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The cleverly constructed narrative consists of three points of view: of Gary, constantly victimised by the school bully in a nasty, name-calling and vindictive way; the bully's friend, David and a new girl to the school, Zoë. All viewpoints are revealing. Gary reveals the painful and often unsuccessful attempts by a young man to control his anger under great provocation - and his inability to communicate. David is someone who is uncomfortable with the bullying but doesn't dare to do anything about it - until the end. Zoë is a young woman who can see Gary through different eyes and is independent, freethinking and brave. Also featured are rampaging tractors, shotguns and cheese puffs.
Ceylon, Pearl of the East, a teardrop shaped island lying in the India Ocean, now called Sri Lanka, is the setting for this memoir. Jawatta Road, close to Cinammon Gardens, is in an exclusive area of Columbo, where houses built by wealthy Singhalese accommodated Embassies and the foreign community. Close to the race course and sports clubs, half a mile from the sea, it is here, in the late 1940s that the author lived. This is a story of a post colonial lifestyle, long since gone. Those who lived in this tropical paradise will have memories of glorious blue sea, fringed by golden sands and palm trees, living alongside a nation of handsome people whose language and customers reflected a long history of rule by kings and migration of other races. Judy was the fourth generation of her family to live in this exotic country. Spending her childhood in a series of grand, two storied bungalows, she was waited on by servants, cared for by a series of ayahs and driven around in rickshaws. This led to a distancing from her parents, whose own traditions insisted on her undergoing the rigours of boarding school. She experienced great joy and great heartbreak in equal measure. Her story is described evocatively, tragedy fills the pages. 'Home' is a theme running through this simple memoir. Where is it? What is it? Anyone who might have experienced a similar upbringing will find this a compelling read.
Brooke The day my dad told me he had arranged a marriage for me was the best day of my life. I did not know it at the time. At the time, "I've arranged for you to marry Landon Campbell," were the most terrifying words of my life. I did not know who this Campbell guy was, and he certainly did not know me. Even still, those eight simple words also gave me hope. Anything was better than staying with my father--even a marriage formed from blackmail, secrets, and lies. Landon Connor Robinson thinks he has won know that he has got me trapped in a marriage with his wisp of a daughter. Granted, he did manage a solid contract that I do not see a way out of anytime soon. A baby! My goodness, not only that, but a son! What is this, eighteenth century England? Who requires a baby as a stipulation for divorce? He will win this battle, but it will be a cold day in hell before he ever sees a dime of my money. My companies will still run strong, and my name is still valuable. If he thinks he can use his daughter to get to me, he has got another thing coming. I will win in the war in the end.
A brother and sister, Irene and Torquil, learn that they can entertain themselves by using their imagination when Santa Claus makes them the size of their toys and their toys come alive.
Teachers know how complicated their work is. They constantly balance considerations of individual students with those of the group; they think about how past events affect today’s lessons; and they constantly adapt and revise for future lessons. But few people ever get to see teachers’ work in this way. The most energizing, relational, complicated, inspiring, disheartening parts of teaching remain largely invisible. Over nearly a decade at the Carnegie Foundation for the Advancement of Teaching, Désirée Pointer Mace worked with dozens of teachers across the country to “open their doors” by creating multimedia, web-based representations of teaching practice. This book describes how such multimedia representations are envisioned, documented, created, and shared and how others might engage in this process. This practical book: Examines the cutting edge of electronic-media documentation of teaching practice.Features cases studies that represent diverse grades, cultures, and contexts with both novice and veteran teachers.Provides clear examples of how multimedia representations of teaching can be used as alternative texts in teacher learning environments.Describes the positive outcomes for teachers and learners when teaching is made public.Includes screen images of teachers’ websites, as well as classrooms and children participating in projects. “[This book] is a rare find. . . .We not only learn from Pointer Mace’s examples, but also get inside what we need to know to learn the power and possibilities of making our own websites, to learn from our own practice, and to secure a position in the conversation about learning from one’s own teaching.” —From the Foreword by Ann Lieberman, Senior Scholar, Carnegie Foundation for the Advancement of Teaching “Désirée Pointer Mace is in the vanguard of a new generation of teacher educators. This volume will become a classic reference in the emergence of a new signature pedagogy for the initial preparation and professional development of teachers.” —Lee S. Shulman, Charles E. Ducommun Professor of Education Emeritus, Stanford University “The practices discussed in this book are at the cutting edge of current efforts to preserve and learn from the wisdom of expert teachers. This book is must reading for teacher educators at all levels of the teaching career.” —Ken Zeichner, Hoefs-Bascom Professor of Teacher Education, University of Wisconsin-Madison “Pointer Mace creates a community of teacher-scholars with an important story to tell us about their lives in the classroom. Teachers, researchers, doctoral students, parents, and, yes, students will be changed by reading this book.” —Ricki Goldman, New York University

In this book, Tim Dee tells the story of four green fields spread around the world: their grasses, their hedges, their birds, their skies, and both their natural and human histories. These four fields—walkable, mappable, man–made, mowable, knowable, but also secretive, mysterious, wild, contested, and changing—play central roles in the sweeping panorama of world history and in the lives of individuals. In Dee's telling, a field is never just a setting for great battles or natural disasters, though it is often this as well. A field is the oldest and simplest and truest measure of what a man needs in life, especially when looked at, contemplated, worked in, lived with, and written about. Dee's four fields, which he has known and studied for more than twenty years, are the fen field at the bottom of his private garden, a field in southern Zambia, a prairie in Little Bighorn, Montana, and a grass meadow in the Exclusion Zone at Chernobyl, Ukraine. Meditating on these four fields, Dee makes us look anew at where we live and how. He argues that we must attend to what we have made of the wild.
At the heart of this closely-woven tale of love and human frailty lies the quiet, enigmatic figure of Christina Mansfield. It is wartime London and no one?s future is secure. Little Christina has her family all around her but to her they seem as cruel and unpredictable as the rest of the world - her brother is a solitary figure, her sister is brash but priggish, her mother vague. As for her father? From the 1940s to the early years of the twenty-first century, from the West Indies to West Sussex, Christina?s story unfolds, partly in her own words, partly through the observations and perceptions of those about her ? as an artist, she becomes a woman with an extraordinary passion for life. But has she really escaped from her family, from the secrets that have been kept, the picture they have painted of themselves? Now Christina?s illegitimate daughter Eleanor is here, struggling to find her place in the world. Is there still time for the greatest deception of all to be exposed? ÿ
When Robert Graber entered the world into a Mennonite farm family, he was the boy his mother dreamed of having. However, his father never seemed excited about the arrival of a new son. Little Robert had no idea that his father’s reaction was only the beginning of what would become more than four decades of ill treatment—not just to him, but also to his mother and sister as they bravely faced hardships, fears, and rejection while living within their small, central Kansas religious community. In a vivid retelling, Graber chronicles his personal experiences while growing up within a Mennonite family as his mother dedicated her life to raising her children to love the Lord—at the same time his father and religious community seemed unwilling to provide the same love and support. While detailing his loss of trust in those who should have been trusted, Graber shares insight into the physical and mental abuse he and his mother and sister endured, describes the events that led to their fears of losing their lives, and reveals how he eventually transformed into an advocate for young people. Forged in Fire is the true story of the fears, rejections, and hardships faced by a Mennonite boy and his family living in a Kansas religious community.
Angela, Beatrice and Millie are three little girls living in Holland in the 1950s. Their mother is a manic depressive making life frightening and traumatic for them. When their father leaves, Mummy takes fate into her own hands with near-tragic result. The girls are taken away from her and go to live with Daddy and his new wife Aunt Agatha. Aunt Agatha treats them cruelly while Daddy, unable to cope with any more domestic upset, refuses to get involved to protect his daughters. Then Mummy dies in suspicious circumstances. Angela, Beatrice and Millie all escape in their own way through jobs, marriage and even moving abroad. For a while all seems well till Millie is diagnosed with a brain tumour. Angela and Beatrice look after her as best they can and she recovers only to be diagnosed with early-onset dementia as a result. Again Angela and Beatrice unite in their care for Millie but while they try to stimulate her mind through pictures and stories of the past they unearth many unanswered questions about the fate of Mummy: What motivated her? How did she die? Have any of them inherited her disturbed mind-set? Will they ever find the answers and finally have peace of mind and closure? When Daddy dies he leaves no clues and it is up to the girls to find out what really happened. But has time erased vital evidence? The reason Fionna is writing this book is that it is a fictionalised account of true events. For her the writing was cathartic and gave her a better understanding of the circumstances of the past. It also gave her a better insight into the psyche of her sisters. Fionna is a published author (short stories) and is well-qualified to write a comprehensive novel.