...Orphans are children who are abandoned by their parents at a young age. In the novel A Single Shard, Tree-ear is brought to a man named Crane-man at a very young age. There is another orphan named Izidor Ruckel; unlike Tree-ear, Ruckel was abandoned and was put in an orphanage. Most orphans are orphans for the same reason, but they all have vastly different stories. Tree-ear, a 12th century orphan from Korea, was abandoned because his parents died from a fever. Ruckel, a Romanian orphan, was abandoned after he contracted polio. The similarities between Tree-ear and Ruckel is they both had a house to live in. Tree-ear has to live under a bridge in the summer while in the winter months Tree-ear has to live in an abandoned vegetable pit. Ruckel...
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...How much love do you really need as a child? Compare and Contrast Essay: Ruckel and Tree-ear Brain studies show that when a child is neglected in young years, their brains are stunted as they grow. Ruckel was beaten if he didn’t listen in his orphanage, and by the time he got adopted he couldn’t understand why they were so nice to him. However, Tree-ear was fed and loved the moment he was born and still is. If a child doesn’t get enough attention, then that child won’t accept affection as an adult as well as a loved child would. Ruckel and Tree-ear were both abandoned as babies, because their parents were both terminally ill. Ruckel was beaten as a child instead of being embraced or getting told politely what not to do like most parents...
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...antagonistic and complementary forces in cultural development. Raymond Williams develops a theory of relation between culture at large and cultural products like literature. Culture is manifested in human artifacts and activities such as music, literature, life-style, food, painting, sculpture, theatre and film. It can be said that arts and the world of science with their moral systems come to form culture. These are constantly in a spatio-temporal flux that renders an inexhaustible range of meanings and a catalogue of the elements. In this process of evolution a particular aspect dominates or fades off at some space-time coordinate. The pattern of human activity and the symbolic structures give such activities significance and importance. Rushdie, like other postcolonial writers not only reflects upon the political aspects of history but also deconstructs the interrelationships between history and individual to delve into the moral and psychological tensions of the native homeland. His novels are the fine example where ethics of the nation are well represented in the aesthetics of his works. Rushdie himself has come to represent pop culture and has always been a powerful figure in re-presenting culture in his writings and this paper is an attempt to decipher a pattern in this representation. Rushdie’s self-avowed purpose in writing the novels is to highlight ‘the connection between public affairs and private lives.’...
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...Acclaim for Yann Martel's Life of Pi "Life of Pi is not just a readable and engaging novel, it's a finely twisted length of yarn— yarn implying a far-fetched story you can't quite swallow whole, but can't dismiss outright. Life of Pi is in this tradition—a story of uncertain veracity, made credible by the art of the yarn-spinner. Like its noteworthy ancestors, among which I take to be Robinson Crusoe, Gulliver's Travels, the Ancient Mariner, Moby Dick and Pincher Martin, it's a tale of disaster at sea coupled with miraculous survival—a boys' adventure for grownups." —Margaret Atwood, The Sunday Times (London) "A fabulous romp through an imagination by turns ecstatic, cunning, despairing and resilient, this novel is an impressive achievement. . . . Martel displays the clever voice and tremendous storytelling skills of an emerging master." —Publisher's Weekly (starred review) "[Life of Pi] has a buoyant, exotic, insistence reminiscent of Edgar Allen Poe's most Gothic fiction. . . . Oddities abound and the storytelling is first-rate. Yann Martel has written a novel full of grisly reality, outlandish plot, inventive setting and thought-provoking questions about the value and purpose of fiction." —The Edmonton journal "Martel's ceaselessly clever writing . . . [and] artful, occasionally hilarious, internal dialogue . . . make a fine argument for the divinity of good art." —The Gazette "Astounding and beautiful. . . . The book is a pleasure not only for the subtleties of its philosophy...
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...Yann Martel: Life of Pi life of pi A NOVEL author's note This book was born as I was hungry. Let me explain. In the spring of 1996, my second book, a novel, came out in Canada. It didn't fare well. Reviewers were puzzled, or damned it with faint praise. Then readers ignored it. Despite my best efforts at playing the clown or the trapeze artist, the media circus made no difference. The book did not move. Books lined the shelves of bookstores like kids standing in a row to play baseball or soccer, and mine was the gangly, unathletic kid that no one wanted on their team. It vanished quickly and quietly. The fiasco did not affect me too much. I had already moved on to another story, a novel set in Portugal in 1939. Only I was feeling restless. And I had a little money. So I flew to Bombay. This is not so illogical if you realize three things: that a stint in India will beat the restlessness out of any living creature; that a little money can go a long way there; and that a novel set in Portugal in 1939 may have very little to do with Portugal in 1939. I had been to India before, in the north, for five months. On that first trip I had come to the subcontinent completely unprepared. Actually, I had a preparation of one word. When I told a friend who knew the country well of my travel plans, he said casually, "They speak a funny English in India. They like words like bamboozle." I remembered his words as my plane started its descent towards Delhi, so the word bamboozle ...
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...other side of the bed is cold. My fingers stretch out, seeking Prim’s warmth but finding only the rough canvas cover of the mattress. She must have had bad dreams and climbed in with our mother. Of course, she did. This is the day of the reaping. I prop myself up on one elbow. There’s enough light in the bedroom to see them. My little sister, Prim, curled up on her side, cocooned in my mother’s body, their cheeks pressed together. In sleep, my mother looks younger, still worn but not so beaten-down. Prim’s face is as fresh as a raindrop, as lovely as the primrose for which she was named. My mother was very beautiful once, too. Or so they tell me. Sitting at Prim’s knees, guarding her, is the world’s ugliest cat. Mashed-in nose, half of one ear missing, eyes the color of rotting squash. Prim named him Buttercup, insisting that his muddy yellow coat matched the bright flower. I le hates me. Or at least distrusts me. Even though it was years ago, I think he still remembers how I tried to drown him in a bucket when Prim brought him home. Scrawny kitten, belly swollen with worms, crawling with fleas. The last thing I needed was another mouth to feed. But Prim begged so hard, cried even, I had to let him stay. It turned out okay. My mother got rid of the vermin and he’s a born mouser. Even catches the occasional rat. Sometimes, when I clean a kill, I feed Buttercup the entrails. He has stopped hissing at me. Entrails. No hissing. This is the closest we will ever come to love. I swing...
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...of the bed is cold. My fingers stretch out, seeking Prim’s warmth but finding only the rough canvas cover of the mattress. She must have had bad dreams and climbed in with our mother. Of course, she did. This is the day of the reaping. I prop myself up on one elbow. There’s enough light in the bedroom to see them. My little sister, Prim, curled up on her side, cocooned in my mother’s body, their cheeks pressed together. In sleep, my mother looks younger, still worn but not so beaten-down. Prim’s face is as fresh as a raindrop, as lovely as the primrose for which she was named. My mother was very beautiful once, too. Or so they tell me. Sitting at Prim’s knees, guarding her, is the world’s ugliest cat. Mashed-in nose, half of one ear missing, eyes the color of rotting squash. Prim named him Buttercup, insisting that his muddy yellow coat matched the bright flower. I le hates me. Or at least distrusts me. Even though it was years ago, I think he still remembers how I tried to drown him in a bucket when Prim brought him home. Scrawny kitten, belly swollen with worms, crawling with fleas. The last thing I needed was another mouth to feed. But Prim begged so hard, cried even, I had to let him stay. It turned out okay. My mother got rid of 4 the vermin and he’s a born mouser. Even catches the occasional rat. Sometimes, when I clean a kill, I feed Buttercup the entrails. He has stopped hissing at me. Entrails. No hissing. This is the closest we will ever come...
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...WATERSHIP DOWN by RICHARD ADAMS (1972) [VERSION 1.1 (Apr 29 03). If you find and correct errors in the text, please update the version number by 0.1 and redistribute.] To Juliet and Rosamond, remembering the road to Stratford-on-Avon Note Nuthanger Farm is a real place, like all the other places in the book. But Mr. and Mrs. Cane, their little girl Lucy and their farmhands are fictitious and bear no intentional resemblance to any persons known to me, living or dead. Acknowledgements I acknowledge with gratitude the help I have received not only from my family but also from my friends Reg Sones and Hal Summers, who read the book before publication and made valuable suggestions. I also wish to thank warmly Mrs. Margaret Apps and Miss Miriam Hobbs, who took pains with the typing and helped me very much. I am indebted, for a knowledge of rabbits and their ways, to Mr. R. M. Lockley's remarkable book, The Private Life of the Rabbit. Anyone who wishes to know more about the migrations of yearlings, about pressing chin glands, chewing pellets, the effects of over-crowding in warrens, the phenomenon of re-absorption of fertilized embryos, the capacity of buck rabbits to fight stoats, or any other features of Lapine life, should refer to that definitive work. PART I The Journey 1. The Notice Board CHORUS: Why do you cry out thus, unless at some vision of horror? CASSANDRA: The house reeks of death...
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...i FOREWORD ______________________________________________________________________________iii Of the Beginning of Days ____________________________________________________________________ 12 Of Aulë and Yavanna _______________________________________________________________________ 17 Of the Coming of the Elves and the Captivity of Melkor____________________________________________ 19 Of Thingol and Melian ______________________________________________________________________ 24 Of Eldamar and the Princes of the Eldalië _______________________________________________________ 25 Of Fëanor and the Unchaining of Melkor________________________________________________________ 28 Of the Silmarils and the Unrest of the Noldor ____________________________________________________ 30 Of the Darkening of Valinor__________________________________________________________________ 33 Of the Flight of the Noldor ___________________________________________________________________ 35 Of the Sindar______________________________________________________________________________ 42 Of the Sun and Moon and the Hiding of Valinor __________________________________________________ 45 Of Men __________________________________________________________________________________ 49 Of the Return of the Noldor __________________________________________________________________ 50 Of Beleriand and Its Realms__________________________________________________________________ 56 Of the Noldor in Beleriand...
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...I DO NOT OWN THIS FOREWORD ______________________________________________________________________________iii Of the Beginning of Days ____________________________________________________________________ 12 Of Aulë and Yavanna _______________________________________________________________________ 17 Of the Coming of the Elves and the Captivity of Melkor____________________________________________ 19 Of Thingol and Melian ______________________________________________________________________ 24 Of Eldamar and the Princes of the Eldalië _______________________________________________________ 25 Of Fëanor and the Unchaining of Melkor________________________________________________________ 28 Of the Silmarils and the Unrest of the Noldor ____________________________________________________ 30 Of the Darkening of Valinor__________________________________________________________________ 33 Of the Flight of the Noldor ___________________________________________________________________ 35 Of the Sindar______________________________________________________________________________ 42 Of the Sun and Moon and the Hiding of Valinor __________________________________________________ 45 Of Men __________________________________________________________________________________ 49 Of the Return of the Noldor __________________________________________________________________ 50 Of Beleriand and Its Realms__________________________________________________________________ 56 Of the Noldor in...
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...buying me books when I was young. Thanks go out to Ali, Sandy, Daoud, Walid, Raya, Shalla, Zahra, Rob, and Kader for reading my stories. I want to thank Dr. and Mrs. Kayoumy--my other parents--for their warmth and unwavering support. I must thank my agent and friend, Elaine Koster, for her wisdom, patience, and gracious ways, as well as Cindy Spiegel, my keen-eyed and judicious editor who helped me unlock so many doors in this tale. And I would like to thank Susan Petersen Kennedy for taking a chance on this book and the hardworking staff at Riverhead for laboring over it. Last, I don’t know how to thank my lovely wife, Roya--to whose opinion I am addicted--for her kindness and grace, and for reading, re-reading, and helping me edit every single draft of this...
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... the frozen creek. That was a long time ago, but it's wrong what they say about the past, I've learned, about how you can bury it. Because the past claws its way out. Looking back now, I realize I have been peeking into that deserted alley for the last twenty-‐six years. One day last summer, my friend Rahim Khan called from Pakistan. He asked me to come see him. Standing in the kitchen with the receiver to my ear, I knew it wasn't just Rahim Khan on the line. It was my past of unatoned** sins. After I hung up, I went for a walk along Spreckels Lake on the northern edge of Golden Gate Park. The early-‐afternoon sun sparkled on the water where dozens of miniature boats...
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...Copyright Salman Rushdie, 1988 All rights reserved VIKING Published by the Penguin Group Viking Penguin Inc., 40 West 23rd Street, New York, New York 10010, U.S.A. Penguin Books Ltd, 27 Wrights Lane, London W8 5TZ, England Penguin Books Australia Ltd. Ringwood, Victoria, Australia Penguin Books Canada Ltd, 2801 John Street, Markham, Ontario, Canada L3R 1B4 Penguin Books (N.Z.) Ltd, 182-190, Wairau Road, Auckland ro, New Zealand Penguin Books Ltd, Registered Offices: Harmondsworth, Middlesex, England Published in 1989 by Viking Penguin Inc. For Marianne Contents I The Angel Gibreel II Mahound III Ellowen Deeowen IV Ayesha V A City Visible but Unseen VI Return to Jahilia VII The Angel Azraeel VIII The Parting of the Arabian Seas IX A Wonderful Lamp Satan, being thus confined to a vagabond, wandering, unsettled condition, is without any certain abode; for though he has, in consequence of his angelic nature, a kind of empire in the liquid waste or air, yet this is certainly part of his punishment, that he is . . . without any fixed place, or space, allowed him to rest the sole of his foot upon. Daniel Defoe, _The History of the Devil_ I The Angel Gibreel "To be born again," sang Gibreel Farishta tumbling from the heavens, "first you have to die. Hoji! Hoji! To land upon the bosomy earth, first one needs to fly. Tat-taa! Taka-thun! How to ever smile again, if first you won't cry? How to win the darling's love, mister, without a sigh? Baba, if you want to get born again...
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...CONTEXT Growing up, Suzanne Collins was a military brat. Her father was a career airman in the United States Air Force, as a result, Collins and her siblings—two older sisters and an older brother—moved around frequently, spending time in numerous locations in the eastern United States as well as in Europe. The military, in fact, played a leading role in the family’s history. Collins’s grandfather had served in World War I, her uncle served in World War II, and the year Collins turned six, her father left to serve his own tour in the Vietnam War. War, consequently, was a part of life for Collins, something very real and not just an abstract idea. While her father was gone, she would sometimes see video footage of the war zone on the news, and she recognized that her father was there fighting. Though her father returned after a year, Collins’s connection to war didn’t end. In addition to being a soldier, Collins’s father was also a military historian and a doctor of political science. That knowledge and experiences serving in the Air Force and fighting in Vietnam had a profound effect on his relationships with his children, and he made sure they learned what they could about war. While other girls’ fathers were telling them fairytales, Collins’s father educated her about military history. When the family was moved to Brussels, Belgium, for instance, her father educated her about the region’s violent history and took her on tours of the country’s historic battlefields. Eventually...
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...The Tragedy of Hamlet, Prince of Denmark ASCII text placed in the public domain by Moby Lexical Tools, 1992. SGML markup by Jon Bosak, 1992-1994. XML version by Jon Bosak, 1996-1999. Simplified XML version by Max Froumentin, 2001. The XML markup in this version is Copyright © 1999 Jon Bosak. This work may freely be distributed on condition that it not be modified or altered in any way. Table of Contents Act 1 .................................... p. 5 Scene 1 .................................... p. 5 Scene 2 .................................... p. 11 Scene 3 .................................... p. 20 Scene 4 .................................... p. 24 Scene 5 .................................... p. 28 Act 2 .................................... p. 36 Scene 1 .................................... p. 36 Scene 2 .................................... p. 40 Act 3 .................................... p. 61 Scene 1 .................................... p. 61 Scene 2 .................................... p. 67 Scene 3 .................................... p. 81 Scene 4 .................................... p. 84 Act 4 .................................... p. 92 Scene 1 .................................... p. 92 Scene 2 .................................... p. 93 Scene 3 .................................... p. 95 Scene 4 .................................... p. 97 Scene 5 .................................... p. 100 Scene 6 .................................... p. 108 Scene 7 ......................
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