Much of the education of children is based on the antithesis between "good" and "bad." The images of "bad" are supposed to be the dark background against which the good can shine, like courage shining through in times of danger. The problem with this approach is that "the good" has only the chance to shine but not to grow. The Fairy Woods Children thus tries to bring a new approach that allows goodness to grow and to expand in children's consciousness, without the need of a fear-based background scenario. While this may sound boring to grown-up people who are used mainly to the strife of their daily life with all its troubles and fears, small children do not need to have this handicap. From an early age, they need to be allowed to grow beyond this stage at which humankind is now, and they need to learn more about the infinite possibilities that may lie before them in the future. A lot of misunderstandings and conflicts arise from the lack of heart-to-heart communication, which is the central point in the seven stories of the book. Each story, meant to be read at bedtime, brings to the surface a deep inner longing of the soul to express itself. As a child, these were the stories I would have liked to hear, and these were the teachings I would have liked to receive, as they can greatly eliminate the need of the good versus bad antithesis. And this is the reason why I would like to offer them to children and people like me, who may appreciate art and beauty, and who may wish to create for their families a lifestyle which is more soulful and kind.
Miss Belinda Bassett's niece arrives in a small England town. Octavia Bassett arrives from Nevada with her trunks of fancy clothes, diamond jewelry, and gold coins for the poor. She soon becomes friends with Lucia Gaston, the repressed granddaughter of the village matriarch, Lady Theobald.Frances Eliza Hodgson Burnett (24 November 1849 - 29 October 1924) was an English-American novelist and playwright. She is best known for the three children's novels Little Lord Fauntleroy (published in 1885-1886), A Little Princess (1905), and The Secret Garden (1911).Frances Eliza Hodgson was born in Cheetham, England. After her father died in 1852, the family fell on straitened circumstances and in 1865 immigrated to the United States, settling near Knoxville, Tennessee. There Frances began writing to help earn money for the family, publishing stories in magazines from the age of 19. In 1870, her mother died, and in 1872 Frances married Swan Burnett, who became a medical doctor. The Burnetts lived for two years in Paris, where their two sons were born, before returning to the United States to live in Washington, D.C., Burnett then began to write novels, the first of which (That Lass o' Lowrie's), was published to good reviews. Little Lord Fauntleroy was published in 1886 and made her a popular writer of children's fiction, although her romantic adult novels written in the 1890s were also popular. She wrote and helped to produce stage versions of Little Lord Fauntleroy and A Little Princess.Burnett enjoyed socializing and lived a lavish lifestyle. Beginning in the 1880s, she began to travel to England frequently and in the 1890s bought a home there where she wrote The Secret Garden. Her oldest son, Lionel, died of tuberculosis in 1890, which caused a relapse of the depression she had struggled with for much of her life. She divorced Swan Burnett in 1898, married Stephen Townsend in 1900, and divorced him in 1902. A few years later she settled in Nassau County, Long Island, where she died in 1924 and is buried in Roslyn Cemetery.In 1936 a memorial sculpture by Bessie Potter Vonnoh was erected in her honour in Central Park's Conservatory Garden. The statue depicts her two famous Secret Garden characters, Mary and Dickon.
This critical companion is the first compendium of wide-ranging scholarship on Tabish Khair, who has emerged as a powerful voice in contemporary Indian English Literature. The essays in this collection examine Khair's novels and poetical collections in ways that yield new insights which are central to the understanding of Khair as a writer, and why he categorically refuses to assign his works with any literary genre. This critical anthology not only focuses new light on the thematic, social or cultural issues of Khair's writings, but also the in-depth reading of his multi-layered texts enable the readers to rethink the position of the author from an international and broader intellectual context.
After having some breathing room from his last case, which brought him up against Islamic operatives in San Francisco in The Black Stone, Cyrus Skeen and his wife take a short vacation on a luxury bus, the Pickwick Stage. But the bus is held up by gangsters. Skeen goes into action and foils the hijacking. But his heroism engenders even more problems and perils. Set in San Francisco in March 1930, Skeen moves around in a familiar milieu dampened by the Depression and the growth of Hooverville shanty towns of foreclosed and impoverished men in the shadow of the city's wealthier neighborhoods. "Reality," Skeen tells his wife, "has called in its markers" of inflation and fatal government management of the economy. Dilys, his wife, is beginning a new painting, and Skeen's first political article has been accepted in a prominent cultural magazine. At the end of The Chameleon, Skeen had told his wife that "Something wicked this way comes." In The Pickwick Affair, he runs head on into gangsters working for a government agency dedicated to "detoxifying" Americans and instilling fear into them - with a dollop of corruption that which always accompanies the imposition of tyranny.
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