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--LLOYD BOSTON, author of MEN OF COLOR
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Skeeter was a really fun book to read because you didn't know what was going to happen next. I think it was overall a pretty good book but some of the chapters bored me so I had to excuse those parts but other than that it was a great book. I give this book nine out of ten stars. I more liked the book than disliked it because it was about animals and the outdoors and I love the outdoors. This book I think is rare to find because not many authors like the outdoors and hunting. This is the first book I read from this author so I can't compare it to her other books but I am probibly going to read them soon. I think if your are involed with the outdoors or just like the outdoors you should get this book. Because in the story these two boys love to hunt and fish in the outdoors and then they run into a big time hunter that teaches them the importance of the outdoors and how to track and hunt. It has teached me some stuff I didn't even know how to do. Like if your lost in the woods and you don't know where to go it tells you how you can find directions on what side the moss grows on the tree. And how to build a fire without matches. I think if I had to put this book in a catogory it would be knowing how to hunt and surview in the outdoors.
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It is a great educational resource for African American History.
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Still
I fell in love with the Siberian Iris
In the garden catalog,
Slender-stemmed, indigo shading to violet,
As if such modest frailty
Might shape a border
Of grace, of felicity.
What does it matter where I speak from?
The dog lying breathless at my feet,
Torpid in this humid heat,
Kids calling beyond the fence,
An old song in the open book
Of nymphs and shepherds,comforted--
All comfort is by artifice
The world drawn, withdrawn into a garden,
The weeds and briars, by a beloved hand
Rendered as calm as a botanaical
Print, as still as
Someone's voice saying "enough, enough,
Be still now..." as I say to the dog,
Who is old and scrabbles
For purchase on the tile floor,
Then limps off to her bowl,
Still cheerful, still dutifully
Dogged by her appetite,
Then sleeps and runs still in her sleep.
The weeds are thick after a week of rain,
And around an oak stump, a clump
Of what look like (but can't be) morels
Nods, in pleasant imitation
Of what is good.
And how should I prefer the good
To the commonplace (a platitude,
A flat-voiced warning to a child about deceit,
About what's wild), whatever is enough.
These irises will spread,
The catalog promises, and who
Will tell the first bloom from the last, who
Will know, so sure
Their repetition, that time
Has even passed.
The poem starts with the speaker's falling in love with a beautiful Iris in a garden catalog, a flower of great feminine beauty ("slender-stemmed, indigo shading to violet") designed, perhaps, to shape a modest border "of grace, of felicity," as though it would contain an elegant pictured focus within boundaries as would the parameters of a poem. The everyday summer background in stanza 2 provides the pastoral milieu (shepherd-"dog", "heat" of passion, "kids" as shepherd boys). This scene correlates with the "old song in the open book/Of nymphs and shepherds" which comforts the speaker but also prompts him to a series of considerations about the relationship of art and passion.
The first consideration occurs in stanza 3. Here the speaker thinks of art, represented by the pastoral, as something that brings stillness by withdrawal "into a garden" where real-life force and pain, "weeds and briars," retreat into a safe refuge, urged "by a beloved hand" to calmness which transforms the garden catalogue into a "botanical print," a quasi-aesthetic moment "as still as/ Someone's voice saying 'enough enough,/ Be still now...' as I say to the dog."
In the second consideration (stanza 4), this calmness changes from the tranquility of stanzas 2 and 3 into fatigue, where the dog becomes a poet-figure "who is old and scrabbles/ For purchase on the tiled floor," leaving only scratches that do not hold, and who, though hungry, remains in a state of domestication, "still cheerful, still dutifully/ Dogged by her appetite". Her visions come not from passionate insight but from transient doggy dreams "still in her sleep." The poetic effort is restless, but there is no break-through beyond the hard surface, and the poetic visions are, at best, only replays of daily activity.
The third consideration recalls the gentle garden of stanza 1 and the botanical print of stanza 3. We see now what has been omitted in the garden and mentioned but repressed in the print, namely the "weeds" of stanza 3. These have grown and become in stanza 5 "thick after a week of rain," while around an "oak stump" there grows "a clump of what looks like (but can't be) morels," i.e. edible mushrooms with sponge-like caps. But the sexuality of this scene (springing from the "humid heat" of stanza 2) "can't be," and the clump collapses and "nods, in pleasant imitation/ Of what is good."
Nonetheless, life force has entered the poem, and in the next line the "good" seems to be more than an imitation, becoming, in fact, a genuine good. The poet here wonders how "he should ...prefer the good/[new stanza (6)]To the commonplace (a platitude,/ A flat-voiced warning to a child about deceit/ About what's wild), whatever is enough." The indignant, genuine good here stands in opposition to the false language of pastoral-religious cliche ("platitude") and the linguistically dead ("flat-voiced") indoctrination which warns children against "deceit" (poetic fiction) and "wildness" (passion), settling for a safe, calm "whatever is enough." Against such instilled, artificial morality, how should the poet, the maker of art, prefer the good?
The final consideration (stanzas 6 and 7) shows how he may do so as it presents the triumph of poetic (passionate rather than imitative) goodness. We return to the pastoral garden itself in the last two stanzas, and now there is confident movement and locomotion as "the irises will spread,/ the catalog promises" in an exuberant life of beauty and fecundity, now separated from the pages themselves, as the catalog/prophet "promises" their growth and extension. In this final burst hearkening back to the passion of stanza 1--"I fell in love with the Siberian Iris"--the irises bloom in "sure repetition" and self generation from seeds which revise the "Siberian" chill of Keats' "cold pastoral" and "still unravished bride" ("Ode to a Grecian Urn"), accomplishing a conversion of the hollow "Platitude" in stanza 6 to a passionate union of the Platonic triad, where Keats' Beauty and Truth join Smith's the Good in continual and indistinguishable celebration.
word count: 978
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Covers: solution, characterization, and stability analysis, including bifurcation and chaos.
The new 3rd edition is much better and significantly longer than the earlier editions.
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Yeah, you learn about Michael's bad habits and some nastiness, but overall you find out what a great man he really is. Highly recommended.
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It is a well-written book with a rather slow plot but would be a great read for any basketball fan.
From his amazing performances on the court, to his positive endeavors off of the court, Michael Jordan continues to add on to the support of his admirers. Though in this book we are also exposed to another side of Jordan... the "behind-closed-doors" side! Some things, such as his lectures and autograph sessions, may not be of a surprise while others, such as his off-the-court good times, may come as a great shock. Whatever the case may be, this is a remarkable story of the man who has taking the NBA by storm. The man that we've all grown to know and love.
This is a tactfully composed novel by Loretta Smith and if you love Michael Jordan, then you'll love this book!
Among its explanation of book binding techniques, it covers specific stitching, and has directions for making archival paste (wheat paste).
The benefit of two expert authors is that whenever they differ in techniques, they describe both and you can choose a method to fit your style.