Henry James


The link below is to an article that takes a look at the life and work of Henry James.

For more visit:
https://blog.bookstellyouwhy.com/kicking-off-tombstones-henry-james-life-and-work

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Ebook Reader Battery Life


The link below is to an article that calls for better battery life for ebook readers.

For more visit:
https://goodereader.com/blog/electronic-readers/it-is-time-for-e-readers-have-larger-batteries

How to make reading fun — and part of life beyond the school room



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A Nal’ibali World Read Aloud Day in Soweto, South Africa.
Daniel Born

Peter Rule, Stellenbosch University and Zelda Barends, Stellenbosch University

The love of reading is one of the greatest gifts an adult can give to a child. Pragmatically, reading proficiently helps with school work. But it also widens children’s horizons. It can help readers to understand their own world better, and to explore other worlds.

Parents often see reading as “school business” – something that teachers are responsible for. But there’s a lot of research that shows the value of reading at home and in the community. Children who read at home with parents or caregivers have an educational advantage that lasts their whole lives. In fact, reading to children helps them develop the language and literacy skills they need to begin formal literacy instruction.

Parents, as their children’s first and most important teachers, can make reading fun and inspire a lifelong love of reading. If parents themselves cannot read, others such as older siblings, friends and relatives can play this role.

Here, based on our own research studies about reading and drawing from the work being done by organisations dedicated to literacy, are some ideas to get kids reading for fun.

Reading as play

Children can have fun with reading even before they can read themselves. Reading feeds their fertile imaginations and they do the rest. In one of our research studies, pre-schooler Shafeek* spontaneously dressed up and acted out a story that his mother had read to him. Ashwariya* played “school” by “reading” a story to her toys. Again, she could not yet read but used the pictures and her memory for her game.

These examples show that reading can be made fun by linking it to play – through acting out, drawing pictures, dressing up, creating objects, or many other creative activities. Sometimes children do this on their own. But parents and teachers can also provide guided play activities.

Melanie Lippert, Nal’ibali FUNda Leader, at the festival.

Reading routines are important at home. This could take the form of “bedtime story”, reading prayers or verses from a sacred book, or regular weekend reading. Young children often love to hear the same story again and again. This is important for their emergent literacy as they learn how stories work, and how to “read” backwards and forwards.

Children enjoy singing songs and rhymes and this is a fun activity for reading development too. These allow children to play with words and sounds which is the first step in developing their phonological awareness, an integral skill to develop for reading.

Family reading

Children can have fun by joining in family reading activities. This could mean looking at advertisements and, even if they cannot yet read, identifying pictures of items. It could mean turning the pages of newspapers or magazines for a parent and learning how to hold a book the right way up. Family photo albums are also great for learning to “read” pictures and hear family stories. Children learn to respect and handle books by seeing their caregivers do so.

Above all, caregivers should read to their children as an activity that’s designed to make meaning with a focus on understanding.

One of the weaknesses of teaching reading at South African schools, for instance, is that it often does not focus on comprehension. Parents can make reading meaningful getting children to preview a text (look at the title, cover and pictures before they read) and guess what it will be about.

They can also ask questions as they read (“Why did she/he do that? Do you think it was the right thing? What do you think will happen next?”), link the story to children’s lives and experiences, and get them to make up their own endings.

Some older children enjoy keeping a “reading diary” of books they have read with their impressions. Reading can also be a prompt for writing their own stories. Creating and writing for a school newspaper or magazine can be great fun and can be adapted to suit the technology available in the school.

Reading their own texts

Reading is difficult but it can be made more accessible if children are presented with opportunities to develop their own texts to read. An example of this could be to write a story with the child and have them read it themselves. Such a text would consist of vocabulary familiar to the child and it would scaffold comprehension of reading. If children are involved in developing their own texts for reading, it becomes a personal and authentic experience based on their own interests and needs. Producing their own texts also gives children a sense of ownership that helps them to take responsibility for the process.

Finding the right stuff

While there is no shortage of children’s books in English, finding suitable reading material in African languages and about African contexts can be a problem.

Many public libraries stock such books. Nalibali has a great range of stories in South African languages. The Family Literacy Project has developed many wonderful ideas for developing reading, including box libraries, reading clubs and Umzali Nengane (Parent and Child) journals.

Paulo Freire, the great Brazilian educator, talked about “reading the word in order to read the world”. He showed how reading critically and creatively can help people change their lives and create a better world. Something so important should not be left to teachers alone.

*Not their real names.The Conversation

Peter Rule, Associate Professor, Centre for Higher and Adult Education, Stellenbosch University and Zelda Barends, Lecturer, Stellenbosch University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Women novelists warned early on that village life wasn’t all it’s cracked up to be



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Stephanie Palmer, Nottingham Trent University

The season of the good old summer “fayre” is here and many UK readers will be heading off to eat tea and scones and take part in the tombola at their local village fete. There, it’s a good bet, they will hear of local people’s concerns that new housing developments foisted on them by the government will ruin the character of their idyllic rural community.

But the myth of tranquil village life was well and truly exploded in the Victorian age when many writers concluded that life in England’s small rural communities was not a simple idyll of tea, vicars and charitable works.

For many people, especially those who may not have visited the UK, the most accessible pictures of village life are those painted in novels: who can forget the timeless portrait of life in a sleepy Dorset community in PG Wodehouse’s Blandings series, or EF Benson’s Mapp and Lucia books, set in a fictional Sussex village? But fiction has also been highlighting the negatives of village living for more than a century.

The “greetings card” scenario of village life was established early. In her memoir Our Village (published in five volumes between 1824 and 1832), Mary Mitford – who lived at Three Mile Cross near Reading in Berkshire – gives us a classic rendition of peaceful village life. There are quaint depictions of servants, chaste suitors, elderly brides and grooms, blacksmiths and gypsy fortune tellers.

Our Village contains all the myths of village life. Everyone is familiar: a village is a little world “where we know everyone, are known to everyone, interested in everyone, and authorised to hope that everyone feels an interest in us”. There are no newcomers, nobody is systematically excluded and nobody is living a secret or misunderstood life. Poverty is relegated to the margins – there’s only the occasional mention of the workhouse and, Mitford assures her readers, the village is a collection of cottages, not “fine mansions finely peopled”.

But even in the 1820s, such a village felt under threat from the railways, improved roads and the increasing size of the towns of the industrialised North. And no sooner did Mitford complete Our Village than other authors began to parody or correct her vision.

Elizabeth Gaskell’s Cranford (1853) is a gentle text still very positive about life in a confined locality. Although Cranford is a town outside “Drumble” – her stand-in for Manchester – it resembles Mitford’s village in that everyone knows each other and the narrative is focused on a limited set of characters. In the case of this novel – and so many others in the tradition – the main characters are women, and it is women’s unpaid labour that makes the community run smoothly. Yet Gaskell gently mocks her characters, Matty Jenkyns, Miss Pole, and Mrs Jamieson, for their conventionality, triviality and timidity.

The women follow strict social rules – an entire chapter revolves around whether these august personages should stoop to visit a former ladies’ maid who has set up a milliner’s shop and hence was “in trade”. In another chapter, the women grow fearful of outsiders when they hear of a cluster of burglaries in the neighbourhood, which proves to be founded on rumour.

Thomas Hardy’s villages such as Weatherbury in Far from the Madding Crowd (1874) or Marlott in Tess of the D’Urbervilles (1891) are idyllic in some ways, but not in others. Shepherds are close enough to nature to saunter out of their huts at night to tell the time by stars, and the slow pace of life allows for ample opportunity for community and flirtation. Yet sexual transgressions are treated to the full judgement of an unforgiving community, and questions of money and class interrupt any readers’ expectations of rural bliss.

American moral tales

These books sold well in the US, even though villages there were subject to dramatic population shifts westward and industrial development. Writers in the US sought to reinforce or contest Mitford’s vision.

After reading Mitford and migrating to a new village in Michigan, Caroline Kirkland wrote A New Home, Who’ll Follow? (1839), which mercilessly satirised her vulgar frontier neighbours and the wealthier eastern newcomers. When her neighbours read the novel, they ostracised her – and she never wrote anything as trenchant again.

Although the American regionalism that flourished in the latter quarter of the 19th century is known for romantic visions of village life, upon closer examination, key writers such as Sarah Orne Jewett and Mary E Wilkins Freeman reveal many of village life’s negatives.

If Gaskell acknowledges in Cranford that her ladies’ kindness to the poor is “somewhat dictatorial”, Freeman’s A Mistaken Charity (1883) takes this point to its logical conclusion. Two elderly sisters living happily in their dilapidated cottage are visited by Mrs Simonds, a woman who is “a smart, energetic person, bent on doing good”. Mrs Simonds arranges to take Charlotte and Harriet to the poorhouse, where they are forced to wear lace caps and sit indoors. Charlotte and Harriet run away.

Revolt from the village

By the 1910s, there was a literary “revolt from the village”, and writers including Sherwood Anderson focused on the sexual repression of small town life. Although Sherwood Anderson’s Winesburg, Ohio, published in 1919, is set in a town, it is a town of 1,800 people, far smaller than many British villages today. Meanwhile, Stella Gibbons parodied rural melodramas in Cold Comfort Farm (1932), in which, instead of graciously fitting in like the urban narrators of Jewett’s fiction, Flora Poste, a visitor from London, forces the members of a dysfunctional family to follow their individual desires rather than their family destiny.

The ConversationAccording to these writers, villages can be conformist, unimaginative, repressive, nepotistic. These fictions imply that villages will be harder to maintain now that women have other outlets for their energies. The negatives come from the same source as the positives in village life, and people who wish to defend villages, and the tradition of rural living, should remember this literary ambivalence and the fact that it has gone on for more than 100 years.

Stephanie Palmer, Senior Lecturer, School of Arts & Humanities, Nottingham Trent University

This article was originally published on The Conversation. Read the original article.

Facts From the Life of Robert Louis Stevenson


The link below is to an article that takes a look at seven things that you may not have known about Robert Louis Stevenson.

For more visit:
http://www.huffingtonpost.com/nancy-horan/7-things-you-didnt-know-a_3_b_4637894.html

Article: Tom Clancy Has Died


By now most people familiar with books and authors will know that Tom Clancy has died. Tom Clancy wrote the Jack Ryan series of novels, including ‘The Hunt for Red October,’ ‘Patriot Games’ and ‘Clear and Present Danger.’ He was perhaps the author I favoured most and he will be sadly missed.

The links below are to articles that report on the life and death of Tom Clancy.

For more visit:
http://www.npr.org/2013/10/02/228485169/tom-clancy-dies-left-indelible- mark-on-thriller-genre
http://www.npr.org/blogs/thetwo-way/2013/10/02/228457438/tom-clancy-master-of-military- techno-thrillers-dies
http://www.npr.org/2013/10/03/228815430/remembering-tom-clancy-faulkner-in-a-flak-jacket
http://www.npr.org/blogs/thetwo-way/2013/10/03/228758394/book-news-tom-clancy-remembered-as-the-father-of-a-genre
http://www.theguardian.com/books/2013/oct/03/tom-clancy-top-five-novels
http://www.theguardian.com/technology/gamesblog/2013/oct/03/tom-clancy-video-games
http://www.theguardian.com/commentisfree/2013/oct/03/tom-clancy-novelist-business-franchise
http://www.theguardian.com/books/2013/oct/02/tom-clancy-dies-aged-66