Add in the luminous artwork of Sophie Blackall and you’ve got yourself a historical winner on your hands. The other? Written by one of the descendants of the veterinarian that started it all. One book was researched and thought through carefully. But Finding Winnie has an advantage over the Walker bio that cannot be denied. The first of these books was Winnie: The True Story of the Bear That Inspired Winnie-the-Pooh by Sally M. With the anniversary of WWI here, the children’s literary sphere has witnessed not one but two picture book biographies of Winnie, the real bear that inspired Christopher Robin Milne and, in turn, his father A.A. If it’s not Midnight, A True Story of Loyalty in World War I by Mark Greenwood or Stubby the War Dog: The True Story of WWI’s Bravest Dog by Ann Bausum, it’s Voytek, the Polish munitions bear in Soldier Bear or, best known of them all, the inspiration for Winnie-the-Pooh. What is it with adorable animals and WWI? Seems these days no matter where you turn you find a new book commemorating a noble creature’s splendor and sacrifice on the battlefields of Europe. Finding Winnie: The True Story of the World’s Most Famous Bear
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To Be Young, Gifted and Black, an autobiographical portrait in her own words adapted by her former husband and literary executor Robert Nemiroff, was posthumously produced in 1969 and toured across the country. Her second play to be produced on Broadway, The Sign in Sidney Brustein’s Window, was in its early run, to mixed reviews, when Hansberry died the curtain came down on that date. As if prescient, in the six years she had between the triumph of her first play and her death, she was extraordinarily prolific. In 1965, Lorraine Hansberry died of cancer at age 34. In 1961, the film version won a special award at the Cannes Film Festival and was nominated for a Screen Writer’s Guild Award for Hansberry’s screenplay. In its authentic depiction of Black American life, and the vivid demonstration of so gifted a creator, cast and director, it made it impossible for the American stage to ignore African American creativity and subject matter thereafter. When Lorraine Hansberry’s (1930-1965) A Raisin in the Sun appeared on Broadway in 1959, the artist became, at 29, the youngest American playwright, the fifth woman, and the only African American to date to win the New York Drama Critics Circle Award for Best Play of the Year. Hershey Felder as George Gershwin Alone.Subscription Discounts and Special Series. It is, at least in the sciences (I haven’t read enough from other fields to make a judgement), poorly constructed, stale and pretentious.ĭespite being written nearly 70 years ago, Politics and the English Language is still the best guide to how not to write. But there is another barrier preventing people from accessing published research, and that is academic writing. Open access is making excellent progress, and there are now many journals that are freely available online. The public fund much of the research that goes into peer-reviewed journals, and therefore they have a right to see it should they want to. Supporters of open access, myself included, argue that this is deeply unfair. At the moment you have to pay through the nose to read a journal article if you’re not at an institution with a subscription. The open access movement seeks to make research published in peer-reviewed journals freely available for anyone to see. He argues the imitative and pretentious nature of how scientists write science papers acts as a barrier to access and to thinking critically. Science is about finding the truth and making sense of things and an essential part of this is communicating clearly and honestly. Drawing on George Orwell’s essay “Politics and the English Language”, Lewis Spurgin discusses the bad habits prevalent in science writing. Digging into The Peripheral is a little like a sneak trip to the past, remembering that first, sweet shock of the new. Back to his old tricks: From page one, The Peripheral ticks and sings with the same controlled, dark energy and effortless grace of language. And I don't mean just with a new book, but back to his old stomping ground (the near future, though London and Appalachia this time, not California and Japan). Why? Because William Gibson said it would be.Īnd now he's back. Of course the future was going to be filled with mirrorshades and black leather jackets and the film of blood on a wet razor. Granted, he wore those black and chrome and rain-colored crayons down to a goddamn nub, but we didn't care. Like Asimov or Heinlein or Bradbury once did, his vision carved the scope of our progress, and the big box of Crayolas in his head gave shading and color to a coming time that seemed tantalizingly close. When, to readers of certain tastes and a certain (reasonably innocent) age, his futures were the ones that got woven into our DNA. When, if you were talking about science fiction, you couldn't have a conversation that didn't invoke his name. There was a time when William Gibson was the man. Your purchase helps support NPR programming. Close overlay Buy Featured Book Title The Peripheral Author William Gibson |