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I would give into the dream 4 stars.
It's about a boy named Paul that never pays a tension in class that a girl named Francine that has a lot of friends to hang around with. They both are from different parts of the same town. Having the same dream. The dream is about this little boy who is following this light. The little boy is named Noah. Paul and Francine have to find out who the boy is and what is following him. Paul and Francine go through a whole lot of things to go through before the end of the book.
Paul and Noah the little boy in the dream are running away from two who they think are bad people. Paul, Francine. Noah, and cookie the family dog are all telepathic. So they can read each other's thoughts. That's how they all communicate. Because Noah can't speak. Paul and Noah are on the Ferris wheel. When all of a sudden the cart poll broke off and they are hanging crooked but that is all I'm saying because you should read this book to find what really happens. It's exiting, sad, confusing, and a little funny, and a lot of helpers too. A lot of color, and pictures, but that are my thoughts. There are a lot of problems that Francine and Paul have. they both get in trouble. So watch out for this magical book in your school library or bookstore. Maybe there will be a sequel. By Valerie .
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When Sweet Valley High decides that al student activites at school need chaperones, the cheerleaders are forced to find a new supervisor. But with Jessica and Heather, the cocaptains, fighting over a hunky photogrpaher helping to do a magazine story on their squad and cheerleaders going missing, they might all get more than they bargained for.
Recommended for girls aged 12-15.
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The play opens near the end of a long visit by Polixenes, the king of Bohemia, to the court of his childhood friend, Leontes, the king of Sicily. Leontes wants his friend to stay one more day. His friend declines. Leontes prevails upon his wife, Hermione, to persuade Polixenes. Hermione does her husband's bidding, having been silent before then. Rather than be pleased that she has succeeded, Leontes goes into a jealous rage in which he doubts her faithfulness. As his jealousy grows, he takes actions to defend his misconceptions of his "abused" honor that in fact abuse all those who have loved him. Unable to control himself, Leontes continues to pursue his folly even when evidence grows that he is wrong. To his great regret, these impulsive acts cost him dearly.
Three particular aspects of the play deserve special mention. The first is the way that Shakespeare ties together actions set 16 years apart in time. Although that sounds like crossing the Grand Canyon in a motorcycle jump, Shakespeare pulls off the jump rather well so that it is not so big a leap. The second is that Shakespeare captures entirely different moods from hilarious good humor to deep depression and remorse closely adjacent to one another. As a result, the audience is able to experience many more emotions than normally are evoked in a single play. Third, the play's final scene is as remarkable a bit of writing as you can imagine. Read it, and marvel!
After you finish reading this play, think about where your own loss of temper has had bad consequences. How can you give yourself time to get under control before acting rashly? How can you learn to be more open to positive interpretations of events, rather than dark and disturbing ones?
Love first, second, and always!
The story is, of course, brilliant. King Leontes goes into a jealous rage at the beginning against his wife Hermione. Leontes is very mistaken in his actions, and the result is tragic. Shakespeare picks the story back up sixteen years later with the children, and the story works to a really, really surprising end of bittersweet redemption.
This is one of Shakespeare's bests. The first half is a penetrating and devestating, but the second half shows a capacity for salvation from the depths of despair. Also, this being Shakespeare, the blank verse is gorgeous and the characters are well drawn, and the ending is a surprise unparalleled in the rest of his plays. The Winter's Tale is a truly profound and entertaining read.
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Rebecca is the main charcter who runs a peer counseling program at her school. She has just been dumped by her boyfriend and no longer has a date to the prom.
Roger is her younger brother who lives in her shadow and lives for getting in trouble.
Kayla and Zoner are her two best friends who are starting to develop feelings for each other.
Jeff is the handsome editor of the school nespaper who is obsessed with trying to get Peer Counsling Network closed. Maybe to hide his feelings towards Rebecca??
Eddie is a rich, arrogant guy who placed Rebecca in the number 10 spot for most desirable prom dates. He also has a weird fixation on her chest. (Which judging by his comments and the book cover much be huge) He says such things as "Did you wash your hair this morning? It looks kind of flat...unlike the rest of you." and "...you'll be entering the company of a guy who has only the highest esteem for your many breasttaking qualities."
The play itself, as with most of Shakespeare's histories, is verbose, static and often dull. Too many scenes feature characters standing in a rigid tableau debating, with infinite hair-cavilling, issues such as the legitimacy to rule, the conjunction between the monarch's person and the country he rules; the finer points of loyalty. Most of the action takes place off stage, and the two reasons we remember King John (Robin Hood and the Magna Carta) don't feature at all. This doesn't usually matter in Shakespeare, the movement and interest arising from the development of the figurative language; but too often in 'King John', this is more bound up with sterile ideas of politics and history, than actual human truths. Characterisation and motivation are minimal; the conflations of history results in a choppy narrative. There are some startling moments, such as the description of a potential blood wedding, or the account of England's populace 'strangely fantasied/Possessed with rumours, full of idle dreams/Not knowing what they fear, but full of fear'. The decline of the king himself, from self-confident warrior to hallucinating madman, anticipates 'King Lear', while the scene where John's henchman sets out to brand the eyes of the pubescent Pretender, is is full of awful tension.
P.S. Maybe I'm missing something, but could someone tell me why this page on 'King John' has three reviews of 'Timon of Athens'? Is somebody having a laugh?
But a recording is to be judged on its performances, not so much on its text. The Arkangel series, now in its last laps toward completion before (I am told) it is all redone on CDs, has every reason to be proud of its "Timon of Athens," thanks to its strong and intelligent readings. The opening scenes of artisans and poets building up the play's themes of wheel-of-fortune and gratitude/ingratitude are almost intelligible without a text open before you. Alan Howard, whom I saw in New York long ago as Henry V and as the main character in "Good," has that kind of friendly voice that is so well suited to the extravagant Timon in the open acts that we feel all the more for him when his false friends deny him in his need.
The snarling voice of Norman Rodway's Apemantus is a perfect counterpoint, and he casts out his invective in those early scenes with a hint of humor. However, when Timon becomes the misanthrope, his voice darkens and coarsens; and it is very hard to tell it from Apemantus' in their overly-long exchange of curses in 4:3. If the actor playing Alcibiades (Damian Lewis) sounds far too young for the role, that is a minor quibble--and perhaps the director wanted him to sound like a young Timon.
The incidental music sounds sufficiently Greek but too modern; still, Ingratitude knows no particular time period. A superior production of a much flawed play and a very welcome addition to any collection of recorded drama, especially since the old Decca set is long out of print and Harper audio does not yet have a "Timon" in their series.
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There remain some notable highlights in "Essential X-Men Vol. 3", however. The courtship of Dr. Doom and Storm is classic and totally unexpected. The story arc with Cyclops stranded on a desert isle housing his greatest foe is sensational, as is the appearance of Dracula (!). Unfortunately, these high points sink beneath the weight of drecch like Kitty Pryde's fairytale version of the X-Men and the touted return of Dark Phoenix.
If you're a true fan of the X-Men, you'll want this collection to avoid bending the corners of your precious back issues. Otherwise, grab the first two volumes of this series instead.
"Mutant Genesis" reprints (in color, not b&w) the first seven issues of the second series X-Men (now renamed New X-Men) from 1991. Claremont writes the first three issues, and John Byrne and Jim Lee write the remaining four. Lee provides pencils for all.
The the 3-issue story "Rubicon" represents Claremont's finale as he left the series he'd written for 14 years and made the highest selling comic EVER. It ranks among his best writing (which is saying a lot). The story revolves around Magneto's quest for vengence against Charles Xavier and Moira MacTaggert, involving nearly thirty years of X-Men history, including the effects of the Holocaust, prejudice, nuclear proliferation, and the effects of anger on the human soul. Highly recommended.
If you enjoy this trade, I would recommend Claremont's work in:
"X-Men: God Loves, Man Kills"; "X-Men: Vignettes"; and the four volumes of Essential X-Men b&w reprints.
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I find it stimulating and useful to have these two pieces, linked in theme but separated by centuries, together in one volume. Each is a great text on its own, but having them together may help the reader to see each piece in a different light. One of the things I find most striking as one moves from R&J to WSS is how the latter text adds the element of ethnic tension to the fundamental story of "star-crossed lovers."
R&J is more than just a classic piece of literature; it's also a touchstone of pop culture (hey, it's even been incorporated into a "Brady Bunch" episode!). Despite the passage of centuries, I find Shakespeare's portrayal of the joy and pain of forbidden love to remain relevant and compelling. And R&J holds up as a reader's text, even with the availability of filmed versions. I think that WSS, being a musical play, naturally loses some impact as a text strictly on the page, but nevertheless I found it a rewarding reader's text also. One might try listening to a CD of WSS's songs as an accompaniment to reading the text.
To supplement WSS's portrayal of urban Puerto Ricans, I recommend that interested readers seek out some writings by "Nuyorican" authors; to start with, try Roberto Santiago's illuminating anthology "Boricuas: Influential Puerto Rican Writings."