safran Foer-I’ve heard nothing but good things about this book. It’s 9/11 from the perspective of a kid. I’m really excited about this one.
8.) Inheritance by Christopher Paolini-I don’t really like Paolini. Honestly, and this isn’t nice, I think he’s living out his fantasies in the form of this series, which isn’t well written. But I started it, and now I need to finish it.
9.) Watership Down by Richard Adams-I’ve been meaning to read this book for the last two years, at least. Rabbits, war, and parallels with the Jews’ traveling to the Holy Land, why wouldn’t you read this book?
10.) My own friends’ writings by my friends-I have a lot of friends who are working on their own written works. So I’ll be looking forward to those this summer. A few of my friends are well on their way to getting published. As in, they’ve finished a book. Which is more than I’ve done, thus they’re well on their way. I’m proud of my friends, and having talented peers is good motivation. They do say that artists and writers should have other artist and writer friends for this very purpose. So, I feel bad about myself. And that is just the way it should be. According to these people.
I just started 8-hour work-days at a daycare looking after 5-year-olds, so it’s a bit harder to post consistently. But I’ll do my best. And when I do, you’ll know I did it for you, even though I had spent the day chasing children, cleaning cupcake off my pants, drying tears, etc. So subscribe! I’ll feel loved.
Thanks again to The Broke and the Bookish!