text:
The Rowers of Vanity Fair/Vincent E

“Eastern Finance” (Spy), April 20, 1899
''A parson and the eleventh Baronet of his family became his father two-and-forty years ago: and when he had done those things which he ought (or ought not) to have done at Eton -- among others passing head as a Student Dragoman and not taking up the appointment -- he joined the Coldstream Guards. After five years of service he became Secretary to Lord Edmond Fitzmaurice, Queen’s Commissioner on the East Roumelian Question; and so began his real acquaintance with the East. He got on; and after being a Commissioner for the Evacuation of Thessaly, President of the Council of the Ottoman Public Debt and Financial Adviser to the Egyptian Government, he was made Governor of the Imperial Ottoman Bank. He holds various Turkish Orders; he has been guilty of “A Grammar of Modern Greek” which now plagues the members of the Athenian University; he likes yachting; he cycles, and he can play billiards. He left Eton with the manuscript of his Greek Grammar; and consequently he left the Service with the name of “Sophos”: which still sticks to him. Nevertheless, he escaped through the roof of the Ottoman Bank during the great massacre. He has a unique tennis court of his own at Esher.''

He is the husband of one of the most beautiful women yet born.

Edgar Vincent (1857-1941) rowed no. 5 for Eton in the 1874 Grand and Ladies’.

Lord Kinross, historian of the Ottoman empire, recounted the escape through the roof of the bank as follows, in the context of rising Turkish-Armenian tensions:

''In August 1896, the succession of Armenian massacres culminated in Istanbul itself. Once again, as in the previous year, the Turkish authorities were presented with a pretext for action by an Armenian revolutionary group. A small body of Dashnaks was so bold as to enter the Ottoman Bank, the stronghold of European capitalist enterprise, during the lunch hour, for the ostensible purpose of changing money. Porters accompanying them carried sacks which contained, so they pretended, gold and silver coinage. Then at the blast of a whistle twenty-five armed men followed them into the bank, firing their guns and revealing that the sacks in fact were filled with bombs, ammunition, and dynamite. They declared that they wee not bank robbers but Armenian patriots, and that the motive of their action was to bring their grievances, which they specified in two documents, to the attention of the six European embassies, putting forward demands for political reform and declaring that, in the absence of foreign intervention within forty-eight hours, they would "shrink from no sacrifice" and blow up the bank.''

''Meanwhile, its chief director, Sir Edgar Vincent, had prudently escaped through a skylight into an adjoining building. While his colleagues were held as hostages, he thence proceeded to the Sublime Porte [i.e. the Turkish authorities]. Here he ensured that no police attack should be made on the Dashnaks while they remained in the bank. Thus he secured for them permission to negotiate. The negotiator was the First Dragoman of the Russian embassy, who after gaining fro them a free pardon from the Sultan and permission to leave the contry, addressed them at length and with some eloquence. Finally, with assurances of talks to come, he persuaded them to leave the bank. Retaining their arms but relinquishing their bombs, they proceeded quietly on board Sir Edgar Vincent's yacht, later to be conveyed into exile in France.''

Shortly after his appearance in Vanity Fair, Vincent went to Parliament as a Conservative. He was defeated in 1906 and again in 1910, ending an electoral career “for which indeed he was not well fitted for his rapidity of perception made him see every side of a question and stood in the way of a wholehearted accpetance of general principles.” From 1912-17 he served as chairman of the Royal Commission on imperial trade, and during the war as chairman of the Central Control Board, where he imposed heavy taxation on alcohol. In 1920 Lloyd George appointed him ambassador to Germany in recognition, in Lord Curzon’s words, that the post at that delicate time required “a close familiarity with economic and financial subjects and wide experience in dealing on friendly terms with various classes of men.” During six stressful years in Berlin, Baron D’Abernon -- he was made a peer in 1914 -- dealt with reparations, disarmament, occupation of German territory, French security, and the attempted formation of a new European order, culminating in the 1926 Treaty of Locarno that admitted Germany to the League of Nations. On return to England, he was made Viscount and spent several years as head or director of varied agencies, organizations, and philanthropies such as the National and Tate Galleries, the Lawn Tennis Association, the Race Course Betting Control Board, the Medical Research Council, the National Institute of Industrial Psychology, and the Royal Mint Advisory Committee.

The “most beautiful woman yet born”? It was Lady Helen Venetia Duncombe, his wife for fifty-one years, daughter of the first Earl of Feversham.

To a Henley Minstrel
The banjo “was quite tolerable when heard across the water,” recalled Max Pemberton of 1880s Henley, though by 1936 when he published his autobiography “[t]he gramophone has squashed the itinerant musician and the casual ballad-monger has dust in his mouth.” But such uninvited songsters were still thriving in 1904, when Vanity Fair (July 14, 1904) offered these anonymous lines:

 * TO A HENLEY MINSTREL. [[Image:Henley_Aquatic_Carnival_Punch_1889.jpg|thumb|right|500px|"Henley Aquatic Carnival," Punch, July 6, 1889 (minstrel at center bottom)]]

 * (After Swinburne.)

 * Black bawler of blithering ballads,
 * Swart (soi-disant) son of the States,
 * Why poison our lobsters and salads,
 * Turn the strawberry sour on our plates?
 * Why make heavenly Henley the target
 * Of the song (save the mark!) that you shout?
 * Why on earth don’t you go down to Margate?
 * Get out!

 * When we’re prone in a punt on the river
 * Or coiled in a cosy canoe,
 * The sweet summer stillness you shiver,
 * You cork-burning criminal, you!
 * If my bank-balance bulged to a billion,
 * Not one small, single sou would I give
 * For the songs which you steal from Pavilion
 * And Tiv.

 * Dark dealer in drivelling ditties,
 * Devoid both of tune and of sense,
 * In which not a shadow of wit is,
 * Think well ere you plague me for pence:
 * I’m not one who sticks at a trifle;
 * I know neither pity nor fear,
 * And to Henley I’m taking my rifle
 * Next year.

title: The Rowers of Vanity Fair/Vincent E


text:
User talk:Meowmom

Copyrights
Hi Meowmom, welcome to Wikibooks! I noticed you copied a bunch of recipies from recipiesource and a bunch of other websites, as mentioned in your edit summaries. Unfortunately, we cannot accept copyrighted content such as this (the copyright notice for the site is on the bottom), unless the text is licensed under the GFDL or a compatible license (which it is not). Please refrain from copying material from sites such as this. Thank you for your time. Mattb112885 (talk to me) 23:00, 9 January 2008 (UTC)

 * Hi Meowmom I assume the anon that left me a message was you. If you wrote these recipies and would be willing to release them under the GFDL, I have no problem keeping them. Sorry if it seemed like I was biting you, it's just we get people just copying stuff from those websites (most of the time written by someone else / without permission ) all the time, and though the recipies are free to print and such I don't think that in general it is acceptable to copy them onto another site (hence the copyright notices on the bottom of the sites in question). However, if you were the author of those works, just let me know and I'll remove the copyright notices (or you can remove them yourself if you wish) since in that case you'd obviously be allowed to do what you want with them, including post them on this site. Mattb112885 (talk to me) 01:08, 13 January 2008 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: User talk:Meowmom


text: User talk:203.87.213.131

title: User talk:203.87.213.131


text:
User talk:Iloveharrypotterbooks

I love Harry potter books! Right now I am on the 4th one on like page 151

title: User talk:Iloveharrypotterbooks


text:
User talk:137.186.227.126

Welcome!
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title: User talk:137.186.227.126


text: User talk:72.197.183.86

title: User talk:72.197.183.86


text:
User talk:Avocadoman333~enwikibooks

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. – Mike.lifeguard  | talk 02:19, 10 January 2008 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Avocadoman333. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Avocadoman333~enwikibooks that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

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Renamed
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title: User talk:Avocadoman333~enwikibooks


text: User talk:75.71.73.20

title: User talk:75.71.73.20


text:
User:Tcisco

I have started with edits to a page of a book.

title: User:Tcisco


text:
User talk:122.252.228.2

--- Anonymous Dissident  Talk 06:30, 10 January 2008 (UTC)

title: User talk:122.252.228.2


text:
User talk:210.212.79.38

-- Herby talk thyme 08:12, 10 January 2008 (UTC)

title: User talk:210.212.79.38


text:
User talk:Mehultrivedi

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. -- Herby talk thyme 08:30, 10 January 2008 (UTC)

Chickenfoot
This is not text book material and so is outside the project scope and will be deleted. Thanks -- Herby talk thyme 08:30, 10 January 2008 (UTC)

title: User talk:Mehultrivedi


text:
Yiddish for Yeshivah Bachurim/Print version

= Table of Contents =

 * ../Introduction/

Grammar

 * 1) ../Reading Yiddish/
 * 2) ../Conjugating verbs/
 * 3) ../Verbs with prefixes and זיך/
 * 4) ../Possessive pronouns/

Vocabulary

 * 1) ../Some very common words/
 * 2) ../Questions/
 * 3) ../Prepositions/
 * 4) ../Verbs/
 * 5) ../Nouns and adjectives/
 * 6) ../Phrases that do not fit into other lessons/

 * ../Authors/

= Introduction =

= PART 1: Grammar =

= Reading Yiddish =

= Conjugating verbs =

= Verbs with prefixes and זיך =

= Possessive pronouns =

= PART 2: Vocabulary =

= Some very common words =

= Questions =

= Prepositions =

= Verbs =

= Nouns and adjectives =

= Phrases that do not fit into other lessons =

= Authors =

= GNU Free Documentation License =


text:
Annotations of The Complete Peanuts/1963 to 1964

==1963–1964== Annotations to The Complete Peanuts: 1963 to 1964 by Charles M. Schulz (Fantagraphics Books, 2007. ISBN 156097723X

 * p. 10 (January 23, 1963). A googol is 10 to the power 100, or 1 with 100 zeros after it. It was given this name by nine year old Milton Sirotta, nephew of mathematician Edward Kasner.

 * p. 13 (January 28, 1963). See December 22, 1962.

 * p. 16 (February 5, 1963). 4 H is a youth agricultural organization affiliated with the United States Department of Agriculture.

 * p. 19 (February 11, 1963). Divinity is a nougat-like confectionery made mainly with egg white, corn syrup, and sugar.

 * p. 19 (February 13, 1963). In ten pin bowling, 300 represents a perfect score. As there are 10 frames in a game, Violet’s Dad is clearly getting ahead of himself.

 * p. 22 (February 19–20, 1963). See November 12, 1962.

 * p. 34 - 35 (March 18–23, 1963). An Honor roll is a list of students at a school recognized for their academic achievements.

 * p. 50 (April 25, 1963). See July 12, 1962.

 * p. 57 (May 12, 1963). See November 12, 1962.

 * p. 61 (May 20, 1963). The "movie" Snoopy refers to is the classic Alfred Hitchcock movie The Birds, which opened in the spring of 1963. The film was shot on location in Bodega, California - not far from Schulz's residence in Sebastopol.

 * p. 64 (May 28, 1963). Snoopy is mimicking a set of “rabbit ear” antennae on top of a contemporary television set, which needed to be adjusted in this fashion to tune in distant stations; this is still true for direct-reception even today.
 * p. 74 (June 21, 1963). Lucy is reciting "Tinker, Tailor..." She recites it again while skipping rope on March 25, 1972.

 * p. 85 - 86 (July 15–20, 1963). A total solar eclipse occurred over North America on July 20, 1963.

 * p. 94 (August 5 and 6, 1963). In baseball, a pitcher is restricted in the kind of motions he can make while pitching. If he makes an illegal movement, a balk is called and runners on base can advance one base.

 * p. 116 (September 27, 1963). The US Post Office introduced the 5-digit ZIP code on July 1, 1963.

 * p. 118 (October 1, 1963). 5’s last name is his ZIP code (95472), which is the ZIP code for Sebastopol, California.

 * p. 126 (October 20, 1963). Prayer in American public schools was declared unconstitutional in the case of Abington School District v. Schempp, decided on June 23, 1963.
 * p. 150 (December 15, 1963). Albert Schweitzer won the 1952 Nobel Peace Prize for his medical missionary work.

 * p. 164 (January 17, 1964). Schulz has made an error here - the figure should be "sixty million" and not "sixty billion."

 * p. 173 (February 8, 1964). The AMA is the American Medical Association.

 * p. 175 (February 10, 1964). The quotations are from the book The Gulistan by the 13th century Persian poet Sa-di.

 * p. 177 (February 16, 1964). Doctor Horwich refers to Frances Horwich, the educator and children's TV show hostess also known as "Miss Frances."

 * P. 182 (February 29, 1964). First mention of Snoopy being the owner of a painting by Van Gogh.

 * p. 205 (April 22, 1964). “New Math” refers to the change in how mathematics was taught in public schools in the United States during the 1960s.

 * p. 207 (April 26, 1964). Willie Mays, Alvin Dark and Orlando Cepeda were players on the San Francisco Giants baseball team. Schulz moved to northern California in 1958.

 * p. 221 (May 28, 1964). See August 6, 1962.

 * p. 227 (June 11, 1964. A beanball is a pitch that aims at the batter's body.

 * p. 230 (June 18, 1964). “Highbrow is a term derived from Phrenology, implying that an art form is intellectual, while Lowbrow is supposedly non-intellectual, and Middlebrow is somewhere in between.

 * p. 238 (July 7, 1964). Mickey Mantle was a baseball player with the New York Yankees. A tape measure home run is a particularly long home run.

 * p. 241 (July 14, 1964). Willard Mullin was an American sports cartoonist, best known for his creation of the “Brooklyn Bum”, a characterization of the Brooklyn Dodgers baseball team.

 * p. 271 (September 23, 1964). The Maccabees were Jewish rebels who ruled Judea from 164 BCE to 63 BCE.  Antiochus Epiphanes was the ruler they were rebelling against.

 * p. 274 (September 28, 1964). Willie Mays was one of the finest baseball players of his time, and indeed, of all time.  Linus has thus set his ambitions very high.

 * p. 298 (November 25, 1964). Pebble Beach is a coastal resort town in northern California between Monterey and Carmel.  It has several well-regarded golf courses.

 * p. 307 (December 14, 1964). Ipanema is a neighborhood in Rio de Janeiro, Brazil. A recording of the song "The Girl From Ipanema" became an international hit in 1964.

 * p. 310 (December 21, 1964). Luke 2:8


text:
Annotations of The Complete Peanuts/1965 to 1966

==1965–1966== Annotations to The Complete Peanuts: 1965 to 1966 by Charles M. Schulz (Fantagraphics Books, 2007. ISBN 1560977248)

 * p. 2 (January 3, 1965). Billiard balls were made from elephant ivory from the 17th century until the early 20th century. English is a term referring to putting a spin on the cue ball by striking the ball off-center with the cue.

 * p. 4 (January 9, 1965). Annette Funicello was an original cast member of The Mickey Mouse Club TV show in 1955, when she was 13 years old. This strip was published on the day of her wedding to Jack Gilardi.

 * p. 13 (January 30, 1965). “I could have skated all night“ presumably refers to the song "I Could Have Danced All Night" from the musical My Fair Lady.

 * p. 28 (March 4, 1965). A cinch notice is an official notice from a teacher that your grades are unsatisfactory.

 * p. 32 (March 14, 1965). The first reference in Peanuts to the kite-eating tree.

 * p. 47 (April 18, 1965). In baseball, a bean ball is a ball thrown by a pitcher directly at a player with the intent of hitting them.  The Children's Crusade was a possibly legendary event that occurred in 1212 during  The Crusades.  The incident at Harper’s Ferry was an attempt by abolitionist John Brown to start a slave revolt in 1859.

 * p. 52 (April 30, 1965). In the sixth chapter of Daniel, Daniel is thrown into a lions’ den for refusing to stop praying to his god.  See also October 20, 1963.

 * p. 54 (May 5, 1965). First mention of Snoopy's siblings.  First mention of the "Daisy Hill Puppy Farm."

 * p. 70 (June 11, 1965). Roy’s first appearance.  Roy was best known for later introducing Peppermint Patty to the rest of the cast.  See August 22, 1966.

 * p. 75 (June 23, 1965). At the time of this strip, the phrase À gogo was supposed to mean modern or up-to-date.  The actual meaning of À gogo is “plenty” or “galore”.

 * p. 84 (July 12, 1965). First instance of Snoopy writing "It was a dark and stormy night." The sentence is taken from the novel Paul Clifford by Edward Bulwer-Lytton.

 * p. 96 (August 9, 1965). There are several meanings claimed for 'hodad', but it appears that Schulz is referring to someone who brings a surfboard to the beach but never surfs, i.e. a poser.

 * p. 97 (August 14, 1965). It is difficult to know if this is a reference to the Houston Astrodome, which opened in April 1965 with natural grass as the playing surface. The grass soon died due to painted-over skylights, but artificial grass was not installed until 1966.

 * p. 98 (August 15, 1965). The phone number given in the last panel was actually the phone number of producer Lee Mendelson, who at the time was working on the very first animated Peanuts special, A Charlie Brown Christmas.

 * p. 99 (August 19, 1965). Brahms' Symphony No. 4 in e minor, op. 98.

 * p. 102 (August 24, 1965). An Australian phrase meaning an all-out effort. "Bush" is Australian slang for a sparsely populated area or for wilderness.  An equivalent phrase in American English would be "The Super Bowl or bust!"

 * p. 107 (September 5, 1965). Lucy's comments on the relationship between sin and personal misfortune reflects the conception of happiness in the Old Testament. She will often come back to it again, for example in the doghouse fire series (see p. 271, September 24, 1966).
 * p. 109 (September 9, 1965). The phrase “It is far better to light the candle than to curse the darkness” originated in a sermon from a 1907 collection titled “The Supreme Conquest and Other Sermons Preached in America” by William L. Watkinson. Slight paraphrases are widespread, including one which was used by the founder of Amnesty International and which inspired their logo.

 * p. 113 (September 19, 1965). Lord Jim is a novel by Joseph Conrad, while the 1812 Overture is a well known piece of orchestral music composed by Pyotr Ilyich Tchaikovsky.

 * p. 120 (October 6, 1965). See April 22, 1964.

 * p. 122 (October 10, 1965). Snoopy’s first appearance in his most famous persona, the World War I flying ace. The Sopwith Camel was a British single seat fighter aircraft employed by the allies at the end of World War I.  The Red Baron was a nickname for German fighter pilot Manfred von Richthofen, the highest scoring German ace of the First World War.

 * p. 129 (October 26, 1965). In the last panel, the phrase “ you try harder” is a reference to the corporate motto of Avis Rent a Car. At the time, Avis conducted an extensive advertising campaign around the phrase “We’re number two because we try harder” versus the leading rental car company, Hertz.

 * p. 135 (November 8, 1965). The beginning of Mark Antony's speech in Shakespeare's Julius Caesar, Act III scene 2.

 * p. 144 (November 29, 1965). Amblyopia is a visual deficiency in an eye that is otherwise physically normal.  Schulz calls Sally’s condition Amblyopia ex anopsia, but the symptoms and treatment sound more like Stabismic amblyopia.  Sally will continue to wear the eye patch in most strips until May 1966.

 * p. 147 (December 6, 1965). In 1951, the Hathaway shirt company ran its first advertisement that featured a distinguished man in a shirt and tie and wearing an eyepatch. The ad campaign was extremely successful and "The Man in the Hathaway Shirt" became the icon for the company.

 * p. 147 (December 8, 1965). Long John Silver is a pirate character from the novel Treasure Island by Robert Louis Stevenson.

 * p. 168 (January 24, 1966). Schulz repeats the same gag on December 20, 1966.  See p. 309.

 * p. 175 (February 12, 1966). The quotation in panel 3 is from Psalm 35, verses 1 and 15.

 * p. 177 (February 15, 1966). See September 28, 1964.

 * p. 192 (March 21, 1966). Fort Zinderneuf is the main setting of the novel and film Beau Geste, which is about French Foreign Legionnaires. Other references to Beau Geste appear in April 1966 strips.

 * p. 194 (March 27, 1966). The baseball teams that Linus lists are the National League and the American League second place winner for each year.

 * p. 210 (May 3, 1966). Commissioner Eckert was Commissioner of Baseball William Eckert, who was commissioner between 1965 and 1968.

 * p. 215 (May 15, 1966). There is an interesting mismatch between the daily strip and the Sunday strip here—Linus, who has moved away in the daily strip is present for the baseball game in the Sunday strip!

 * p. 216 (May 18, 1966). In the last panel, Schroeder is referring to another piece of music from the musical My Fair Lady, "I've Grown Accustomed to Her Face".

 * p. 232 (June 23, 1966). The quotation is from Jeremiah 31, verses 16-17.  Linus' speech happens at a time of rising anxiety in America about the sudden escalation of the Vietname War.

 * p. 248 (July 31, 1966). K.P. stands for "kitchen patrol" or “kitchen police“, military slang for kitchen duties.

 * p. 253 (August 11, 1966). Snoopy describes the Allies position at the battle of saint-Mihiel.

 * p. 255 (August 16, 1966). Apparently a reference to the German word "Kamerad" (comrade) which was used as a term for surrender.

 * p. 258 (August 22, 1966). The first appearance of Peppermint Patty.

 * p. 262 (September 1, 1966). Leonard Bernstein was a famous conductor and composer of the time.

 * p. 294 (November 15, 1966). In the late 1960’s and early 1970’s, “fuzz” was slang for the police.

 * p. 307 (December 17, 1966). The quotation is from Act II, Scene II of Romeo and Juliet.

 * p. 309 (December 20, 1966). Schulz had drawn the same gag on January 24, 1966.  See p. 168.


text:
User talk:Rush4rk

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. -- Herby talk thyme 12:29, 10 January 2008 (UTC)

Wikibooks
This wiki is about content and not external links. Please do contribute content however generally external links will be removed - thanks -- Herby talk thyme 12:29, 10 January 2008 (UTC)

title: User talk:Rush4rk


text:
User talk:169.244.203.203

- Anonymous Dissident  Talk 15:26, 10 January 2008 (UTC)

Blocked
Grow up -- Herby talk thyme 13:48, 16 January 2008 (UTC)

title: User talk:169.244.203.203


text: Wikibooks:Requests for deletion/Tactical Combat


text:
Talk:Tactical Combat

The 2K Move
mediawiki.org/wiki/Topic:Wdd6evd6wn07i1y2

title: Talk:Tactical Combat


text: User talk:91.124.157.52

title: User talk:91.124.157.52


text: User talk:195.178.56.147

title: User talk:195.178.56.147


text: User talk:Shiit hedz on wheeeels

title: User talk:Shiit hedz on wheeeels


text:
Yiddish for Yeshivah Bachurim/Possessive pronouns

Possession can be demonstrated by adding 'ס, just like 's in English. It is also pronounced as a z sound, similar to English.


text:
The Rowers of Vanity Fair/Angle BJ

“Jack in the Box” (F.C.G.), April 5, 1890
''It is only five-and-thirty years -- not five-and-forty, as most people believe -- since he was born at Hendon, where he rapidly developed much muscle and waxed exceedingly. Before he was eighteen years old he became quite well known in the athletic world. He rowed his first race on the River Lea eighteen years ago, and he has since won the Thames Cup and the Grand Challenge for the Thames Rowing Club; he devoted a space to running, and won pots at the London Athletic Club and at other meetings; and he became, and for long remained, a force among Rugby Unionists, and, playing for the Wasps’ Football team, used to throw opposing footballers about as a child throws tin soldiers. But having now become a popular member of the Stock Exchange and altogether a big man, he has put away childish things and has grown grey and staid. Yet he is still identified with every branch of athletic exercise, and much honoured in the observance thereof.''

''He has boxed many people with vigour, and is still quite a hard man to mark. And though he is now more bulky and less easily moved than he was, yet, being an honourable man, he is everywhere accepted as the fairest and best possible judge of other people’s performances with their fists. Consequently he is generally wanted when there is any sparring to be done. A practised swordsman, he is otherwise extremely well able to take care of himself, as frequenters of Angelo’s -- where he is often seen to illustrate the uses of both the small sword and the sabre -- well know. He is something of a seaman, for he holds a Board of Trade certificate of competency; and he has been a prominent member of the Corinthian Yacht Club. He has been seen with a gun; but he does not always hold it straight when it goes off.''

Everyone likes “Jack,” in the box or out of it.

Bernard Jack Angle (1855-1932) rowed for the Thames R.C. at Henley from 1874 to 1878, winning the Thames Challenge Cup 1874 and the Grand in 1878. The 1878 crew was “one of the lightest and worst crews (as regards rowing form) that ever rowed for the Grand,” recalled “Piggy” Eyre, one of its members. “Angle was enormously strong, but muscle-bound, and inclined to pull with his arms at the finish, and too stiff altogether. He, however, really came on wonderfully during the Henley week, and, I do not doubt, was most effective in the race.”

By the time Angle appeared in Vanity Fair, he had set down his oars and become a well-known boxing referee at the National Sporting Club, a sport for which the Thames R.C. and F.V. Brooks’ West London R.C. were known in their day. Angle and two non-rowing lights of the N.S.C. “were men of dress and address -- what used to be called ‘swells,’ in fact.” For the transition from oarsman to referee, Angle owed something to Bill East, who won Doggett’s Coat and Badge in 1887 and the professional championship of England in 1891, rowed with C.W. Dilke and Rupert Guinness, and became the Thames R.C. boatman. East shared in Angle’s first fight under Prize Ring rules. “It was between two cabmen for a small stake,” Angle wrote, “and took place by moonlight on the Half Moon Ground, Putney. It was really good until a sudden interruption by the police caused a hurried retreat over a fence, which landed me in a pigsty, necessitating a plunge into the river, all standing.” A co-founder in 1881 of the Amateur Boxing Association, Angle by his own account refereed “the majority of the big fistic encounters decided in this country during a period of nearly forty years,”  as well as the 106-round Paris match between Jem Smith and Jake Kilrain on December 19, 1887, without ever entering the ring to control a fight. Not surprisingly then, Angle’s autobiography (“the story of fifty-five years of active association with manly games”) devotes almost 200 of its 250 pages to the sweet science: “There is nothing that men of British blood love and admire so much as hard, straight, clean hitting above the belt. It was by this means we taught the world to respect us.... [W]e punch and punish just as lustily and just as heartily as ever we did. That is one of the many revelations made by the War that we ought to be thankful for.”

Gardeners and clerics take note: Francis Carruthers Gould, Vanity Fair ’s artist, could hardly resist the visual puns of adorning Mr. Angle’s lapel with Arisaema triphyllum -- Jack in the Pulpit, with the man himself at the center of the flower -- and of having him stand at a religious lectern.

Henley 1878: Thames R.C. in the Grand
In the 1878 final for the Grand, Thames faced off against a Jesus crew averaging a stone heavier and loaded with past and future Blues. “The general opinion among the cognoscenti,“ Angle recalled, was that “Thames, despite their splendid condition, had not the weight or power necessary to give them any chance of victory.” From B.J.’s angle, the race went thus:

''At the word “Go!” both crews got off on level terms, Jesus starting forty-two to our forty-four, but the great strength of the Cantabs soon began to tell its tale, and they gradually drew away from the lighter Thames crew. By the time Fawley was reached they had a lead of nearly a length, Thames still rowing forty-four, but directly Prest dropped his rate of stroke Thames began to come up, and he again had to quicken. His crew, however, were now plainly to feel the effects of the rapid stroke, and at the White House Thames came up, and before Poplar Point was reached had drawn ahead, and were leaving their opponents at every stroke. We continued to gain all round the bend, and were a quarter of a length clear when coming into the straight for home.''

''Prest now called on his men for a final effort, and a grand one it was. It really looked as if we might be beaten after all, but again our condition told its tale, and Hastie, still keeping his length without reducing his rate of stroke, stalled off the Jesus spurt, and amid a tornado of tideway cheers, drew clear away from the plucky Cantabs, to win by a good two lengths.''

''It is needless to say both crews finished in rather ragged form, Thames being the worse in this respect. As we passed under Henley Bridge an enthusiastic Thames man, who had only just arrived and was running over the bridge, caught a glimpse of us as we passed under, rowing in anything but good form. He took it for granted that we had been beaten. On rushing down to the landing-stage to utter words of sympathy and comfort, it is painful to relate that Hastie cut his commiseration short by telling him not to be such a past participled fool as not to know a winning crew from a losing one.''

title: The Rowers of Vanity Fair/Angle BJ


text:
Category talk:Books with print version

Duplication
Why do most, but not all books have both the title page and print version listed here? --Clum (talk) 18:24, 10 January 2008 (UTC)

 * That's an annoyance to me too, but there is really no good way to fix it. Books are added to this category using the template. What happens is that many books put this template on the main page or on the cover page. When the print version is created, the main page will be included in the print version, and so the  will also be included as well. There are some tricks we could use to try and prevent that, but in general it's more hassle then it's worth. --Whiteknight (Page) (Talk) 18:32, 10 January 2008 (UTC)

 * Are you sure? It seems that both and  both add the page to this category.

--Clum (talk) 20:09, 10 January 2008 (UTC)

title: Category talk:Books with print version


text:
The Rowers of Vanity Fair/Grenfell WH

“Taplow Court” (Spy), December 20, 1890
''Born five-and-thirty years ago of a family of traditional Liberals, he soon showed himself the sturdy child who has since developed into the record-breaking athlete in whom matter has not, as usual, triumphed over mind. His life has been a compendium of athleticism varied with classical learning and political fighting. He began as proxime accessit for the entrance Scholarship at Harrow, where he won the Mile, and played twice in the Eleven against Eton. As a Balliol man, he ran three miles against Cambridge; helped to row a dead heat against Cambridge when only a broken oar saved the Light Blue crew from that beating which he easily helped to give them in the following year; and was made President of the University Athletic Club, and of the University Boat Club. He also hunted the Draghounds. Yet in spite of all this hard work he contrived to take a second-class in Moderations, which is an Honour Examination devoted to Classical Scholarship, and only failed to score more honour in “Greats” because he was temporarily disabled by illness. He has moreover thrice climbed the Matterhorn among many other mountains; he has twice swum Niagara; he has rowed across the English Channel in a clinker-built eight; he has sculled from Oxford to London in a day; he has made a couple of expeditions to the Rocky Mountains; and he has thrice been declared Punting Champion of the Thames.''

''Yet he has found time for other pursuits. He has been Private Secretary to a Chancellor of the Exchequer; he has been twice elected Member for Salisbury; and five years ago he saw fighting as special correspondent for the Daily Telegraph at Suakin. But three years back he settled down as the husband of a charming lady, and he now seems more or less contented in the hunting of the Harriers which originally belonged to the Prince Consort.''

''He is a Justice of the Peace for two counties, and Deputy-Lieutenant for the Tower Hamlets. He has two boys who promise to be worthy sons of their father. He is a good, strong fellow off whom no one is known to have scored save certain unknown burglars at Taplow Court; whom he has never been able to meet.''

William Henry Grenfell (1855-1945) rowed for Oxford in the 1877 and 1878 Boat Races and in 1881, while a Liberal M.P. for Salisbury, rowed for Leander in the Grand. When Vanity Fair featured him in 1890 in riding garb, his competitive rowing years were over but he continued to fence, hunt, fish, and ride, altogether “show[ing] a versatility unmatched by any of his contemporaries.” He had a cameo in Vanity Fair ’s 1896 summer number by Hal Hurst, “Cycling in Hyde Park.”  In 1906 (at age forty-three) Grenfell was a member of the English épée team at the Athens Intercalated Games, and by age sixty-four had bagged about 850 stags, a good number on behalf of “the Venison Committee” during the 1914-18 war. Before the war he coached a number of Oxford crews and hosted them at his house near Henley, Taplow Court.

Grenfell’s dual presidency of the O.U.B.C. and O.U.A.C. foreshadowed a lifetime of such stints at the head of sporting organizations, including the Amateur Fencing Association, Henley Regatta (steward), Lawn Tennis Association, the Marylebone Cricket Club, and the 1908 London Olympics. He rose to the top outside of sport as well, serving as president or chairman at various times of the London Chamber of Commerce, the Royal Agricultural Society, and the Thames Conservancy (of which he was chairman for thirty-two years), as well as various local government posts and any number of ad hoc committees from local to international. His obituarist concluded: “With his union of social gifts, personal charm, and administrative ability, he was known as a man who could get things done, and at one time he was actually serving on 115 committees. The multiplicity of his interests was indeed only matched by his industry and sense of duty.”

Grenfell was made Baron Desborough in 1905 but the peerage became extinct in 1926 on the death of his third son in a motor accident, the older two having been killed in action in 1915.

The 1877 Boat Race: The Dead Heat
In 1877 Oxford led after Barnes Bridge but stalled when their bow cracked his oar and foundered. Cambridge caught up and the finish judge, who had no posts to mark the line, declared the result a dead heat, the only one on record. Vanity Fair did not report on the Boat Race that year but R.C. Lehmann recalled it as follows:

''[Cambridge] had great trouble with regard to their boat. The craft that Swaddell and Winship built for them was too small, and was, moreover, so heavily cambered that she failed to maintain her course in a beam wind. On the morning of the race they attached a false keel to the stern half of their boat, but failed to add a corresponding piece to her rudder. Notwithstanding this device, their boat began, as soon as they got into the rough water above Hammersmith Bridge in the race, to pay off into the wind. While the Oxford boat was keeping a straight course, I saw Davis, the Cambridge coxswain, continually using his right hand rudder line, while his boat moved sideways as a St. Bernard dog does when he is running. At Barnes Bridge, Oxford had cleared their rivals and seemed certain of victory. Just beyond Barnes there was heavy swell caused by a tug or a launch that had just passed up the course. Suddenly we, who were on the steamer behind, perceived that Cowles, the Oxford bowman, was in trouble; he had apparently caught a crab, and his oar seemed to be damaged, for he did not use it for several strokes, and then, instead of rowing properly, he appeared to flap it about in the water and only occasionally attempted to row a stroke with it. Cambridge were rowing the Surrey station, that is on the outside of the last bend. They spurted with extraordinary pluck and determination at this point and began to gain rapidly on the leaders. Up and up they came, and at the end of the race it was impossible for any one behind to say which crew had won. The judge of the finish was an old waterman named John Phelps, “Honest” John Phelps, as he was always called. He was stationed in a moored boat at the finish, but there were then no posts on either bank by which he could take his line. He had to judge this as best he could. In the following year, the two Presidents had finishing posts fixed and there they remain to this day. After the race was over nobody know which crew had won. The Umpire, Mr. Justice Chitty, was waiting on the Umpire’s steamer, but as Phelps did not come aboard he had to hurry back to his duties in London, leaving word, that Phelps was to come and see him later on in his Court. When Phelps arrived there, he was immediately questioned as to the result of the race. For answer he placed the two palms of his hands together, and, moving them slightly backwards and forwards, said, “They were going like this, sir; I couldn’t separate them.” The result of the race, therefore, was given as a dead heat. Mr. Justice Chitty, himself, told me this part of the story some years afterwards.''

Phelps was in Robert Coombes’ four that beat Harry Clasper in the 1845 Thames Regatta. The 1877 race was his last to judge, and no waterman was ever permitted to do it again. Finish posts were installed for all future races.

title: The Rowers of Vanity Fair/Grenfell WH


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The Rowers of Vanity Fair/Lehmann RC

“Rudy” (Spy), January 17, 1895
''He got his second name through his mother, the daughter of Robert Chambers, eight-and-thirty years ago; and as both his father and his mother knew Dickens, George Eliot, Browning, and a host of other such famous writers, it is natural that he should himself be an author. But he is more. From school he went to Cambridge; and having been athletically inclined since he first ran laps round the nursery table, he became First Boat Captain of First Trinity. Having just missed his “Blue,” he left Cambridge and was presently converted into an excellent coach; than whom none is better known on the towpath to this day. He has coached half-a-dozen ‘Varsity Eights, being in as much request with Oxford as with Cambridge, and always ready to do his best for either. He was last year Captain of Leander; he is Secretary of the Amateur Rowing Association; and he is only less well-known at Henley than he is at Bourne End, where he has built for himself and his friends a comfortable house, which he calls Fieldhead. He has also won trophies with his legs, with his wrists, and with his fists. At an athletic meeting of the Middlesex Yeomanry he won the hundred yards, the quarter-mile, the hurdles, and the cricket ball throw right off; he has gained a prize for regimental swordsmanship; and he was middle and heavy weight boxing champion at Cambridge. He also owns and edits The Granta, wherewith he has succeeded in showing that a University paper may be made to pay; and besides all these athletic attainments he is a good shot who has taught much in his “Conversational Hints to Young Shooters.” Half-a-dozen years back he was asked to join the staff of Punch, and did so; in spite of which he is a merry fellow who can really write funny stuff in the way of bright parody and clever burlesque.''

''He is an all-round sportsman whose house is full of prizes, trophies, medals, presents, and mementoes: in all of which he takes a proper pride. Politically, he is a wicked, ambitious Liberal, who once dared to stand for Cambridge University when he might have been returned for East Hull; but this may be only another sign of the keen sense of humour that is in him. He is a Justice of the Peace for Bucks; a wholesome, sound, fellow whom everyone likes; and an excellent host, who is always ready to help a friend.''

He loves dogs.

Rudolf Chambers Lehmann (1856-1929) fared worse at Henley than any other rower of Vanity Fair who competed there: he finished last in every heat he entered, from the 1877 Visitors’ to the 1888 Wyfolds. Yet it is not for this record that he is best remembered in rowing, but as coach and author. From 1891 to 1903 he focused on Oxford and Cambridge, generally as a finishing coach for one or the other but in 1892 for both. He also coached at various times Leander, Harvard, Trinity College Dublin, and the Berlin Rowing Club. “It was characteristic of him that he gave his valued services to two countries, three universities, and several colleges besides his own; he was not only a fine coach but a great oarsman, and his high ideals in both respects has had lasting influence on the standard and spirit of international, as well as intercollegiate, rowing.”  As an author, Lehmann became the “Poet Laureate of rowing” with verse and reminiscences that appeared most often in Granta and Punch. His prose included Rowing (1897, for the Isthmian Library) and The Complete Oarsman (1908).

Outside of rowing, Lehmann kept to the broad trajectory outlined in Vanity Fair ’s 1895 biography. He came into Parliament with the Liberals from 1906 to 1910 as a member for the Harborough Division of Leicestershire. During the war he volunteered in various ways on the home front and his health ebbed. The balance of his professional energy went to literary and local political affairs around Bourne End, where he died in 1929 of pneumonia, age 73. “‘Rudie’ Lehmann was a man of many talents, many interests in life, and, above all, very many friends,” wrote The Times. “As humorist, journalist, oarsman and rowing coach, man of letters, barrister, and politician, he was continually adding to their number, and all of them, especially those whom he first knew and helped in their early manhood, will look back with affectionate gratitude to his ever-ready sympathy and kindly encouragement.” To son John, writing of his own boyhood at Bourne End, the sweep oars stacked in the Fieldhead boathouse, where Lehmann had hosted the light and dark Blues, “called out of a legendary past for me my father’s rowing fame and a picture far more human and vital than the ‘Spy’ cartoon that hung in the bedroom corridor, of a man supple, athletic, radiant in the confidence of his strength and the love that all who knew him bore towards him.”

“The Perfect Oar”
By R.C. Lehmann:

 * Once on a dim and dream-like shore
 * Half seen, half recollected,
 * I thought I met a human oar
 * Ideally perfected.

 * To me at least he seemed a man
 * Like any of our neighbours,
 * Formed on the self-same sort of plan
 * For high aquatic labours.

 * His simple raiment took my eyes:
 * No fancy duds he sported,
 * He had his rather lengthy thighs
 * Exiguously “shorted.”

 * A scarf about his neck he threw;
 * A zephyr hid his torso;
 * He looked as much a man as you --
 * Perhaps a trifle more so.

 * And yet I fancy you’ll agree,
 * When his description’s ended,
 * No merely mortal thing could be
 * So faultlessly commended.

 * I noted down with eager hand
 * The points that mark his glory;
 * So grant me your attention, and
 * I’ll set them out before ye.

 * His hands are ever light to catch;
 * Their swiftness is astounding:
 * No billiard ball could pass or match
 * The pace of their rebounding.

 * Then, joyfully released and gay,
 * And graceful as Apollo’s,
 * With what a fine columnar sway
 * His balanced body follows!

 * He keeps his sturdy legs applied
 * Just where he has been taught to,
 * And always moves his happy slide
 * Precisely as he ought to.

 * He owns a wealth of symmetry
 * Which nothing can diminish,
 * And strong men shout for joy to see
 * His wonder working finish.

 * He never rows his stroke in dabs --
 * A fatal form of sinning --
 * And never either catches crabs
 * Or misses the beginning.

 * Against his ship the storm winds blow,
 * And every lipper frets her:
 * He hears the cox cry, “Let her go!”
 * And swings and drives and lets her.

 * Besides, he has about his knees,
 * His feet, his wrists, his shoulders,
 * Some points which make him work with ease
 * And fascinate beholders.

 * He is, in short, impeccable,
 * And -- this perhaps is oddest
 * In one who rows and looks so well --
 * He is supremely modest.

 * He always keeps his language cool,
 * Nor stimulates its vigour
 * In face of some restrictive rule
 * Of dietary rigour.

 * And when the other men annoy
 * With trivial reproaches,
 * He is the Captain’s constant joy,
 * The comfort of his coaches.

 * When grumblers call the rowing vile,
 * Or growl about the weather,
 * Our Phoenix smiles a cheerful smile
 * And keeps his crew together.

 * No “hump” is his -- when everything
 * Looks black his zeal grows stronger,
 * And makes his temper, like his swing,
 * Proportionately longer.

 * One aim is his through weeks of stress: --
 * By each stroke rowed to aid work.
 * No facile sugared prettiness
 * Impairs his swirling blade-work.

 * And, oh, it makes the pulses go
 * A thousand to the minute
 * To see the man sit down and row
 * A ding-dong race and win it!

 * Such was, and is, the perfect oar,
 * A sort of river Prince, Sirs;
 * I never met the man before,
 * And never saw him since, Sirs.

 * Yet still, I think, he moves his blade,
 * As grand in style, or grander,
 * As Captain of some Happy-Shade
 * Elysian Leander.

title: The Rowers of Vanity Fair/Lehmann RC


text: User talk:204.98.2.180

title: User talk:204.98.2.180


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User:Whiteknight/New Book Guide/Tools

I've created a number of tools for helping to automate or semi-automate the process of creating and improving books. I know that other users have similar tools, or are developing them. I will be creating new tools in the future as well. All my gadgets are easily accessible from User:Whiteknight/Book Creator.

To install all of my tools at once, go to Special:Preferences and click on the "Gadgets" tab. From there, check the box for "Whiteknight's Book Creator". This will install all my currently available tools and gadgets (requires Javascript).

title: User:Whiteknight/New Book Guide/Tools


text:
Choosing High Quality Children's Literature/Poetry

Poetry is easy to recognize but hard to define. Let's start with Webster's definition, "The art of rhythmical composition, written or spoken, for exciting pleasure by beautiful, imaginative, or elevated thoughts." As lovely as that sounds, it may already say too much about this unique and unpredictable art form. Rhythm is important, perhaps the only element in poetry we can truly count on. Rhymes are optional, but some sort of rhythm to the reading of quality poetry will always almost exist. We can experience poetry through our eyes or our ears. It is usually meant to excite pleasure but it can also reflect sorrow or regret; meaningful but not necessarily pleasurable. That brings us to "beautiful, imaginative, or elevated thoughts." Poetry often contains these things, but sometimes it can just be silly and simple. So, while Webster's Dictionary defines poetry in words far better than I could have come up with, it still may not include the full picture of what poetry is.

Types of Poetry
There are many types of poems and more types are just waiting to be invented. Maybe you or your children will be the ones to create a whole new style of poetry.

Acrostic
You write one word vertically and use the letters in that word as the first word in words you write horizontally. This is a fairly easy type of poem for kids to create and they can use their own name as the starting word or another word that they want to tell about.

Cinquain
These poems have five lines. The first and last lines are the same single word which will be the title (the last line could be a variation of the word). The second line is two words that describe the title. The third line is three words long and includes an action. The fourth line is four words long and express a feeling. These are also relatively simple poems for students to create and again they can use their own names for the titles.

Haiku
Usually about nature, this style from Japan consists of three unrhymed lines. The first and last line contain five syllables and the middle line has seven syllables. These are easy in theory to fill in the syllables, but it can be hard for the students to actually make them meaningful.

Free verse
There is no fixed pattern and it can, but does not have to, use rhyming words.

Lyric
Lyric poems focus on feelings and visualizations rather than on a story.

Narrative
Narrative poems tell a story.

While the structured style of Cinquains, Acrostic, and Haiku are easier to teach and have students replicate, there is more creativity, choice, and excitement (to my mind) when you can lead your students to free verse, lyric, or narrative poetry.

What Should We Do With Poetry?
Poetry should not be a chore. If kids have to memorize and recite a poem the teacher selects or determine the underlying meaning of a poem according to their teacher's interpretations, poetry ceases to be fun. Like anything else, kids need to explore poetry. They should be exposed to poetry, in many different forms, throughout the year. It should not just be part of a special poetry unit that we then leave completely behind. Poetry is great for transition times or when you finish something with just a few minutes to spare.

"Poetry needs to be performed and dramatized. Take some chances and try out different effects (using different voices, elongating words, singing, shouting, whispering, pausing dramatically, and so on) as you read poems aloud.  Your voice is a powerful tool: You may change it from louder to softer to only a whisper; you may start at a deep, low pitch and rise to a medium and eventually high pitch; you may speak very quickly in a clipped fashion and then slow down and drawl out the words." (Lynch-Brown/Tomlinson: Essentials of Children's Literature. p.70)

Have students find a poem they love and share with the class. As teachers or parents, we can create lots of opportunities to share poems we like and think our children will like, but kids should have that opportunity as well. Let them read a poem to the class that is special to them. Let kids discover their own meanings in poetry and discuss those meanings without making them conform to an understood critical meaning. Some poems would lend themselves well to having the students act them out. Kids need to discover that poetry can be sweet or silly, short or long, fun, thoughtful, or personal. It can have more than one voice. Help them find connections to their lives. Tie poetry in to other areas. You could introduce a Science lesson by reading a related poem.

When you are ready for children to create their own poetry, make sure you have introduced them to several different forms and then let children choose a style to create their poem in. Have fun! If you do not enjoy poetry, try some different kinds. Keep looking until you find something you like and then expand upon that. If you yourself are not excited about the poems you are reading, it will show through to the children and they will have little reason to get excited themselves.

Selecting High Quality Poetry Books
The best way to tell if you have a good poetry book is simply to try it out. Read a few poems. Most poems are relatively short and it doesn't take long to read a few. Don't just read the first couple poems, flip to the middle and the back too. Do you like them? Do they make you smile, laugh, or cry? If you can't answer yes to any of those questions, you probably want to find another book.

Poetry should sound good when it is read aloud. It should have a rhythm to it. It should use language that is interesting and non-repetitive unless the repetition serves a strong and effective purpose. Because poetry can exist for so many reasons, the use of language is hard to define into one set criteria. It might be beautiful, flowing language with impressive words or it might be cute, simple words that are fun.

Illustrations can be a terrific added bonus, but you can find good poetry without illustrations (or with mediocre illustrations).

There is so much freedom with poetry, it doesn't have to be accurate or realistic unless it claims or implies that it is. When you are dealing with real people or places in a realistic way, then poetry has the same obligation that other genres have in providing accurate details. It also has an obligation, as does all literature, to avoid harmful stereotypes (culture, gender, disabilities, etc.).

If you simply don't know where to start, try some of the books I recommend below - or ask a librarian, a teacher, or a friend. Someone will be glad to help get you started. Once you've begun, follow authors you love and seek out more of their work.

Reaching Out to Boys
I wrote this poem to address the reluctance of boys when it comes to poetry and how we, as teachers or parents, can overcome this problem and show even little boys the pleasures of poetry. The work of Jack Prelutsky is one great way to penetrate the guarded shell that boys may have put up and offer them images far from what they expected to find in poetry, such as the fantastically awful beings that inhabit Monday's Troll and The Dragons Are Singing Tonight (both of which are referenced in the poem).

Rainy Day Poems
2012. Poems and artwork by James McDonald. A fantastic collection of new poems from a relatively obscure poet whose first foray into the published word has released a collection of poems revolving around the adventures of two kids, Sami and Thomas, that take place in the Pacific Northwest. Other books by James McDonald are: Through the Milky Way on a PB&J.

Monday's Troll
1996. Poems by Jack Prelutsky. Pictures by Peter Sís. This is my favorite book by Prelutsky. It begins and ends with great poems about wizards and there are all kinds of delightfully dreadful creatures in between. He uses some great language in this book. "I escalated my harangue, and blared triumphantly." These are advanced words that many poets would leave out of children's poetry, but it will sound great to kids and they may even add some very impressive words to their vocabulary along the way. Other Prelutsky books I highly recommend: The Dragons Are Singing Tonight, The Gargoyle on the Roof, Tyrannosaurus Was a Beast.

A Light in the Attic
1981. Poems and drawings by Shel Silverstein. Silverstein's popular work is loaded with small, silly, fun poems. Some are fabulous and you'll pick your favorites. My favorites include Nobody, Messy Room, and Homework Machine, as well as the sweet introduction to sign language Deaf Donald. There will be other poems you are less fond of, but there are so many great ones, you'll ignore the occasional dud. Silverstein's Where the Sidewalk Ends is another terrific collection very much like this one.

Casey at the Bat: A Ballad of the Republic Sung in the Year 1888
2000. Poem by Ernest L. Thayer. Illustrated by Christopher Bing. This poem originally appeared in the San Francisco Examiner in 1888 and is a treasure in and of itself. Christopher Bing, however, has enriched the poem with spectacular illustrations in the style of newspaper clippings of the day with terrific details scattered throughout. Christopher Bing also does a magnificent job of illustrating The Midnight Ride of Paul Revere by Henry Wadsworth Longfellow.

If Pigs Could Fly... And Other Deep Thoughts
2000. Poems by Bruce Lansky. Illustrated by Stephen Carpenter. A terrific collection of fun poems that will leave you smiling. I Like My Nose is a terrific little poem about what would happen if our noses were upside down. What I'd Cook For My Teacher would be a fun treat for kids to hear. Out of Control, where the TV station keeps getting switched after a quick catchphrase, would be so much fun reading in parts - in fact, I plan to try that tomorrow. (I have now tried it twice, with 3rd and 5th graders, and it worked splendidly both times, exciting both the performers and the audience).

Insectlopedia
1998. Poems and paintings by Douglas Florian. Really cool poems all about bugs with great illustrations. Highlights include The Hornet, The Whirligig Beetles, and The Army Ants.


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User talk:Kkid15234

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. – Mike.lifeguard  | talk 19:03, 10 January 2008 (UTC)

title: User talk:Kkid15234


text:
Choosing High Quality Children's Literature/Realistic Fiction

By: Melody Diosi and Jennifer Yutzy

What is Realistic Fiction? Realistic Fiction books are those that have plots, characters, and settings that could be found in real life but the stories are fiction (not true). Realistic Fiction is divided into two parts: historical and contemporary fiction. Historical fiction takes place in a time remote enough to be considered history, rather than contemporary fiction which takes place today or in the recent past.

Criteria for Realistic Fiction
We have found 8 important criteria for finding a high quality Realistic Fiction book. Along with some of the criteria there is a suggestion for a Realistic Fiction book.

 * 1) Must grab the reader's attention and/or interest with a good beginning that introduces the action and characters in an enticing way. Suggestion: Taking Sides by: Gary Soto which is a story about Lincoln Mendoza, an aspiring basketball player, who must come to terms with his divided loyalties when he moves from the Hispanic inner city to a suburban neighborhood.
 * 2) Must be something the reader can relate to such as friendships, family life, school, or childhood. Suggestion: Are You There God? It's Me, Margaret by: Judy Blume which is about a girl who is faced with difficulties of childhood and choosing a religion.
 * 3) Must give the reader a strong connection to the characters. Suggestion: Dear Mr. Henshaw by: Beverly Cleary which is a story about a boy named Leigh who deals with his problems of coping with his parents' divorce, being in a new school, and finding his own place in the world.
 * 4) Must have a good and complete ending but not predictable. Suggestion: Because of Winn Dixie by: Kate Dicamillo which is a heart-touching story about a girl and her dog.
 * 5) Must have characters that behave and express themselves as real children. Suggestion: On My Honor by: Marion Dane Bauer which is a story about two boys swimming in a dangerous river and one accidentally drowns.
 * 6) Must have a theme with an underlying idea that ties the plot, characters, and settings together.
 * 7) Must have a style that helps develop the plot and bring the characters to life.
 * 8) Must help the reader expand his or her imagination and stimulate feelings.

Types of Realistic Fiction
There are many types of Realistic Fiction: Coming of Age/Friendship, Death and Deadly Disease, Dysfunctional Families, Foster/Adoptive Families, Mental/Psychiatric illness, Novels in Poetry Form, School Stories, Survival, and Documentary. These types of Realistic Fiction are explained more at this website: http://www.haworth.org/realistic.html

Boys vs. Girls Reading
When a story has an interesting plot in the framework, it is easy to involve the students in the plot. We can ask them to add dialogue to the beginning, middle, and end of the story. Children's first response to a story is usually a personal one from an experience. There are a difference in preference of stories between boys and girls. Following the stereotypes might lead to broad statements such as: boys like to read about sports, humor, mysteries, or adventure, while girls tend to read about fantasy, animals, and stories about people. Using Realistic Fiction can help teachers or parents engage both girls and boys. There is a book that can help teachers and parents find more information on engaging both girls and boys into reading:

Other Website Recommendations

 * This website contains great recommendations for Realistic Fiction and is a good source of information for teachers.
 * This website contains more information about what Realistic Fiction is and a "Top Ten" List of great Realistic Fiction Books.
 * This website is about Contemporary Realistic Fiction and contains a list of Contemporary Realistic Fiction recommendations.
 * This website gives suggestions on how to write a Realistic Fiction book.


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Choosing High Quality Children's Literature/Multicultural Literature

Authors: Kim Rice & User:LinChiehHuang(黃麟傑)

In the past, children’s books generally treated minority groups badly or ignored them completely (Tunnell, M., & Jacobs, S., 2008, p.192). In the 1960’s-1970’s, Children’s libraries were supported by federal government. This encouraged publishers to produce many ethnic groups’ books (Huck, C., & Hepler, S., & Hickman, J., & Kiefer, B., 1997, p.123). Banks (1979) stated that "It would be difficult to pinpoint its origin, but it may be safe to assume that the term multicultural literature came after the advent of the multicultural education movement in the 1960s" (As cited in Dyson & Genishi, 1994, p.57). In 1965, Nancy Larrick wrote “The All White World of Children’s Books” to report almost no African Americans appeared in any of America’s children’s books. People began to recognize and include African Americans and other minority groups in the books (Tunnell, M., & Jacobs, S., 2008, p.192). In 1966, the Council on Interracial Books for Children (CIBC) was founded. CIBC encourages authors to write about their own cultures. In 1969, the American Library Association (ALA) gave the Coretta Scott King Award to excellent African American writers and illustrators (Tunnell, M., & Jacobs, S., 2008, p.192). In 1974, the National Council for the Social Studies gave the Carter G. Woodson Award to excellent minority and race children’s books (Tunnell, M., & Jacobs, S., 2008, p.192). In 1985 only 18 books were eligible for the Coretta Scott King Award (Huck, C., & Hepler, S., & Hickman, J., & Kiefer, B., 1997, p.123). In the last decade, multicultural literature has begun to flourish. Nowadays, multiculturalism is a big issue. Understanding multicultural issues is important. Banks (1991) stated “By the year 2020, one of every two students in the United States will be a person of color” (As cited in Dietrich & Ralph, 1995). Dietrich & Ralph (1995, p.1) stated that “educators should help students explore their own cultures and contribute to intercultural understanding.”

Multicultural Mix...Shaken and Stirred
I believe the most important guiding principle when choosing multicultural literature for students is to make a selection that will allow the reader to see the world through the character's perspective. Our students may be blessed with a variety of different looking people with diverse backgrounds: racial, religious and economic, but many of our students know little of others, for they know little of themselves or their families. They are fortunate if they know of their own cultural heritage. Multicultural literature is of untold value to those with lack of experience. When students have been labeled "language delayed" perhaps they have only been experience deprived. With multicultural literature we have the opportunity as educators to bring the experience of others different from ourselves to be shared among a host of many. The National Association for the Education of Young Children (NAEYC) provides a wonderful resource entitled ''Anti-Bias Curriculum Tools for Empowering Young Children. This can be an invaluable resource to assist teachers and parents alike in the proper selection of quality, authentic multicultural children's literature. ''The children's lists within this volume naturally help to build and scaffold students' understanding in a variety of subject areas. It's important that we as educators locate literature that emphasizes different points of view and multicultural literature can easily provide this.'' Multicultural literature allows students to make their own connections for instance when studying holidays. Students come to recognize that we don't all share the same beliefs, traditions or holiday celebrations. With respect, we can honor one another's cultural roots and customs and value one another as we celebrate one another's differences. Multicultural literature instills compassion and empathy in young and old readers. For instance, during a Civil War study it would be crucial to use a variety of literature to provide sympathy for runaway slaves: Barefoot, Aunt Harriet's Underground Railroad in the Sky, Minty, Sweet Clara and the Freedom Quilt, Freedom River, Follow the Drinking Gourd, Nettie's Trip South, Henry's Freedom Box. Mr. Lincoln's Whiskers provides a perspective of America when women did not have the right to vote which opens up discussions and extended readings about Susan B. Anthony and even Harriet Tubman's suffragist constribution.

Look For Accuracy
Why is accuracy in multicultural literature important?

If the author wrote wrong information about that culture, it may lead readers to distort other cultures and have stereotypes. Agosto (2002, p.1) stated, “Accuracy of cultural representation is a crucial aspect of high quality multicultural literature.” Shioshita (1997, p.1) stated that books must have current, correct information, be careful of not reinforcing stereotypes, and use actual language in books. Harris (1993,p.50) also stated, "Information should be factual and up-to-date." In other words, an accurate multicultural book must give readers the right information about other cultures. When readers understand other people who live in the world have some similarities with them, they do not have xenophobia anymore. “A good multicultural book must avoid racial and cultural stereotyping” (Tunnell, M., & Jacobs, S., 2008, p.190).

As teachers, we can evaluate accuracy as follows:
 * Are those non-English words written or translated accurately?
 * Does the author describe other cultures accurately (food, clothing, customs, religious beliefs, history, and holidays)?

Look For The Language of Both The Author and The Fictional Characters
Having cultural background knowledge to write multicultural books is important, because insufficient cultural background knowledge can make writers write a distorted multicultural book. Agosto (2002, p.1) stated that multicultural writers must have enough background knowledge to write. Dietrich & Ralph (1995, p.2) stated that “Accurate background information prevents the students’ prejudices and stereotypes from coloring the text.” Shioshita (1997, p.2) stated, “Some people believe that writers should belong to the cultures they describe; others believe that it’s enough if writers empathize with members of a culture even though writing from an outsider’s point of view.” “The authors can be outsider of that culture, but they must understand the culture very well and write with an accurate voice” (Tunnell, M., & Jacobs, S., 2008, p.190).
 * Background Knowledge

As teachers, we can evaluate cultural background knowledge by checking the author’s website or autobiography and see if the author comes from the same culture in which the book is written or the author has some experiences traveling to that country. We can also ask people who come from the same culture of the book to read and judge whether it is a good book or not before we read it to students.

Harris (1993, p.50) stated, "In light of the history of racism,offensive terms such as brutal, conniving, primitive, savage, and backward, should be avoided as descriptors of people of color. Writers should also avoid terms such as shacks, superstitions, and costumes, that would be offensive were they applied to their own homes, religious beliefs, or everyday wearing apparel."
 * Language/Terminology

Look For Value (Respect)
The world is parallel. People should value and respect each other. The writers who write multicultural books must value and respect the different culture they are going to write about. Agosto (2002, p.2) stated, “Creators of multicultural literature should exhibit respect for the cultures they portray.” Newling (1997, p.1) stated, “It has to be done respectfully” (As cited in Shioshita). People may mistrust, fear, or hate other people who are unlike them (Tunnell, M., & Jacobs, S., 2008, p.189). “The character of the book must represent members of cultural minorities and must have their own set of personal values, attitudes, and beliefs and must present a positive image” (Tunnell, M., & Jacobs, S., 2008, p.190). Kruse and Horning (1991, p.9) state, "High standards must be applied to the evaluation of all books, as always. Evaluation criteria must always make room for any book to be valued for what it is, for the way in which it is unique, and for what it contributes..." (As cited in Harris, Violet. J).

As teachers, we can evaluate value as follows: Harris (1993, p.51) stated, "Put yourself in the place of the child reader. Is there anything in the book that would embarrass or offend you...if so, choose a different book."

Look For Quality Theme (Setting)
A quality theme is the soul of a multicultural literature book. Booth (1996) stated, “This type of literature describes a variety of ethnic backgrounds and racial characteristics that discuss themes applicable across cultures” (As cited in De Leon, 2002, p.50). Dietrich & Ralph (1995, p.2) stated that “Multicultural literature offers opportunities for personal reflection and identification with many cultures.” Shioshita (1997, p.1) stated that accurate setting is important for books and authors should offer multiple perspectives.”

Excellent Criteria Articles/Links for Multicultural Literature

 * Agosto, D. E. (2007). Building a Multicultural School Library: Issues and Challenges. Teacher Librarian, 34(3), 27-31.
 * Children's Multicultural Literature Resource-Criteria for Evaluation

Multicultural Literature Helps Readers Be Themselves and Respect Others
Diamond & Moore, (1995, p.13) stated, "Multicultural literature further heightens understanding,respect, and affirmation of differences because it acknowledges that it is alright to be who you are." Royce (2006, p.33) stated that reading multicultural literature about their own culture can help minority children increase self-esteem and help majority children know people who are different from them. “Multicultural literature helps children identify with their own culture, exposes children to other cultures, and opens the dialogue on issues regarding diversity” (Colby, S. A., & Lyon, F. 2004, p.24). De Leon (2002) stated that adolescents are interested in novels which talk about their own culture and these novels make them more open to others.

Teachers and Students both Benefit from Reading Multicultural Literature
Davis, Brown and Liedel-Rice (2005, p.176) stated, “Teacher candidates can understand differences through multicultural literature reading.” Dietrich & Ralph, (1995, p.1) stated, “When multicultural literature becomes an integral part of the curriculum and teachers act as models and guides, classrooms can become arenas for open exchange.”

Multicultural Literature Constructs Children's Version of the Truth
Children often see other's perspective through characters who are their age. After children see these multicultural characters suffering from social injustice, they will make a decision to redress social injustice. Diamond & Moore, (1995, p.14) stated, "Once students understand the harmful effects of social injustice and inequities, they can make informed and rational decisions about the most effective ways to correct injustices in their community."

Multicultural Literature Prepares Children for a Future in an Increasingly Multicultural World
The world demographic is quickly becoming more diverse and Multicultural Literature provides an excellent opportunity to teach and understand compassion and cultural understanding. In order to combat racisim and break down cultural barriers, literature provides the perfect vehicle to inspire and educate children in understanding the benefits of cultural diversity. Multicultural Literature provides children the tools to live, work and participate for the future in an increasingly multicultural world.

*My Name Is Maria Isabel
My Name Is Maria Isabel by Alma Flor Ada is an excellent example of multicultural literature. In this story many important topics are dealt with delicately and admirably. One's given name is very important for one's family has chosen it in memory or honor of someone or some occasion and one's name should remain special and honored for what it is. The author Alma Flor Ada had the misfortune of having a teacher Anglosize her name and she based this story on some of her childhood recollections. This book also deals with the diversity of religious celebrations: Christmas and Hannukah and how the main character was drawn to customs and culture different from her own. Maria Isabel is intrigued by Hannukah, the story of Amahl and the Night Visitors, dreidels and latkes. Maria becomes more confident in herself and demands to be addressed by her given name of Maria Isabel Salazar Lopez and not Mary.

*The Funny Little Woman
In Japan, a funny little woman who liked to laugh, "Tee-HE-HE-HE" liked to make dumplings out of rice. One day, when she was making a rice dumpling, the rice dumpling rolled and fell to the floor. She followed her dumpling and tried to catch it and encountered many Japanese Onis or evil demons. Onis caught her and asked her to make rice dumplings for them. One day, she looked to the right and left and saw no Onis there. She escaped and went back to her house.

*The Snowy Day
Peter, an African-American boy, woke up and found out it was snowing outside. He ran outside and made a snowman, and snow angels. He loved snow, so he picked up a handful of snow to make a snow ball and put it in his pocket for tomorrow. Unfortunately, the snowball was gone when he checked his pocket before he went to bed. He was upset and went to sleep. He dreamed that the winter was gone. He woke up and found out snow was still everywhere. He was so happy.

The Snowy Day Activities
Ask students some questions before reading The Snowy Day: “Have you played in the snow?” “Have you made a snow man?”

Ask students some questions after reading The Snowy Day: Where do you think Peter lives? What do you think when Peter knew he wasn't old enough to join the snowball fight? What is something you will do when you are old enough? What do you think Peter and his friend will do in the snow?

Activity One: Footprints “When Peter walked through the snow, he left footprints. A teacher provides a snow scene with a variety of different animal footprints in it. Then, the teacher makes patterns of the animals which would make the prints. Have your students match the print to the animal. (The Snowy Day. 2000).”

Excellent Multicultural Literature Internet Links

 * A Multicultural Literature Bibliography
 * Awards For Multicultural Youth Literature
 * Celebrating Cultural Diversity Through Children's Literature
 * Center for Multilingual Multicultural Research
 * Children's literature
 * Multicultural Children Literature
 * Multicultural Children's Literature
 * Multicultural Children's Literature
 * Multicultural Literature Resources
 * Multicultural Resources for Children
 * NAEYC Multicultural Resource
 * NAME,the National Association for Multicultural Education
 * Teaching Multicultural Literature: A Workshop for the Middle Grades
 * The Role of Multicultural Literature
 * Using Multicultural Literature to Teach Reading Processes
 * Worlds of Words: International Collection of Children’s and Adolescent Literature
 * Bilingual Children’s Books

Related Articles to Help Readers Select Quality Multicultural Literature
Bushner, D.E., & Brewer, A. (1998). Multicultural literature. The New England

Reading Association Journal, 34 (2), 29-34.

Isaacs, K. (2006). It’s a Big World after all. School Library Journal, 52(2), 40-44.

Isaacs, K. (2007). Book Your Trip Now. School Library Journal, 53(2), 44-48

References (A~Z)
Ada, A. (1995). My name is Maria Isabel. Simon & Schuster Children's Publishing.

Agosto, D. E. (2002). Criteria for evaluating multicultural literature. Retrieved from http://www.pages.drexel.edu/~dea22/multicultural.html

Baer, E. (1992). This is the way we go to school. Scholastic, Inc.

Baer, E. (1995). This is the way we eat our lunch. Scholastic, Inc.

Davis, K.L., Brown, B. G., & Liedel-Rice, A. (2005). Experiencing diversity through children’s multicultural literature. Kappa Delta Pi Record, 41(4), 176-179.

De Leon, L. (2002). Multicultural literature: Reading to develop self-worth. Multicultural Education, 10(2), 49-51.

Diamond, B.J., & Moore, M.A., (1995). Multicultural literacy: Mirroring the reality of the classrom. Longman Publishers USA.

Dietrich, D., & Ralph, K. S., (1995). Crossing borders: Multicultural literature in the classroom. Boise State University.

Dooley, N. (1991). Everyone cooks rice. New York: Scholastic, Inc.

Dorros, A. (1992). This is my house. Scholastic, Inc.

Dyson, A.H., & Genishi, C.,(1994). The needs for story: cultural diversity in classroom and community. The National Council of Teachers of English.

Edwards, P. (1999). Barefoot: Escape on the underground railroad. New York: Harpers Collins Publishers.

Harris, Violet. J.,(1993). Teaching multicultural literature in grades K-8. Norwood, MA: Christopher-Gordon Publishers, Inc.

Hopkinson, D. (1995). Sweet Clara and the Freedom Quilt. Random House Children's Books.

Huck, C., & Hepler, S., & Hickman, J., & Kiefer, B., (1997). Children’s literature in the elementary school. Times Mirror Higher Education Group, Inc.

Keats, E., (1962). The snowy day. New York: Viking Press.

Levine, E. (2007). Henry's freedom box. Scholastic, Inc.

Morris, A. (1993). Bread, bread, bread. Harper Collins Publishers

Mosel, A. (1972). The funny little woman. New York: Dutton Press.

Norton, D., (2007). Through The eyes Of a child, an introduction to children's literature. (7th ed.). New Jersey: Pearson Merrill Prentice Hall.

Rappaport, D. (2007). Freedom river. New York: Hyperion Books for Children.

Ringgold, F. (1995). Aunt Harriet's underground railroad in the sky. Random House Children's Books.

Royce, J. (2006). Walking two moons: Crossing borders with international literature. Knowledge Quest, 35(2), 32-39.

Schroeder, A. (2000). Minty: A story of young Harriet Tubman. Penquin Young Readers Group.

Shioshita, J. (1997). Beyond good intentions: Selecting multicultural literature. Children’s Advocate newsmagazine.

Sparks, L, and the A.B.C. Task Force. (1989) Anti bias curriculum: Tools for empowering young children. National Association Education of Young Children. Washington, D.C.

Tunnell, M., and Jacobs, J., (2000). Children's literature, briefly. (2nd ed.). New Jersey: Prentice Hall.

Tunnell, M., & Jacobs, S., (2008). Children’s literature briefly. New Jersey: Pearson Education, Inc.

Turner, A. (1995). Nettie's trip south. Simon & Schuster Children's Publishing.

Winnich, K. (1999). Mr. Lincoln's whiskers. Boyds Mills Press.

Winter, J. (1992). Follow the drinking gourd. Random House Children's Books.