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The most accessible and joyous introduction to the world of poetry! The Random House Book of Poetry for Children offers both funny and illuminating poems for kids personally selected by the nation's first Children's Poet Laureate, Jack Prelutsky. Featuring a wealth of beloved classic poems from the past and modern glittering gems, every child who opens this treasury will finda world of surprises and delights which will instill a lifelong love of poetry. Featuring 572 unforgettable poems, and over 400 one-of-a-kind illustrations from the Caldecott-winning illustrator of the Frog and Toad series, Arnold Lobel, this collection is, quite simply, the perfect way to introduce children to the world of poetry.
Have you been guilty of catachresis* at work? Have you defenestrated* your dictionary in frustration? Do you have phloem bundles* stuck in your diastema*? Scratching your occiput* now? Rod L. Evans's Thingamajigs and Whatchamacallits will help take the mystery out of some of our most obscure words. Containing hundreds of words from agitron (the phenomenon of wiggly lines in comic strips indicating that something is shaking) to zarf (the holder for a paper cone coffee cup), this lively reference will enable you to easily locate your thingamajig or whatchamacallit, be it animal, vegetable, mineral, or punctuation mark. Leave no linguistic oddity unexamined-your brain will thank you. *catachresis: strained, paradoxical, or incorrect use of a word; *defenestrate: to throw out a window; *phloem bundles: stringy bits between the skin and the edible parts of a banana; *diastema: the gap between teeth in a jaw; *occiput: the back part of the head or skull
Four Hollywood men pursue the American dream in a cocaine-filled, sex-crazed culture.
Stefano Predelli defends a semantics of proper names which has simplicity and common sense in its favour: proper names are non-indexical devices of rigid and direct reference. He grounds this view in accounts of the shape and form of names, and of their introduction within language use, and he responds to widespread misconceptions and objections.
With his first book, American Literature and the Experience of Vietnam, Philip Beidler offered a pioneering study of the novels, plays, poetry, and "literature of witness" that sprang from the United States involvement in the Vietnam War. Reviewing the book, the journal American Literature declared, "[It is] more than just an introductory act. It also sets forth what are sure to be lasting types of American literary response to Vietnam, and of the scholarly response to the emerging literature of the war." In Re-Writing America, Beidler charts the ongoing achievements of the men and women who first gained public notice as Vietnam authors and who are now recognized as major literary interpreters of our national life and culture at large. These writers--among them Tim O'Brien, Philip Caputo, Winston Groom, David Rabe, John Balaban, Robert Stone, Michael Herr, Gloria Emerson, and Frances Fitzgerald--have applied in their later efforts, says Beidler, "many of the hard-won lessons of literary sense-making learned in initial works attempting to come explicitly to terms with Vietnam." Beidler argues that the Vietnam authors have done much to reenergize American creative writing and to lead it out of the poststructuralist impasse of texts as endless critiques of language, representation, and authority. With their direct experience of a divisive and frustrating war--"a war not of their own making but of the making of politicians and experts, a war of ancient animosities that cost nearly everything for those involved and settled virtually nothing"--these writers in many ways resemble the celebrated generation of poets and novelists who emerged from World War I. Like their forebears of 1914-18, those of the Vietnam generation have undertaken a common project of cultural revision: to "re-write America," to create an art that, even as it continues to acknowledge the war's painful memory, projects that memory into new dimensions of mythic consciousness for other--and better--times. Beidler fills his book with detailed, illuminating analyses of the writers' works, which, as he notes, have moved across an almost infinite range of subject, genre, and mode. From David Rabe, for example, have come innovative plays in which overt statements on the traumas of Vietnam (The Basic Training of Pavlo Hummel, Streamers) have made way for broader commentaries on sex, power, and violence in American life (In the Boom Boom Room, HurlyBurly). Winstom Groom has moved from Better Times Than These, a rather traditional (even anachronistic) war novel, to further reaches of rambunctious humor in Forrest Gump. And journalist Michael Herr, whose Dispatches memorably defined a Vietnam landscape at once real and hallucinatory, carried his vision into collaborations on the films Apocalypse Now and Full Metal Jacket. As Beidler notes, the immense price that Vietnam exacted from the American soul continues to draw a plethora of interpretations and depictions. Vietnam authors remind us, in Tim O'Brien's words, of "the things they carried." But as Beidler makes clear, they now command us not only to remember but to imagine new possibilities as well.
Why use boring old words when you can expand and build your vocabulary—and have fun doing it! A user-friendly, engaging book about the power of words—perfect for educators, parents, and future word nerds. Build confidence and become a stronger reader, writer, and communicator! This fun and hilarious vocabulary builder: Includes over 750 high-level, wondrous, and wacky words! With sample sentences and word history that help new words make sense! Bright and fun illustrations make learning new words fun! Allows to search by category so new word choices are easy to find! Kids with strong vocabularies are better readers, better writers, and even feel more confident tackling math and science. When a kid wants to learn a new word, we often send them to the dictionary or a thesaurus. But dictionaries only work if you know exactly the word you want. This dictionary-thesaurus hybrid is organized by theme and puts words in context with fun, engaging and hilarious sentences, pictures, and fun facts. You'll learn what words mean and then actually use them!
This book is for students and professionals who are intrigued by the prospect of learning and using a powerful language that provides a rich infrastructure for creating programs. No programming knowledge is necessary to benefit from this book except for the section on Lua bindings, which requires some familiarity with the C programming language. A certain comfort level with command-line operations, text editing, and directory structures is assumed. You need surprisingly little in the way of computer resources to learn and use Lua. This book focuses on Windows and Unix-like (including Linux) systems, but any operating system that supports a command shell should be suitable. You'll need a text editor to prepare and save Lua scripts. If you choose to extend Lua with libraries written in a programming language like C, you'll need a suitable software development kit. Many of these kits are freely available on the Internet but, unlike Lua, they can consume prodigious amounts of disk space and memory.
Little Orphant Annie comes to stay with Carl and Bessie's family, and entertains them with her stories about gnomes, goblins, and other creatures.
Once upon a time there were good American novels and bad ones, but none was thought of as a work of art. The Novel Art tells the story of how, beginning with Henry James, this began to change. Examining the late-nineteenth century movement to elevate the status of the novel, its sources, paradoxes, and reverberations into the twentieth century, Mark McGurl presents a more coherent and wide-ranging account of the development of American modernist fiction than ever before. Moving deftly from James to Stephen Crane, Edith Wharton, Gertrude Stein, William Faulkner, Dashiell Hammett, and Djuna Barnes among others, McGurl argues that what unifies this diverse group of ambitious writers is their agonized relation to a middling genre rarely included in discussions of the fine arts. He concludes that the new product, despite its authors' desire to distinguish it from popular forms, never quite forsook the intimacy the genre had long cultivated with the common reader. Indeed, the ''art novel'' sought status within the mass market, and among its prime strategies was a promotion of the mind as a source of value in an economy increasingly dependent on mental labor. McGurl also shows how modernism's obsessive interest in simple-mindedness revealed a continued concern with the masses even as it attempted to use this simplicity to produce a heightened sophistication of form. Masterfully argued and set in elegant prose, The Novel Art provides a rich new understanding of the fascinating road the American novel has taken from being an artless enterprise to an aesthetic one.
When Professor Ludwig von Glink's contraption gets so out of hand that the City Buildings and Permits Inspector condemns his home, the City Contemporary Art Museum comes to the rescue.