Books with author Elizabeth Clark

The last time Jess saw her father, she was a boy. Now she’s a high school graduate, soon to be on her way to art school. But first she has some unfinished business with her dad. So she’s driving halfway across the country to his wedding. He happens to be marrying her mom’s ex-best friend. It’s not like Jess wasn’t invited; she was. She just never told anyone she was coming. Surprise! Luckily, Jess isn’t making this trip alone. Her best friend, Christophe―nicknamed Chunk―is joining her. Along the way, Jess and Chunk learn a few things about themselves―and each other―which call their feelings about their relationship into question.

The last time Jess saw her father, she was a boy. Now she’s a high school graduate, soon to be on her way to art school. But first she has some unfinished business with her dad. So she’s driving halfway across the country to his wedding. He happens to be marrying her mom’s ex-best friend. It’s not like Jess wasn’t invited; she was. She just never told anyone she was coming. Surprise! Luckily, Jess isn’t making this trip alone. Her best friend, Christophe—nicknamed Chunk—is joining her. Along the way, Jess and Chunk learn a few things about themselves—and each other—which call their feelings about their relationship into question.

STORIES TO TELL AND HOW TO TELL THEM - BY ELIZABETH CLAW - 1927 - CONTENTS - 1. THE TALE OF THE TALKATIVE TOROISE IV. THE TALE OF A TURNIP . e W. JONATHAN JOHN AND HIS WIFE VII. FATHER SPARROWS TUG-OF-WAR . VIII. A TALE OF THE BAD LITTLE JACKAL . IX. THE SPINDLE, THE SHUTTLE AND THE . a NEEDLE . m m a X. THE LACE-MAKER OF BRUGES XI, THE OLD WOMAN AND THE PIXIES AND THE TULIPS m XII. ROBIN REDBREASTS THANKSGIVING XIII. THE STORY OF MOTHER TIGER . Q FOX AND THE -- THIS little book of stories is in part an attempt to furnish some fresh material for telling to chiidren of about six to ten years of age. None of the stories claims to be what is known as original. All are founded on legends and scraps of folk-lore or history. I have re-told them because I enjoyed them--one of the very best of good reasons for telling a story-in the hope that others will enjoy them also. The version of The Old Woman and the Pixies and the Tulips appears in print for the first time, as does also The Dog-Brother of the Order of St. John, though I have often told both at school-S and play-centres and as illustra- tions to lectures. The other eleven stories with their accompanying studies and comments have already appeared in the pages of Child Education. Now, as to the advice which follows each Introduction story. It has been written with considerable diffidence, because story-telling is such an indivi- dual affair that at first it seemed hardly possible to give any directions as to how each story should be told. Moreover, I had especially in mind the inexperienced and probably nervous Story- teller, to whom a story is apt to present itself as something to be memorised and afterwards dis-charged, with more or less accuracy and as much expression as anxiety will permit. To burden such with many details as to pauses, emphasis, inflections, would be only to add to their troubles. Also I am sure that expression, in story- telling of the homely, intimate kind for which these little stories are intended, comes best and most freely when it springs from the Story-tellers own enjoyment and understanding. It cannot be dictated word by word. So I have aimed at establishing a bond of friendship and intimacy between Story-teller and..............

Katherine Dunham was an anthropologist. One of the first African Americans to obtain a degree in anthropology, she conducted groundbreaking fieldwork in Jamaica and Haiti in the early 1930s and wrote several books including Journey to Accompong, Island Possessed, and Las Danzas de Haiti. Decades before Margaret Mead was publishing for popular audiences in Redbook, Dunham wrote ethnographically informed essays for Esquire and Mademoiselle under the pseudonym Kaye Dunn. Katherine Dunham was a dancer. The first person to head a black modern dance company, Dunham toured the world, appeared in numerous films in the United States and abroad, and worked globally to promote the vitality and relevance of African diasporic dance and culture. Dunham was a cultural advisor, teacher, Kennedy Center honoree, and political activist.This book explores Katherine Dunham’s contribution to anthropology and the ongoing relevance of her ideas and methodologies, rejecting the idea that art and academics need to be cleanly separated from each other. Drawing from Dunham’s holistic vision, the contributors began to experiment with how to bring the practice of art back into the discipline of anthropology—and vice versa.