This edition reprints for the first time in recent years the four original illustrations that James McBride prepared while James was working on this, his first collection. Among them are such favorites as "Number Thirteen," "Canon Alberic's Scrap-book," and "Oh, Whistle, and I'll Come to You, My Lad." Common to all of them is the breath of "the evil that dieth not but lieth in wait." Book Type: book Store Description Visit Seller's Storefront Association Member Members of these associations are committed to maintaining the highest standards. James, Provost of Eton, one of the most formidable scholars that England has ever produced, who has drawn upon an unmatched knowledge of the hidden byways of the past to form a series of inimitable stories. Title: More Ghost Stories of an Antiquary Publisher: Edward Arnold, London Publication Date: 1911 Binding: Cloth Illustrator: None Condition: Good Edition: First edition. It has been reprinted more times than any other book in this field, and it contains several of the best ghost stories in the English language. First printed in 1904, it is the landmark book that established the modern horror story. In the twentieth-century literature of the supernatural, the single most important book, in the opinion of most scholars and enthusiasts, is Ghost Stories of an Antiquary, by Montague Rhodes James. The first work of fiction by one of the greatest ghost-story writers of all time, originally published in 1904, collecting eight creepy tales, two of which.
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"He would be permitted to explain his motives and lay it out in detail and so, he gets his say in this book." A path to war and a possible template?ĭuration 9:50 In May 1991, Bob Woodward talks to the CBC's Barbara Frum about his latest book, The Commanders. "My agreement with Casey, spoken and unspoken, was simply he would get his say," Woodward told the CBC's Barbara Frum, when appearing on The Journal in October of that year. The reporter, who had dealt with Casey throughout his term at the helm of the CIA, said the spy chief wanted his chance to give his side of the story. It was at that time that Woodward was in the midst of working on Veil and conducting interviews with the ailing Casey - including while he lay in bed in hospital. President Ronald Reagan, Casey held the job until health issues forced him to resign in the final months of his life. His fifth book Veil: The Secret Wars of the CIA, 1981-1987 explored the actions of America's spy agency under William J. Duration 7:46 In October 1987, Washington Post journalist Bob Woodward talks to Barbara Frum about his new book, Veil.įifteen years after the Watergate scandal, Woodward was still doing what he did best - doggedly pursuing stories and breaking news. Above all, it is a story of asking for help when all seems dark, and bringing light to those who need it most. It shows what it's like to feel invisible, and the importance of feeling seen. Is it worth losing her friend Wendell? Is she partially to blame for the bullying Eliza endures?įollowing the events of Sheets, Brenna Thummler's second original graphic novel, Delicates, tells a powerful story about what it means to fit in, and those who are left on the outside. Marjorie must soon come to terms with the price she pays to be accepted by the popular kids. Constantly on the outside, Eliza begins to feel like a ghost herself. She's an avid photographer, and her zealous interest in finding and photographing ghosts gets her labeled as different by all the other kids in school. With Marjorie's insistence on keeping Wendell's ghost identity a secret from her new friends, Wendell begins to feel even more invisible than he already is.Įliza Duncan feels invisible, too. But when Marjorie finally gets accepted by the popular kids at school, she begins to worry that if anyone learns about her secret ghost friends, she'll be labeled as a freak who sees dead people. Wendell, who died young and now must wander the earth as a ghost with nothing more than a sheet for a body, soon became one of Marjorie's only friends. Marjorie Glatt's life hasn't been the same ever since she discovered a group of ghosts hiding in her family's laundromat. He saw this as "selling out his own creation," and obstinately refused to do so.Īfter two syndicates had rejected Calvin and Hobbes, Universal Press Syndicate offered Watterson a contract with the caveat that they would have all the exploitation rights to Calvin and Hobbes into the next century. It would no longer be his strip, as his only job would be to only do whatever it took to keep his character's profitable. His major issue with licensing, however, is the fact that if he agree to license, he would corrupt his strip's integrity. Watterson took great pride in the fact that he drew, inked, and colored the strip by himself, and did not want to just approve someone else's work. His third reason was the fact that he would have to be in charge of a bunch of assistants who would do all the work of creating the licensed products. His second reason was his belief that the created merchandise rarely respected how the original media worked, sacrificing a lot of multi-dimensional subtleties for the one-dimensional needs of the product. Watterson's first reason for not wanting to license was his belief that saturating the market with Calvin and Hobbes merchandise would make the public grow inevitably bored and irritated, reducing the value of the strip itself. Watterson shared some of his issues with licensing in The Calvin and Hobbes Tenth Anniversary Book. Watterson's Reasons For Refusing to License Anita is catatonic but recovering from her son's death in Vietnam her husband is a two-timing drunkard. And then the ghastly housewarming, with Pie's father having a fatal stroke when he walks in on Buddy and a boy-friend locked in a shameless naked embrace. And various neighborhood animals get similar treatment. Then comes the horrible abortion, with Pie's fetus found pulped in the cellar. And Kim Dougherty, their spanking fresh young architect, is hanging around and overseeing this house, his all-consuming piece de resistance. The new folks moving in are the swank Harralsons, Buddy and pregnant Pie. In a nameless Southern town, modish Colquitt and Walter Kennedy are snug in their pretty, pretty house when the lot on the ridge out back is sold, ravaged, and a new knockout place goes up. The Amityville Horror marries The Stepford Wives and produces a haunted house packed with plasticine people. Juggling two massive investigations against a cruel ticking clock takes a toll on Rhymes health. Meanwhile, Rhyme is consulting on another high-profile investigation in Mexico with a most coveted quarry in his crosshairs: the hired killer known as the Watchmaker, one of the few criminals to have eluded Rhymes net. As the attacks continue across the city at a sickening pace, and terrifying demand letters begin appearing, the team works desperately against time and with maddeningly little forensic evidence to try to find the killer. Long a quadriplegic, he assembles NYPD detective Amelia Sachs and officer Ron Pulaski as his eyes, ears and legs on crime sites, and FBI agent Fred Dellray as his undercover man on the street. Rhyme, a world-class forensic criminologist known for his successful apprehension of the most devious criminals, is immediately tapped for the investigation. When the first explosion occurs in broad daylight, reducing a city bus to a pile of molten, shrapnel-riddled metal, officials fear terrorism. The killer harnesses and steers huge arc flashes with voltage so high and heat so searing that steel melts and his victims are set afire. Without it, modern society grinds to a halt. Byrnes worked cases methodically, interviewing witnesses, analyzing crime scenes, and developing theories that helped close the books on previously unsolvable crimes. Mug shots and daily lineups helped witnesses point out culprits the famed rogues' gallery allowed police to track repeat offenders and the third-degree interrogation method induced recalcitrant crooks to confess. But in the early 1870s, an Irish cop by the name of Thomas Byrnes developed new ways to catch criminals. A thief or murderer not caught in the act nearly always got away. For centuries, New York had been a haven of crime. Rogues' Gallery is a sweeping, epic tale of two revolutions, one feeding off the other, that played out on the streets of New York City during an era known as the Gilded Age. From the beginnings of big-city police work to the rise of the Mafia, Rogues' Gallery is a colorful and captivating history of crime and punishment in the bustling streets of Old New York. Beginning at the quiet family home in Piccadilly and ending with the birth of Prince Charles at Buckingham Palace in 1948, Crawfie tells how she brought the princesses up to be “Royal,” while attempting to show them a bit of the ordinary world of underground trains, Girl Guides, and swimming lessons.The Little Princesses was first published in 1950 to a furor we cannot imagine today. Enter Marion Crawford, a twenty-four-year-old from Scotland who was promptly dubbed “Crawfie” by the young Elizabeth and who would stay with the family for sixteen years. They already had a nanny-a family retainer who had looked after their mother when she was a child-but it was time to add someone younger and livelier to the household. In the early thirties, the Duke and Duchess of York were looking for someone to educate their daughters, Elizabeth and Margaret, then five- and two-years-old. The family moved to Buckingham Palace, and ten-year-old Princess Elizabeth became the heir to the crown she would ultimately wear for over fifty years.The Little Princesses shows us how it all began. Suddenly the little princesses’ father was King. Their father was the Duke of York, the second son of King George V, and their Uncle David was the future King of England.We all know how the fairy tale ended: When King George died, “Uncle David” became King Edward VIII-who abdicated less than a year later to marry the scandalous Wallis Simpson. Once upon a time, in 1930s England, there were two little princesses named Elizabeth and Margaret Rose. Two words with one HUGE meaning for students. Amazing Grace is wonderful for teaching students the importance of following their dreams and being confident in who they are. She tries out for a role in a class play, despite the comments from her peers. It is a MUST, trust me! □□ Grace loves stories, especially ones told by her grandmother. I will read this EVERY year to my students. Ĭentral Message Book 1- Amazing Grace by Mary Hoffman (aff) Keep reading for 19 read alouds for teaching central message and be sure to check out #1, #4, #11, and #13. Over the years I’ve compiled a list of tried and true tales, as well as some NEW titles to use when teaching central message. “What lesson can we learn from the story?” When it comes to teaching the central message, choosing the story is my favorite part. Nixon spent most of late 19 cowering inside the White House pretending to watch football on TV, while chanting, sign-waving protesters heckled him from outside the White House fence on Pennsylvania Avenue. The Moratorium’s big turnout in red states and with people of all ages and economic backgrounds suggested to the Nixon administration that it had a growing mass movement to contend with. With the help of social media the Women’s March went viral. The 1969 Moratorium took two months to plan with ol’ fashioned communication tools like telephone trees, mass mailings, and newspaper advertisements. Like the Moratorium, the numbers of Women’s March participants far exceeded expectations, and protests took place in regions of our country that rarely host left-leaning political demonstrations. history at the time, and it signaled to President Nixon that the anti-war movement had mainstream support and could no longer be considered a marginal movement of a few thousand radicals and hippies.įorty-eight years later, as 3.3 million women marched last Saturday in 500 locations nation-wide, including unlikely places like Roanoke, Virginia, and Omaha, Nebraska, I couldn’t help but compare the 2017 Women’s March on Washington to the 1969 Moratorium. The Moratorium to End the War in Vietnam was the largest nationwide protest in U.S. On October 15, 1969, more than two million people in dozens of cities across the United States participated in a day of marches, vigils, and teach-ins against the Vietnam War. |