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About this book:
Cursed with a horoscope that promises a marriage of Death and Destruction, sixteen-year-old Maya has only earned the scorn and fear of her father's kingdom. Content to follow more scholarly pursuits, her world is upheaved when her father, the Raja, arranges a wedding of political convenience to quell...
I recently discovered Emily Arrow! It was one of my best recent discoveries for sure! Maybe you have too. It seems that I have come across her work a few times over the last few weeks and I have become a huge fan! I remember watching her Water is Water video during our Mock Caldecott study. I had a small group of girls who learned the hand motions and had a blast with the book and song. But I didn't pay much attention except that I loved the song and was amazed that someone could create something like this around a book! Then I discovered her Be a Friend video and then researched to see what else she had out there!
Or maybe you discovered her because you celebrated Poem in Your Pocket Day last week and there is nothing better than her song to celebrate the day. (We like the one with the Motions Guide--it has become a class favorite in the last few days!)
Before I introduced her songs to my class this week, I created an Emily Arrow Padlet for my students so they could easily get to each one of the videos. I knew they would want to know how to find all of her videos as I knew they would fall in love with her work just as I did. They are mesmerized and inspired by every single video. We started off with Be a Friend. I hadn't been sure which video to show first , but when one of my students came unknowingly dressed perfectly for Be a Friend, how could we not start by watching Emily Arrow's Be a Friend video first? Then, of course, they wanted to watch every one of her videos!
I love Emily Arrow's work for so many reasons. First of all, it is pure joy. The songs are happy and joyful. This week, Emily Arrow brought so much joy to our classroom. We are in testing season and we needed a few pick-me-ups after a few tiring mornings. I shared the Emily Arrow videos I discovered and could not believe the happiness in every face as they watched and played along. Just as I did, they became instant Emily Arrow Fans!
But the songs are not merely fun and happy (although that alone would be enough!) But the books Emily chooses to interpret in song are books that have powerful messages for readers. They give our young readers another way to look at a book. I love that my kids can think differently about a book because of Emily's songs.
I also think that these inspire a kind of creativity that I hadn't thought of. love that kids are already thinking about creating their own songs. Some are thinking about the videos and how she creates those. We have a few Makerspaces at our school and no one had thought about making a song. Emily Arrow inspired a few that making a song is something they might like to try. Emily Arrow has brought huge possibilities to our classroom.
I purchased her new album (Emily Arrow Storytime Singalong) on iTunes and added it to our classroom playlist. We have cleaned our classroom this week while singing along to The Dot Song (we are partial to the version with the motion guide!), Poem in Your Pocket and Max the Brave. These songs are perfect for all ages.
So, my recommendation, if you are looking for more joy in your life...if you want your students to see things that are possible with books, music, video, play... if you don't want to miss anything new that Emily Arrow creates, you should :
Summary: On the eve of the apocalypse, Denise and her mom scramble to get to a shelter that will protect them (maybe) from the comet heading their way. Somehow, they luck onto a spaceship that plans to head for the stars. But can they keep their place?
First Impressions: Ahh this was good. Denise felt so real.
Later On: Like Duyvis's first book, Otherbound, this should have felt overstuffed, if we subscribe to publishing's prevailing mindset about intersectionality. A black autistic main character? With a trans sister? And a mother suffering from mental illness and addiction? (Not to mention it all takes place in the Netherlands, with Dutch characters.) But it works, oh how it works, and the reason it works is because these are details about their characters, not the plot. This is diversity in character building done right.
The focus is on Denise's struggle to carve out a place for herself and her family on the generation ship. Sometimes the reason it's a struggle is because of familiar autism characteristics, such as difficulties with social cues, hyper-focus on specific things, and sensory overstimulation, and how all these are ramped up by stress. However, it's also a struggle because of the shipboard bureaucracy, her mother's issues, worry over her sister, and oh yes. The world is ending. Denise's autism neither causes nor stands apart from any of that.
And finally, at the end, Denise finds her own place. She's not given it, she's not wedged in. She does things that are a challenge for her, she succeeds because of her own talents, and she earns her spot.
This is Sadie is coming to the stage. TheNew York City Children’s Theater will produce a stage version of Sara O’Leary’s story of a little girl with a big imagination, set to premiere in 2018. The book has garnered universal praise for the gorgeous illustrations by Julie Morstad, its lovely text, and spirited protagonist.
It's thrilling news, particularly as NYCCT has such an excellent mandate.
Our mission is to promote children’s literacy and social development through professional theater productions and arts-in-education programs. We reach children and their communities with a wide range of programming, including full-scale productions, small touring shows, interactive workshops and in-school residencies, and engage with them in traditional theater spaces, school auditoriums, classrooms and cultural venues in their neighborhoods.
There have been lots of lovely surprises since This Is Sadie was published last spring, but this may be one of my favourites so far. Really looking forward to seeing the production. Add a Comment
It’s a deceptive title, really, because I’m not a film critic nor a fan of any director. But Martin Scorsese was the one who had the smarts, the interest and the resources to make two concert films 30 years apart, THE LAST WALTZ (1978) and SHINE A LIGHT (2008). In 1976, the post Vietnam era in the States, Martin Scorsese and Robbie Robertson managed to record on film (the first concert movie shot in 35mm) the farewell concert of the Band in the venue where they first appeared as The Band, the Winterland Ballroom in San Francisco. Robbie Robertson, Levon Helm, Rick Danko, Garth Hudson and Richard Manuel were leaving the road after sixteen years. In an interview Robbie says he couldn’t imagine doing it for twenty years. The Last Waltz was called “the end of an era”. At the time Scorsese was directing New York, New York, a big expensive production, but he had cut his edting teeth in the Woodstock film and learned what not to do there. He took some time off from the New York, New York project and filmed The Last Waltz in a weekend, put it almost all together in a week and a few months later, filmed three songs on a Hollywood sound stage. It grew from Robbie Robertson’s idea, a not for profit enterprise with no budget to an important cultural event, done by the seat of its pants, almost an afterthought, and ultimately, the concert movie by which all others are judged. Thirty years later, after Taxi Driver and Raging Bull and Goodfellas and all the awards for No DIRECTION HOME (2005), a documentary on Dylan’s early career, Scorsese filmed a Rolling Stones concert. Shine A Light presents the best of the Stones’ Beacon Theatre concerts on their A Bigger Bang Tour on Oct 29 and Nov 1, 2006 in New York city mixed with interviews of the band from long ago (mostly in black and white) and in present time The backstage segments were the first time Scorsese used digital cinematography. Ronnie Wood appears in both films; in out takes of a jam in The Last Waltz, more prominently in Shine a Light. THIS MOVIE SHOULD BE PLAYED LOUD! appears on the screen before The Last Waltz starts. A sign of the times in 1978. The movie begins with Rick Danko telling Scorsese that the game is “Cutthroat” and a loud cracking of the pool balls as he breaks. Shine a Light nods to that opening as it starts with Ronnie Wood taking a pool shot in a game with Keith Richards. The Band returns to the stage for an encore. They play “Don’t Do It” and Robbie Robertson’s lead guitar places the viewer in a beat up neighborhood of San Francisco on the way to the Winterland Ballroom where crowds are lining up and the huge vertical sign above the entrance has half of its lights burnt out. ‘The Rolling Stones’ appears on a marquee between two rows of lights above the entrance of The Beacon Theatre. Scorsese appreciates the balconies and huge space he has to work with and organizes the tracked moving cameras. Shine a Light will be filmed in a beautifully appointed theatre. A young couple waltzes gracefully across the screen against the backdrop of the The Last Waltz logo to the music of The Last Waltz theme song, written by Robbie Robertson, as the names of the guest performers appear: Dr John, Ronnie Hawkins, Bob Dylan, Eric Clapton, Neil Young, Joni Mitchell, Emmy Lou Harris, Muddy Waters, The Staples, Van Morrison, Neil Diamond, Paul Butterfield, Ringo Starr, Ronnie Wood. The huge variety of styles to which The Band adapted and the energy they injected into the songs made for a memorable performance. They were a perfect backup band as well as the stars of the show. The concert itself is a mixture of Band originals beginning with Cripple Creek interwoven with guests who play one song each and interviews of all the members of the Band and some friends. Ronnie Hawkins tells the story of each band member as he was brought into The Hawks, Ronnie’s backup band which became Dylan’s backup band and then The Band. The commentaries of the director, musicians and others who were involved in the project which is played over the concert performances in the Special Features section is fascinating. As each person appears, someone talks about them. There is a hilarious description of Van Morrison’s sequined outfit as he steals the show with a striking performance of Caravan and an equally funny description of Dylan’s preparations for the show. The actual filming was done for free by world renowned cinematographers who did it as a favour to Scorsese using seven cameras. Ideas like Boris Leven’s of filling the Winterland Ballroom with chandeliers had to be cut back because they could only afford three. Boris Leven, a personal friend of Scorsese and his set designer on New York, New York as well as The Sound of Music and West Side Story, thought of renting the set of La Traviata from the San Francisco opera company to spruce up the old Winterland. He designed the sets upon which Scorsese shot The Weight, Evangeline and The Last Waltz theme song on a Hollywood sound stage. The songs featured the Band, the Staples and Emmy Lou Harris. One of the great contrasts of the films is the reference to lighting. An assistant tells Scorsese in Shine a Light that one of the lighting effects will literally cause Mick to burst into flames if he stands near it for more than 18 seconds. Scorsese says firmly “We can’t burn Mick Jagger. Very simply. We want the effect but we can’t burn Mick” When Paul Butterfield does his solo in The Last Waltz, there is a general panic among the crew when they lose all power to the lights except the one spot on Butterfield and Levon. The problem is fixed in time for the next song and Robbie comments that it turned out to be a perfect shot for the harp player and the drummer. Camera shots preoccupy directors obviously but Scorsese didn’t seem any more relaxed while discussing them with Mick thirty years after his assistant in The Last Waltz had to negotiate every camera movement with Bill Graham who held the rights to the Winterland stage and insisted that nothing impair the sight lines of the live audience. When Mick mentions the audience inconvenience to Scorsese, the director opts for the swooping in motion cameras anyway. He knows the value of a historical document. He did it thirty years ago. The Special Features section of The Last Waltz dvd contains a Last Waltz Revisited segment in which Scorsese and others talk about the experience 25 years later, Perhaps the biggest contrast between the two films is that a connection to the Beats plays prominently in the Last Waltz when Michael McClure, the poet, appears on stage in a spotlight, recites a short piece of The Canterbury Tales in Olde English, smiles and walks off. Lawrence Ferlinghetti appears at the end of the show, just before Dylan, recites a quick, cool poem and exits. Thirty years later the subjects of Scorsese’s concert film are meeting the President of the USA and the ex president of Poland backstage. In fact, as Clinton announces in his brief introduction, he’s opening for them. The Stones concerts benefitted the Clinton Foundation and the band received a visit from The President himself as well as his wife and their entourage. One of the funny parts of Shine a Light is Charlie’s response to an assistant reminding him that the meet’n greet is at 6:00. He says “I thought we just done it.” To which the assistant replies, “No, you just met the president, he’s got thirty guests coming”. The Stones play Jumpin Jack Flash, Shattered, She Was Hot, All Down the Line, Loving Cup with Jack White111, As Tears Go By, Some Girls, Just My Imagination, Far Away Eyes, Champagne and Reefer with Buddy Guy, Tumbling Dice, You Got the Silver, Connection, Sympathy for the Devil, Live With Me with Christina Aguilera, Start Me Up, Brown Sugar. I Can’t Get No Satisfaction and Shine a Light. Undercover of the Night, Paint It Black, Little T&A and I’m Free are included as a bonus special. At first I liked The Last Waltz more because of the in depth interviews and the commentaries and its good natured, humourous attitude. But with a budget of one million dollars and the high pressure atmosphere of recording a Stones concert, it makes you wonder what else could Scorsese do? There was really no room for long interviews with the musicians so he threw in clips of past press conferences and interviews where the early days of scandal and infamy were covered and the question which seemed to obsess everyone was “How long are you going to do this?” A young Mick Jagger says he thinks the Stones will last at least another year when they are two years old and then without hesitation says “Yeah” when Dick Cavett asks him if he could see himself doing it in his sixties. An old Keith Richard attributes his longevity to coming from good stock and a younger one tells an interviewer his luck hasn’t run out when he’s questioned about surviving for so long. In The Last Waltz Robbie Robertson contemplates recent deaths of musicians like Janis and Jimi and the high risk lifestyle. He says simply, “You can push your luck”. As Robertson talks over Muddy Water’s performance in the commentaries expressing how honoured The Band was to have him in the show, he names some of the musicians influenced by Muddy and mentions The Rolling Stones being named after a Muddy Song. Scorsese looks like the older, respectable director he is in Shine a Light compared to the hungry young man in The Last Waltz. In Shine a Light when a lighting effect test stops the group he is in from talking, shocked at the flash, Scorsese remarks “Hmm. That cleared my sinuses” and smiles with the same mischievous sense of fun the viewer sees in The Last Waltz as he follows Rick Danko on a tour of Shangrila, the ex bordello which has been turned into a clubhouse and studio. It’s just the difference in times, part of the 60's and 70's vs the first decade of the new century. But there can only be a difference, a comparison, a contrast, because Martin Scorsese had the vision to see rock music in a historical context. At the risk of sounding too Canadian, I think that both concert movies are well worth watching.
Today is the last day of National Poetry Month, and while folk like us act as though every month is Poetry Month, there is something special about an official National Poetry Month. We don't like to see it end. I'm finishing up with a last-minute response to the Ditty-of-the-Month Club challenge set by Marilyn Singer over at Michelle Heidenrich Barnes's blog, Today's Little Ditty. Marilyn's new collection of reversos based on Greek myths is Echo Echo, and we were all challenged to write a poem (not necessarily a reverso) inspired by the word echo. Here's mine, in under the wire.
empty tunnel calling long: hollow hello our own song echoes strong but somehow wrong
Linda Baie of TeacherDance closes out our month of Poetry-Music Match-Ups with a poem and a song decidedly for young children--which has proved trickier than I expected. She writes, "Growing up, my children loved listening to "The Marvelous Toy" and other songs sung by Peter, Paul & Mary. We even got to see them once with front row seats! ... another poet I shared quite a bit with them was Eugene Field. I thought "The Duel" might make a good connection, both toy adventures!"
I know this poem very well indeed, from a deeply familiar red-and-gold-bound collection of children's poems my mother read to us often...but "The Marvelous Toy" (much more modern!) wasn't part of my childhood experience. Hope you enjoy...here they are, and thank you, Linda!
The gingham dog and the calico cat Side by side on the table sat; ‘T was half-past twelve, and (what do you think!) Nor one nor t’ other had slept a wink! The old Dutch clock and the Chinese plate Appeared to know as sure as fate There was going to be a terrible spat. (I was n’t there; I simply state What was told to me by the Chinese plate!) The gingham dog went “Bow-wow-wow!” And the calico cat replied “Mee-ow!” The air was littered, an hour or so, With bits of gingham and calico, While the old Dutch clock in the chimney-place Up with its hands before its face, For it always dreaded a family row! (Now mind: I’m only telling you What the old Dutch clock declares is true!) The Chinese plate looked very blue, And wailed, “Oh, dear! what shall we do!” But the gingham dog and the calico cat Wallowed this way and tumbled that, Employing every tooth and claw In the awfullest way you ever saw— And, oh! how the gingham and calico flew! (Don’t fancy I exaggerate— I got my news from the Chinese plate!) Next morning, where the two had sat They found no trace of dog or cat; And some folks think unto this day That burglars stole that pair away! But the truth about the cat and pup Is this: they ate each other up! Now what do you really think of that! (The old Dutch clock it told me so, And that is how I came to know.)
Author and illustrator Roxie Munro returns to Ready Set Draw!, with a new project inspired by several of her books, including Market Maze. In this episode Roxie teaches you how to draw your very own busy random Roxie reversing maze! Go above, go under; make turns and twists. There are no mistakes, only opportunities to create new paths.
Did you, a child, or student draw their own maze using this video? Please share your images with us via Facebook, Instagram, or Twitter! Use the hashtag #KidLitTV on Instagram and Twitter too. We can’t wait to see what you’ve drawn!
Eight trucks hit the highway in a colorful and mesmerizing maze book that helps kids understand how food gets to their tables. In eleven intricately drawn mazes, eight vehicles, each carrying a different product, are on their way to the city. Fish, apples, dairy products, corn, vegetables, flowers, eggs, and baked goods all travel through colorful and minutely detailed landscape mazes to reach the city farmer’s market. Information on all of the products and their journeys is included along with answers to all of the mazes. For additional fun kids are challenged to look for objects hidden on each spread.
Prepare to be astounded, because these are no ordinary mazes! Welcome to Mazeways, where A is for Airport, B is for Boatyard, C is for Circus, and everything is exciting. In this eye-opening world, each letter in the alphabet transforms into a fantastic maze and fingers have to trace a path through fantastically detailed environments. Navigate these puzzles as you would if you were traveling in real life: drive your car on the right side of the road, cross the street only at the crosswalks, and feel free to walk around furniture or landmarks as long as nothing blocks your path. Each maze comes with directions on how to launch into the adventure, and features really cool things to find and guide you along the waylike crocodiles and seals, clown cars and motorcycles, baseball diamonds and sunken treasure, and more!
Find more of Roxie’s books, including more mazes, here.
ABOUT ROXIE MUNRO
Roxie is the author/illustrator of more than 40 nonfiction and concept books for children, many using “gamification” to encourage reading, learning, and engagement. Her books have been translated into French, Italian, Dutch, Chinese, and Japanese.
Roxie was born in Texas, and grew up in southern Maryland, by the Chesapeake Bay. At the age of six, she won first prize in a county-wide contest for a painting of a bowl of fruit. She has been a working artist all her life, for a while freelancing in Washington DC as a television courtroom artist. It was great training for life drawing, concentration under pressure, and making deadlines. Clients included CBS, the Washington Post, and the Associated Press. Fourteen of her paintings have been published as covers of The New Yorker magazine.
She also creates oils, watercolors, prints, and drawings, primarily cityscapes, which are exhibited widely in the US in galleries and museums. Roxie’s work is in numerous private, public, and corporate collections.
Roxie Munro studied at the University of Maryland, the Maryland Institute College of Art (Baltimore), earned a BFA in Painting from the University of Hawaii, attended graduate school at Ohio University (Athens), and received a Yaddo Fellowship in Painting. She lectures in museums, schools, libraries, conferences, and teaches in workshops.
Many oils and watercolors are views from the roof of her sky-lighted loft studio in Long Island City, New York, just across the East River from her home in mid-Manhattan. Roxie is married to the Swedish writer/photographer, Bo Zaunders.
Dandy Gilver and the Proper Treatment of Bloodstains by Catriona McPherson
Prairie Evers by Ellen Airgood
The Education of Ivy Blake by Ellen Airgood
The Runaway's Gold by Emilie Christie Burack
Clementine by Sara Pennypacker
The Scandalous Sisterhood of Prickwillow Place by Julie Berry
A Lion To Guard Us by Clyde Robert Bulla
Crenshaw by Katherine Applegate
Ink and Bone by Rachel Caine
The Pericles Commission by Gary Corby
Scarlet by A.C. Gaughen
Lady Thief by A.C. Gaughen
Lion Heart by A.C. Gaughen
Pax by Sara Pennypacker
Peter Pan (Annotated Edition) Barrie
That's Not English: Britishisms, Americanisms, and What Our English Says About Us by Erin Moore
A Midsummer Night's Dream by William Shakespeare
Salt, Sugar, Fat: How the Food Giants Hooked Us by Michael Moss
The Three Year Swim Club by Julie Checkoway
Clementine: The Life of Mrs. Winston Churchill by Sonia Purnell
Camille by Alexandre Dumas fils
I am Nujood, Age 10 and Divorced by Njood Ali
Until We Are Free: My Fight for Human Rights in Iran by Shirin Ebadi
Proof by Daniel Montgomery and Timothy Paul Jones
Taking God At His Word by Kevin DeYoung
Library Loot is a weekly event co-hosted by Claire fromThe Captive Reader and Linda from Silly Little Mischiefthat encourages bloggers to share the books they’ve checked out from the library. If you’d like to participate, just write up your post-feel free to steal the button-and link it using the Mr. Linky any time during the week. And of course check out what other participants are getting from their libraries
Audio – Short Story in hindi – Monica Gupta ऑडियो- लघु कथा – वापसी – मोनिका गुप्ता Story Telling ये एक पारिवारिक कहानी है जिसमें विदेश में बसे अशोक और नेहा दो साल बाद भारत लौट रहे हैं और सभी मित्र और रिश्तेदार बेहद उत्साहित है और विदेश में अपने अपने काम के लिए उनसे […]
"Children who dote on silly, googly-eyed monsters need look no further than this imported tale of a wolf chasing an errant chicken egg." —Kirkus Reviews
The book was originally published in Japan in 1982
Unwrapping some illustrations...
About the book...
Mrs. Hen has a huge problem. She laid her eggs and one of them rolled down a hole and she is unable to retrieve it. Little Pakkun the Wolf to the rescue! He disappears down the hole on a rescue mission but to his great surprise this is not an ordinary hole. Whatever can this be?
He discovers it is a land of Dinosaurs. He can't believe this! Who knew? He makes friends with a Ptera, a very small and unusual looking creature and together they search high and low to find that runaway egg.
Many pre-historic critters help them along the way and finally the best clue is given to them by a Sauropod. She tells them to go search in the Valley of Dinosaur Eggs because it possibility could be there. Mmmmm... I wonder if they finally will secure that tiny egg and return it back to its anxious mother? Miracles do happen especially do they?
The illustrations are truly amazing. They are colourful, packed full of action and imagination. The creative characters are loveable and the whole sense of lending a helping hand to someone in need and enjoying friendships certainly shines through. The message is positive and actions of the characters are noble and heartwarming. I highly recommend this book.
About the Author...
Yasuko Kimura is the author of numerous children’s books, including Fergus, Fergus and the Sea Monster, Fergus and the Snow Deer, The Magical Fish, and the Pakkun the Wolf series. She received the Critici in Erba Prize at the Bologna Children’s Book Fair in 1986 for Today Is Not My Day.
I put hours of work finding the best kid's books to review for you each day. If you enjoy visiting Storywraps and would like to donate something for my time and effort I would greatly appreciate it.
Go to the top of my blog on the right hand corner (above my photo) and please donate what you feel lead to give. The amount you donate and the frequency you donate is totally up to you. I thank you in advance for your support. I love what I do and appreciate any amount that you may give so I can make our community even better. Thanks a million!
A Princeton University professor named Johannes Haushofer recently made news by publishing a "c.v. of failures," a public list of his rejections for graduate programs, jobs, fellowships, and publications. It's gone viral, as we all need to hear stories of others' failures to counteract social media's incessant celebration of others' success.
This year I've had my own share of professional failures. Here are a few:
1) rejection of a proposal for a new chapter book series from my publisher, after early encouragement
2) rejection of a proposal to speak at our Rocky Mountain Chapter of the Society of Children's Book Writers and Illustrators, after I had been personally invited by one of the Co-Regional Advisers to apply
3) a SECOND "revise and resubmit" verdict on the same children's literature article from a prominent journal
4) disappointing spring royalties (reflecting disappointing sales) on several recent recent books
5) small audiences at the Children's Literature Festival that I attend every year in Warrensburg, Missouri.
I could add more, but I think I've made my point depressingly clear, or at least depressingly clear to myself.
So my question is, what do I do now?
One answer, of course, is try, try again. But "try, try again" isn't going to work if I just try the very same thing over and over again while expecting different results. We've all heard that as the definition of insanity. In other equally familiar words: "If you do what you've always done, you'll get what you've always gotten."
Actually, for most of my career I've liked what I've gotten. I've never been wildly ambitious for fame and fortune. I just wanted to be able to do work I love, maybe even make a modest living doing it, and get to spend time with other fun, creative people who are also doing work they love. And I've been lucky enough to achieve those things.
But the world of children's book writing and children's literature scholarship has gotten increasingly competitive, with brilliant new, young authors and scholars joining their ranks. If I want to stay in the game, I'm going to have to step up my game. If I do what I've always done, I'm not going to be getting (even) what I've always got.
So now I have to decide: how bad do I want it? Do I want it enough to work harder than I've ever worked before? Do I want it enough to bite the bullet and accept that I need to (1) become a better writer; and (2) become a better self-promoter (rather than spending time complaining that kids thirty years ago liked my books just fine and that authors thirty years ago didn't have to have websites, Twitter accounts, or glitzy giveaways)? Do I want it enough to sit down, once this final semester of teaching ends, and seriously try to reinvent myself for the 21st century, now that we are already 16 years into it?
I don't know. Part of me wants to. Part of me doesn't.
Part of me thinks that writing is what gives my life its deepest satisfaction so that I should do whatever I need to do to hold onto it as long as I can - clinging not just to writing, at home, alone, for myself, but to being part of the world of writers, to belonging in that world. Another part of me thinks that the idea of putting myself out to pasture, after 35 years in harness, is not a completely terrible thing, especially with two little granddaughters to cuddle, one already here and one set to arrive in another three weeks.
I think the bigger part of me wants to try better, try harder, try fresher, try smarter. The pasture isn't going anywhere; it can wait for me a little longer.
Either way, whether I continue to flourish and thrive in this business is going to depend on how badly I want it, and whether I'm willing to back up my wanting with working.
"I hate that it's coming out over there (UK) this weekend . Internet will be full of spoilers and will ruin it for us here in America... Honestly though how does a movie called captain AMERICA not release in America first ?"
Well, tough tits. You see, people in the US fill the internet with spoilers and much more that ruin it for people not in the US for previous film premiers. "Waaaaah!" all you want. Don't go on the internet until its released in the US then or ignore any postings about the film. Spoil brats. According to Marvel
See the Cast & Crew of Marvel's 'Captain America: Civil War' Travel the Globe
Iron Man gives the 'Iron Lady' a makeover to celebrate 'Captain America: Civil War,' out May 6!
UPDATE 4/26: Both teams have landed in England for the London London premiere of Marvel's "Captain America: Civil War"! The cast kept it civil though as they celebrated the event, and you can see all the photos from the action directly above, with more galleries from past events below!
In this fascinating picture book, Amy Krouse Rosenthal uses only words that begin with A, B or C to tell her story. The day begins as a young boy awakens and enjoys Apples, Bananas and Cantaloupe for breakfast before heading outside and finding Ants, Butterflies and Caterpillars. He later celebrates at a birthday party, explores a city and appreciates an artist. Older children will enjoy scouring debut picture book illustrator Gracia Lam’s detailed digital illustrations for an apron, bowling pins, binoculars, a castle, a cape, a church (and more!) that serve to broaden the appeal of the story and support the development of phonemic awareness
It is worth mentioning that Ms. Rosenthal and Ms. Lam do not limit the story or illustrations to the phoneme /K/, they also challenge readers to recognize the use of ‘C’ in words beginning with the /ch/ and soft ‘C’ sounds, as in church and city. the ‘A’ words that we detected use the short vowel sound.
We envision this picture book as a wonderful inspiration to young illustrators and writers. Great for classroom use, the clever take on the alphabet book genre could certainly be a jumping off point for children to create their own stories and illustrations using only two or three letters.
This is a picture book that will be enjoyed by children aged 3 and up but that has great potential for exciting older children and adults.
So I'm Shopping in Sainsbury's....I know. Posh, heh?
Anyway,I'm looking around at the prices and barely listening to whatever radio they had playing over the speakers.
Some man was droning on about "British entrepreneurial spirit" -or, rather, the lack of it today. "Take entertainment" he says and I start losing interest. "Look at all the movies that are making huge amounts of money -based on comic strips" Me: "WHAT??" The man continued: "You are not going to rake in the money that the big US companies like Disney do but it shows there is a market -for however long it lasts. But the last time the UK had comics published in the UK as part of an industry was forty years ago"
I thought "Not 40 years you.....oh.It is 40 years!"
Cue woman with kids and loud mouthed hubby who seemed to think "Do we have tomato ketchup or not?" was the major topic of the week. Man on radio: "Why? Because there is no one around now who knows how to publish comics"
Ahem. I'm still here.
Radio cuts out and music comes on. Silence. More radio but a local station. Silence....
So I asked the manager (who was busy doing nothing) what the radio station was? "What radio station?" I say "The radio station you just had playing over your speakers...." Him: "Didn't hear it".
I'm there thinking I must have imagined it when his colleague chips in: "They're testing the system today so its random radio and sound checks" Manager grunts. They move on.
Local? Regional? National? No idea. If anyone heard it let me know so I can see if its online. But seriously, whoever it was...well,it was like he was reading a CBO posting! Accurate but I am still here -I know how to put comics together and I'm not going anywhere!