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I think this book is directed towards 10-12 year olds, because it takes place in an upper school, but it isn't that hard to read.
James Howe likes to write about many important characters that change the main character's life. He also gives a lot of good detail when he describes the characters feelings and settings. He also gives you a clear picture of settings and where the character is in his or her life.
This is the plot: Nick Kramer makes a bet with the grade bully, Mitch Buckley. The first one of them to get asked to the Visa-Versa dance by the most popular girl in school, Jennifer Edwards, wins! The loser? He has to dance in front of the whole school, alone and wearing a tutu!
Nick tries to change himself so Jennifer would notice him, by taking a babysitting class, changing his 'look' and becoming a 'sensitive' guy. Will this new act change the way Jennifer looks at Nick? In this book I learned that even if something looks great outside it might not be great inside.

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The one aspect that is very much priceless is the episode story summaries. These are very good, as I could almost imagine that they were on TV again. Also, the fact that almost all of the Patrick Troughton era of Dr. Who episodes was virtually wiped out from the BBC archives, makes these story summaries ever more so good to read about.
Another great book in the Dr. Who handbook series. The author trio of David J. Howe, Mark Stammers, and Stephen James Walker continue with their reputation as the definitive research team on Doctor Who's history. This was the sixth volume in the series, published in 1997.

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It is through Olive that Basil Ransom meets Verena Tarrant, the young woman who has left her lower middle-class family to move in with and be molded by Olive. Verena has a tremendous speaking ability which caught Olive's (and the other women's (womyn's?) movement leaders') attention. But ultimately, Verena also catches Basil's attention... not for her feminist diatribes, but for her beauty and the passion of her speeches. Basil is instantly struck by Verena, and from this point onward the plot focuses as Basil attempts to seek out his love interest who is highly guarded by Olive, Verena's parents, and several others.
The dialogue between Olive and her friends with Basil Ransom, is a constant back and forth that is civil on the surface, but boiling with hostility underneath the social niceties. While Basil is always cool and focused as he tracks the object of his love, Olive Chancellor only becomes more paranoid as she sees that she is gradually losing her young charge... to a Southern Neanderthal. "The Bostonians" meanders through the first couple hundred pages with witty dialogue between the alien Basil and his new peers, but as his focus intensifies, so does the plot. James draws all this circling and stalking into a final, climactic scene that many will be cheering, but one that many modern-day feminists and their sympathizers will be cursing.


I went looking for criticism of this book and found little in Gale, but two essays from 1990s by Wendy Lesser and Alison Lurie. Lesser argues against the feminist line that the book is a misogynist polemic; she responds that Olive (the lesbian) and Basil (the Mississippian) are both complex characters, sometimes weak, sometimes strong and sympathetic. (She quotes Hardwick that James is our best female novelist because his women are powerful and interesting.) Lurie looks at the novel as more about politics than gender: James came home from Europe and found he hated America; showed the South re-conquering the North in Basil's conquest of Verena.
I disagree with Lesser: Basil is shown as naive and occasionally weak but dashing and full-hearted -- I'm sure he is an idealized self-portrait of James. Olive is honest and principled but so bleak and unhappy that her love is purely destructive. Her strength lies less in her principles (Mrs. Birdseye after all is equally principled but utterly weak) than in her vaulting ambition. She reminds me of Dixon's Thaddeus Stevens in The Klansman -- passionate, scheming, perversely principled, but essentially evil. Both come from Milton's Satan, seen as a Yankee.
Which brings me to Lurie's version. I agree with her that the novel is about politics, but disagree that he was writing against America -- I think he was just writing against Boston. The hostility the novel met at the time stemmed from his nasty portrait of the old transcendalist Elizabeth Peabody (his minor character Mrs. Birdseye); this is a less irrelevant reaction than critics portray it, since she's a stand-in for everything he despises about his own Boston roots, a hatred which drives the novel. An equally weak but even more despicable character is Verena's father, a mystical fraud whose nomadic career has certain resemblances to James's father's -- resemblances strengthened if Verena is modeled on Alice James. The Boston reform tradition is alternately weak-minded and hard-edged, and basically loveless -- a spirit of drafty wet lecturehalls. Where Basil is hot-blooded -- he feels about Mississippi a tragic love he can't bear to speak of in conversation -- Olive's New England feeling is only cold philosophy.
How real is the political alternative which Basil represents? We see much less of him than of Olive; James knew Boston but not Mississippi. But I think James like some of his peers yearned for a certain reactionary romanticism which northern intellectuals associated with the South -- a Burkean spirit of cavaliers and kings. (Basil's name means "king," and his emerging career is writing political essays said to be hundreds of years out of date.) Basil's defeat of Olive to marry Verena -- he imagines his own seizure of her from the podium of Fanuiel Hall as a political assassination, with shades of John Wilkes Booth -- is clearly a re-conquest of the North by the old South. What he offers for an American future is less Enlightenment, more Middle Ages -- less rights, more responsiblities -- less cold charity, more warm friendship.
James/ Basil reminds me of Henry Adams in the "Education." On the one hand, Adams saw the warm (mildly homoerotic) friendship of exceptional men (modeled on himself and John Hay) as a strategy for national progress. On the other, Adams developed a similarly St. Gaudensian aesthetic of the medieval -- the cathedral against the dynamo. This was the first, aesteticist reaction of the northern elite to the soullessness of postbellum America, which we forget because it was replaced by Teddy Roosevelt's more muscular alternative.

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Nevertheless, this is a fantastic book which is well worth buying if you can get your hands on one. Add it to your collection.

The "Handbook" series provide a detailed behind the scenes view of the Doctor Who show, including many insights into the development of the characters, and the difficulties faced. My favorite section is the scene by scene disectiion of an episode by the show's creative team.
A must for the serious Who fan.

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The setting of Yorkshire England and the rich cast of characters including the maid Martha, Dicken, Martha's brother, and many others make this a wonderful book for all ages. I have read the secret garden hundreds of times and each time I get something new out of the book. It's a true classic.

Child characters: "Mary Lennox," spoiled, lonley, sad child. Taken from her home to live with a guardian in England after her parents death. "Dickon", Mesterious boy who communes with nature. "Colin," son of Mary's guardian, is hidden from society.
In the movie Mray sets out to find and unlock the secrets to the mesterious garden, making friends along the way.
The scenery in this movie is breath taking at times. One of Hallmarks best! A must have for any Hallmark Hall of Fame fan. Good to have in any movie collection!

The setting of Yorkshire England and the rich cast of characters including the maid Martha, Dicken, Martha's brother, and many others make this a wonderful book for all ages. I have read the secret garden hundreds of times and each time I get something new out of the book. It's a true classic.

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After trying out in front of Moustro Provolone, Horace and Morris make the "team", but Dolores gets cut. Dolores starts feeling sad for herself, but pulls through and thinks up a way to get into the chorus. After writing a letter to Moustro Provolone, he realizes her true talent, and invites her to help him.
