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Gadsby is a novel by Ernest Vincent Wright. A fading fictitious city known as Branton Hills is rejuvenated due to the efforts of central character John Gadsby and a youth organizer. A humorous read!
Example in this ebook The entire manuscript of this story was written with the E type-bar of the typewriter tied down; thus making it impossible for that letter to be printed. This was done so that none of that vowel might slip in, accidentally; and many did try to do so! There is a great deal of information as to what Youth can do, if given a chance; and, though it starts out in somewhat of an impersonal vein, there is plenty of thrill, rollicking comedy, love, courtship, marriage, patriotism, sudden tragedy, a determined stand against liquor, and some amusing political aspirations in a small growing town. In writing such a story,—purposely avoiding all words containing the vowel E, there are a great many difficulties. The greatest of these is met in the past tense of verbs, almost all of which end with "—ed." Therefore substitutes must be found; and they are very few. This will cause, at times, a somewhat monotonous use of such words as "said;" for neither "replied," "answered" nor "asked" can be used. Another difficulty comes with the elimination of the common couplet "of course," and its very common connective, "consequently;" which will, unavoidably cause "bumpy spots." The numerals also cause plenty of trouble, for none between six and thirty are available. When introducing young ladies into the story, this is a real barrier; for what young woman wants to have it known that she is over thirty? And this restriction on numbers, of course taboos all mention of dates. Many abbreviations also must be avoided; the most common of all, "Mr." and "Mrs." being particularly troublesome; for those words, if read aloud, plainly indicate the E in their orthography. As the vowel E is used more than five times oftener than any other letter, this story was written, not through any attempt to attain literary merit, but due to a somewhat balky nature, caused by hearing it so constantly claimed that "it can't be done; for you cannot say anything at all without using E, and make smooth continuity, with perfectly grammatical construction—" so 'twas said. Many may think that I simply "drop" the E's, filling the gaps with apostrophes. A perusal of the book will show that this is not so. All words used are complete; are correctly spelled and properly used. This has been accomplished through the use of synonyms; and, by so twisting a sentence around as to avoid ambiguity. The book may prove a valuable aid to school children in English composition. People, as a rule, will not stop to realize what a task such an attempt actually is. As I wrote along, in long-hand at first, a whole army of little E's gathered around my desk, all eagerly expecting to be called upon. But gradually as they saw me writing on and on, without even noticing them, they grew uneasy; and, with excited whisperings amongst themselves, began hopping up and riding on my pen, looking down constantly for a chance to drop off into some word; for all the world like sea-birds perched, watching for a passing fish! But when they saw that I had covered 138 pages of typewriter size paper, they slid off onto the floor, walking sadly away, arm in arm; but shouting back: "You certainly must have a hodge-podge of a yarn there without Us! Why, man! We are in every story ever written, hundreds of thousands of times! This is the first time we ever were shut out!" Pronouns also caused trouble; for such words as he, she, they, them, theirs, her, herself, myself, himself, yourself, etc., could not be utilized. But a particularly annoying obstacle comes when, almost through a long paragraph you can find no words with which to continue that line of thought; hence, as in Solitaire, you are "stuck," and must go way back and start another; which, of course, must perfectly fit the preceding context. To be continue in this ebook
NEW YORK TIMES BESTSELLER • Multi-award-winning Hannah Gadsby broke comedy with her show Nanette when she declared that she was quitting stand-up. Now she takes us through the defining moments in her life that led to the creation of Nanette and her powerful decision to tell the truth—no matter the cost. “Hannah is a Promethean force, a revolutionary talent. This hilarious, touching, and sometimes tragic book is all about where her fires were lit.”—Emma Thompson ONE OF THE MOST ANTICIPATED BOOKS OF 2022—Entertainment Weekly, PopSugar “There is nothing stronger than a broken woman who has rebuilt herself,” Hannah Gadsby declared in her show Nanette, a scorching critique of the way society conducts public debates about marginalized communities. When it premiered on Netflix, it left audiences captivated by her blistering honesty and her singular ability to take them from rolling laughter to devastated silence. Ten Steps to Nanette continues Gadsby’s tradition of confounding expectations and norms, properly introducing us to one of the most explosive, formative voices of our time. Gadsby grew up as the youngest of five children in an isolated town in Tasmania, where homosexuality was illegal until 1997. She perceived her childhood as safe and “normal,” but as she gained an awareness of her burgeoning queerness, the outside world began to undermine the “vulnerably thin veneer” of her existence. After moving to mainland Australia and receiving a degree in art history, Gadsby found herself adrift, working itinerant jobs and enduring years of isolation punctuated by homophobic and sexual violence. At age twenty-seven, without a home or the ability to imagine her own future, she was urged by a friend to enter a stand-up competition. She won, and so began her career in comedy. Gadsby became well known for her self-deprecating, autobiographical humor that made her the butt of her own jokes. But in 2015, as Australia debated the legality of same-sex marriage, Gadsby started to question this mode of storytelling, beginning work on a show that would become “the most-talked-about, written-about, shared-about comedy act in years” (The New York Times). Harrowing and hilarious, Ten Steps to Nanette traces Gadsby’s growth as a queer person, to her ever-evolving relationship with comedy, and her struggle with late-in-life diagnoses of autism and ADHD, finally arriving at the backbone of Nanette: the renouncement of self-deprecation, the rejection of misogyny, and the moral significance of truth-telling.
Too much valuable teacher time is devoted to the kind of marking and feedback which does little to improve pupils' learning. This easy to read guide introduces a range of innovative and practical strategies to ensure that assessment genuinely is for learning
"Examines the literature of black Caribbean emigrant and island women including Dorothea Smartt, Edwidge Danticat, Paule Marshall, and others, who use the terminology and imagery of "sucking salt" as an articulation of a New World voice connoting adaptation, improvisation, and creativity, offering a new understanding of diaspora, literature, and feminism"--Provided by publisher.
Being a combination of conventional diary entries and transcripts of videos shot by the author on the camera she was given for her 13th birthday, and beginning at the end of summer. Bluebell Gadsby is 13 but that's the least of her problems. Both her parents seem more interested in their careers than the family, leaving Blue and her three siblings in the care of Zoran the au pair, as well as their three pet rats (who may or may not be pregnant). The enigmatic Joss moves in next door and Blue thinks she might be falling in love, until he takes out her older sister Flora instead (who, incidentally, is trying to make a statement by dying her hair bright pink but no one takes the blindest bit of notice). Blue thinks and feels very deeply about life but can't really talk to anyone about it, because no one in the Gadsby family wants to address the real problem - that Blue's twin sister, Iris, died a year ago, and they are all just trying to hide their grief in busyness... So Blue turns to her diary and her unique way of seeing the world through her camcorder to express herself. A tender, funny, smart and ultimately heartwarming story.
In 1966, Joan Gadsbys four-year-old son died of a brain tumour. In response, her family physician prescribed a 'chemical cocktail' of tranquillisers, sleeping pills and anti-depressants -- an act that initiated Gadsbys slow descent into an abyss of unrecognised addiction. Over the next 20 years, Gadsbys career, her family relationships, her financial security and her health were all threatened. She was on various occasions arrested, restrained, and sedated as a result of the paradoxical side effects of the drugs. It was only after she unintentionally overdosed in 1990 that she found out the insidious effects of the drugs, stopped taking them and went through the 'hell' of withdrawal -- alone. Gadsby has emerged from her addiction to become a health and wellness consultant to corporations, governments, healthcare organisations. She is a tireless advocate for systemic change and accountability of prescribed sedative/hypnotic drugs. She interviewed thousands -- from consumers to doctors to pharmaceutical representatives and government officials as she conducted extensive international research -- in her quest to expose the shocking truth of the depth and breadth of addiction by prescription which affects hundreds of thousands of men and women world-wide who become 'accidental addicts'.
Solid Ground is in the process of doing a new enlarged edition of this classic work that is useful for public, private and family worship. An esteemed collection of 1,156 hymns of rich theological content, many of which are not found in any other current hymnal. Contains: Gadsby's original hymns; 1st and 2nd supplements; Hart's hymns and occasional hymns. A wealth of meditation for one's own devotions as well as for public worship.
"...a daunting triumph of will pushing its way through imposing roadblocks to a magical country, an absurdist nirvana of humor, pathos, and loss."--Time magazine A Void is a metaphysical whodunit, a story chock-full of plots and subplots, of trails in pursuit of trails, all of which afford Perec occasion to display his virtuosity as a verbal magician. It is also an outrageous verbal stunt: a 300-page novel that never once employs the letter E. The year is 1968, and as France is torn apart by social and political anarchy, the noted eccentric and insomniac Anton Vowl goes missing. Ransacking his Paris flat, his best friends scour his diary for clues to his whereabouts. At first glance these pages reveal nothing but Vowl's penchant for word games, especially for "lipograms," compositions in which the use of a particular letter is suppressed. But as the friends work out Vowl's verbal puzzles, and as they investigate various leads discovered among the entries, they too disappear, one by one by one, and under the most mysterious circumstances . . .