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Children's literature, the body of written works and accompanying illustrations produced in order to entertain or instruct young people. The genre encompasses a wide range of works, including acknowledged classics of world literature, picture books and easy-to-read stories written exclusively for children, and fairy tales, lullabies, fables, folk songs, and other primarily orally transmitted materials.
Children's literature first clearly emerged as a distinct and independent form of literature in the second half of the 18th century, before which it had been at best only in an embryonic stage. During the 20th century, however, its growth has been so luxuriant as to make defensible its claim to be regarded with the respect—though perhaps not the solemnity—that is due any other recognized branch of literature.
Definition of terms
All potential or actual young literates, from the instant they can with joy leaf through a picture book or listen to a story read aloud, to the age of perhaps 14 or 15, may be called children. Thus "children" includes "young people." Two considerations blur the definition. Today's young teenager is an anomaly: his environment pushes him toward a precocious maturity. Thus, though he may read children's books, he also, and increasingly, reads adult books. Second, the child survives in many adults. As a result, some children's books (e.g., Lewis Carroll's Alice in Wonderland, A.A. Milne's Winnie-the-Pooh, and, at one time, Munro Leaf's Story of Ferdinand) are also read widely by adults.
In the term children's literature, the more important word is literature. For the most part, the adjective imaginative is to be felt as preceding it. It comprises that vast, expanding territory recognizably staked out for a junior audience, which does not mean that it is not also intended for seniors. Adults admittedly make up part of its population: children's books are written, selected for publication, sold, bought, reviewed, and often read aloud by grown-ups. Sometimes they seem also to be written with adults in mind, as for example the popular French Astérix series of comics parodying history. Nevertheless, by and large there is a sovereign republic of children's literature. To it may be added five colonies or dependencies: first, "appropriated" adult books satisfying two conditions—they must generally be read by children and they must have sharply affected the course of children's literature (Daniel Defoe's Robinson Crusoe, Jonathan Swift's Gulliver's Travels, the collection of folktales by the brothers Jacob and Wilhelm Grimm, the folk-verse anthology Des Knaben Wunderhorn ["The Boy's Magic Horn"], edited by Achim von Arnim and Clemens Brentano, and William Blake's Songs of Innocence); second, books the audiences of which seem not to have been clearly conceived by their creators (or their creators may have ignored, as irrelevant, such a consideration) but that are now fixed stars in the child's literary firmament (Mark Twain's Adventures of Huckleberry Finn, and Charles Perrault's fairy tales; third, picture books and easy-to-read stories commonly subsumed under the label of literature but qualifying as such only by relaxed standards (though Beatrix Potter and several other writers do nonetheless qualify); fourth, first quality children's versions of adult classics (Walter de la Mare's Stories from the Bible, perhaps Howard Pyle's retellings of the Robin Hood ballads and tales; finally, the domain of once oral "folk" material that children have kept alive—folktales and fairy tales; fables, sayings, riddles, charms, tongue twisters; folksongs, lullabies, hymns, carols, and other simple poetry; rhymes of the street, the playground, the nursery; and, supremely, Mother Goose and nonsense verse.
Five categories that are often considered children's literature are excluded from this section. The broadest of the excluded categories is that of unblushingly commercial and harmlessly transient writing, including comic books, much of which, though it may please young readers, and often for good reasons, is for the purposes of this article notable only for its sociohistorical, rather than literary, importance. Second, all books of systematic instruction are barred except those sparse examples (e.g., the work of John Amos Comenius) that illuminate the history of the subject. Third, excluded from discussion is much high literature that was not originally intended for children: from the past, Jean de La Fontaine's Fables, James Fenimore Cooper's Leatherstocking tales, Sir Walter Scott's Ivanhoe, Charlotte Brontë's Jane Eyre, Alexandre Dumas' Three Musketeers, Rudyard Kipling's Kim; from the modern period, Marjorie Kinnan Rawlings' Yearling, J.D. Salinger's Catcher in the Rye, The Diary of Anne Frank, Thor Heyerdahl's Kon-Tiki, Enid Bagnold's National Velvet. A fourth, rather minor, category comprises books about the young where the content but not the style or point of view is relevant (Sir James Barrie's Sentimental Tommy, William Golding's Lord of the Flies, F. Anstey's [Thomas Anstey Guthrie] Vice Versa). Finally, barred from central, though not all, consideration is the "nonfiction," or fact, book. Except for a handful of such books, the bright pages of which still rain influence or which possess artistic merit, this literature should be viewed from its socioeducational-commercial aspect.
The case for a children's literature
Many otherwise comprehensive histories of literature slight or omit the child's reading interests. Many observers have made explicit the suspicion that children's literature, like that of detection or suspense, is "inferior." They cannot detect a sufficiently long "tradition"; distinguish an adequate number of master works; or find, to use on thoughtful critic's words, "style, sensibility, vision."
Others, holding a contrary view, assert that a tradition of two centuries is not to be ignored.
Though the case for a children's literature must primarily rest on its major writers (including a half dozen literary geniuses), it is based as well on other supports that bolster its claim to artistic stature.
Children's literature, while a tributary of the literary mainstream, offers its own identifiable, semidetached history. In part it is the issue of certain traceable social movements, of which the "discovery" of the child (see below) is the most salient. It is independent to the degree that, while it must meet many of the standards of adult literature, it has also developed aesthetic criteria of its own by which it may be judged. According to some of its finest practitioners, it is independent, too, as the only existing literary medium enabling certain things to be said that would otherwise remain unsaid or unsayable. The nature of its audience sets it apart; it is often read, especially by children younger than 12, in a manner suggesting trance, distinct from that of adult reading. Universally diffused among literate peoples, it offers a rich array of genres, types, and themes, some resembling grown-up progenitors, many peculiar to itself. Its "style, sensibility, vision" range over a spectrum wide enough to span matter-of-fact realism and tenuous mysticism.
Other measures of its maturity include an extensive body (notably in Germany, Italy, Sweden, Japan, and the United States) of commentary, scholarship, criticism, history, biography, and bibliography, along with the beginnings of an aesthetic theory or philosophy of composition. Finally, one might note its power to engender its own institutions: publishing houses, theatres, libraries, itinerant storytellers, critics, periodicals, instruction in centres of higher learning, lectureships, associations and conferences, "book weeks," collections, exhibitions, and prizes. Indeed, the current institutionalizing of children's literature on an international scale has gone so far, some feel, as to cast a shadow on the spontaneity and lack of self-consciousness that should lie at its heart.
Some general features and forces
The discovery of the child
A self-aware literature flows from a recognition of its proper subject matter. The proper subject matter of children's literature, apart from informational or didactic works, is children. More broadly, it embraces the whole content of the child's imaginative world and that of his daily environment, as well as certain ideas and sentiments characteristic of it. The population of this world is made up not only of children themselves but of animated objects, plants, even grammatical and mathematical abstractions; toys, dolls, and puppets; real, chimerical, and invented animals; miniature or magnified humans; spirits or grotesques of wood, water, air, fire, and space; supernatural and fantasy creatures; figures of fairy tale, myth, and legend; imagined familiars and doppelgänger; and grown-ups as seen through the child's eyes—whether Napoleon, Dr. Dolittle, parents, or the corner grocer. That writers did not detect this lively cosmos for two and a half millennia is one of the curiosities of literature. At any moment there has always been a numerous, physically visible, and audible company of children. Whether this sizable minority, appraised as literary raw material, could be as rewarding as the adult majority was never asked.
And so, almost to the dawn of the Industrial Revolution, children's literature remained recessive. The chief, though not the only, reason is improbably simple: the child himself, though there, was not seen—not seen, that is, as a child.
In preliterate societies he was and is viewed in the light of his social, economic, and religious relationship to the tribe or clan. Though he may be nurtured in all tenderness, he is thought of not as himself but as a pre-adult, which is but one of his many forms. Among Old Testament Jews the child's place in society replicated his father's, molded by his relation to God. So, too, in ancient Greece and Rome the child, dressed in the modified adult costume that with appropriate changes of fashion remained his fate for centuries to come, was conceived as a miniature adult. His importance lay not in himself but in what Aristotle would have called his final cause: the potential citizen-warrior. A girl child was a seedbed of future citizen-warriors. Hence classical literature either does not see the child at all or misconstrues him. Astyanax and Ascanius, as well as Medea's two children, are not persons. They are stage props. Aristophanes scorns as unworthy of dramatic treatment the children in Euripides' Alcestis.
Throughout the Middle Ages and far into the late Renaissance the child remained, as it were, terra incognita. A sharp sense of generation gap—one of the motors of a children's literature—scarcely existed. The family, young and old, was a kind of homogenized mix. Sometimes children were even regarded as infrahuman: for Montaigne they had "neither mental activities nor recognizable body shape." The year 1658 is a turning point. In that year a Moravian educator, Comenius, published Orbis Sensualium Pictus (The Visible World in Pictures, 1659), a teaching device that was also the first picture book for children. It embodied a novel insight: children's reading should be of a special order because children are not scaled-down adults. But the conscious, systematic, and successful exploitation of this insight was to wait for almost a century.
It is generally felt that, both as a person worthy of special regard and as an idea worthy of serious contemplation, the child began to come into his own in the second half of the 18th century. His emergence, as well as that of a literature suited to his needs, is linked to many historical forces, among them the development of Enlightenment thought (Rousseau and, before him, John Locke); the rise of the middle class; the beginnings of the emancipation of women (children's literature, unlike that for grown-ups, is in large measure a distaff product) and Romanticism, with its minor strands of the cult of the child (Wordsworth and others) and of genres making a special appeal to the young (folktales and fairy tales, myths, ballads). Yet, with all these forces working for the child, he still might not have emerged had it not been for a few unpredictable geniuses: William Blake, Edward Lear, Lewis Carroll, George MacDonald, Louisa May Alcott, Mark Twain, Collodi, Hans Christian Andersen. But, once tentatively envisaged as an independent being, a literature proper to him could also be envisaged. And so in the mid-18th century what may be defined as children's literature was at last developing.
Shifting visions of the child
Even after the child had been recognized, his literature on occasion persisted in viewing him as a diminutive adult. More characteristically, however, "realistic" (that is, nonfantastic) fiction in all countries regarded the discovered child in a mirror that provided only a partial reflection of him. There are fewer instances of attempts to present the child whole, in the round, than there are (as in Tolstoy or Joyce) attempts to represent the whole adult. Twain's Huck Finn, Erich Kästner's Emil (in Emil and the Detectives), Vadim Frolov's Sasha (in What It's All About), and Maria Gripe's delightful Josephine all exemplify in-the-round characterization. More frequently, however, children's literature portrays the young as types. Thus there is the brand of hell of the Puritan tradition; the moral child of Mrs. Trimmer; the well-instructed child of Madame de Genlis; the small upper class benefactor of Arnaud Berquin; the naughty child, modulated variously in Catherine Sinclair's Holiday House and in the books of Comtesse de Ségur, E. Nesbit, Dr. Heinrich Hoffmann (Struwwelpeter), and Wilhelm Busch (Max und Moritz); the rational child of Maria Edgeworth; the little prig of Thomas Day's Sandford and Merton; the little angel (Frances Hodgson Burnett's Little Lord Fauntleroy); the forlorn waif (Hector Malot's Sans Famille); the manly, outdoor child (Arthur Ransome's Swallows and Amazons); etc. The rationale behind these shifting visions of childhood is akin to Renaissance theories of "humours" or "the ruling passion." Progress in children's literature depended partly on abandoning this mechanical, part-for-the-whole attitude. One encouraging note in realistic children's fiction of the second half of the 20th century in all advanced countries is the appearance of a more organic view.
Slow development
A third universal feature: children's literature appears later than adult and grows more slowly. Only after the trail has been well blazed does it make use of new techniques, whether of composition or illustration. As for content, only after World War II did it exploit certain realistic themes and attitudes, turning on race, class, war, and sex, that had been part of general literature at least since the 1850s. This tardiness may be due to the child's natural conservatism.
Fourth, the tempo of development varies sharply from country to country and from region to region. It is plausible that England should create a complex children's literature, while a less-developed region (the Balkans, for example) might not. Less clear is why the equally high cultures of France and England should be represented by unequal literatures.
The didactic versus the imaginative
The fifth, and most striking, general feature is the creative tension resulting from a constantly shifting balance between two forces: that of the pulpit-schoolroom and that of the imagination. The first force may take on many guises. It may stress received religious or moral doctrine, thus generating the Catholic children's literature of Spain or the moral tale of Georgian and early Victorian England. It may bear down less on morality than on mere good manners, propriety, or adjustment to the prevailing social code. It may emphasize nationalist or patriotic motives, as in Edmondo De Amicis' post-Risorgimento Cuore (The Heart of a Child) or much Soviet production. Or its concern may be pedagogical, the imparting of "useful" information, frequently sugarcoated in narrative or dialogue. Whatever its form, it is distinguishable from the shaping spirit of imagination, which ordinarily embodies itself in children's games and rhymes, the fairy tale, the fantasy, animal stories such as Kipling's Jungle Books, nonsense, nonmoral poetry, humour, or the realistic novel conceived as art rather than admonition.
Children's literature designed for entertainment rather than self-improvement, aiming at emotional expansion rather than acculturation, usually develops late. Alice in Wonderland, the first supreme victory of the imagination (except for Mother Goose), did not appear until 1865. Frequently the literature of delight has underground sources of nourishment and inspiration: oral tradition, nursery songs, and the folkish institutions of the chapbook and the penny romance.
While the didactic and the imaginative are conveniently thought of as polar, they need not always be inimical. Little Women and Robinson Crusoe are at once didactically moral and highly poetical. Nevertheless, many of the acknowledged classics in the field, from Alice to The Hobbit, incline to fantasy, which is less true of literature for grown-ups.
The development of children's literature
Keeping these five general features of development in mind, certain criteria may now be suggested as helpful in making a gross estimate of the degree of that development within any given country. Some of these criteria are artistic. Others link with social progress, wealth, technological level, or the political structure. In what seems their order of importance, these criteria are:
1. Degree of awareness of the child's identity (see above).
2. Progress made beyond passive dependence on oral tradition, folklore, and legend.
3. Rise of a class of professional writers, as distinct from moral reformers, schoolteachers, clerics, or versatile journalists—all those who, for pedagogical, doctrinal, or pecuniary reasons turn themselves into writers for children. For example, a conscious Italian literature for young people may be said to have begun in 1776 with the Rev. Francesco Soave's moralistic "Short Stories," and largely because that literature continued to be composed largely by nonprofessionals, its record has been lacklustre. It took more than a century after the Rev. Francesco to produce a Pinocchio. And only in the 20th century, as typified by the outstanding work of a professional like Gianni Rodari (e.g., Telephone Tales), did children's literature in Italy seem to be getting into full stride.
4. Degree of independence from authoritarian controls: church, state, school system, a rigid family structure. Although this criterion might be rejected by historians of some nations, one must somehow try to explain why the Spanish, a great and imaginative people, took so long—indeed until 1952—to produce, in Sanchez-Silva, a children's writer of any notable talent.
5. Number of "classics" the influence of which transcends national boundaries.
6. Invention of new forms or genres and the exploitation of a variety of traditional ones.
7. Measure of dependence on translations.
8. Quantity of primary literature: that is, annual production of children's books and, more to the point, of good children's books.
9. Quantity of secondary literature: richness and scope of a body of scholarship, criticism, reviewing.
10. Level of institutional development: libraries, publishing houses, associations, etc.
To these criteria some might add a vigorous tradition of illustration. But that is arguable. While Beatrix Potter's words and pictures compose an indivisible unit, it is equally true that a country may produce a magnificent school of artists (Czechoslovakia's Jǐrí Trnka, Ota Janec̆ek, and others) without developing a literature of matching depth and variety.
The criteria applied: three examples
West versus East
The first application of such standards reveals the expected: a gap separating the achievement of the Far East from that of the West. Some Eastern literatures (New Guinea) have not advanced beyond the stage of oral tradition. Others (India, the Philippines, Ceylon, Iran) have been handicapped by language problems. Professional children's writers are rarer than in the West: according to D.R. Kalia, former director of the Delhi Public Library, "No such class exists in Hindi." In Japan, authoritarian patterns—filial piety and ancestor worship—have operated as brakes, though far less since World War II. A low economic level and inadequate technology discourage, in such countries as Burma, Sri Lanka (Ceylon), and Thailand, the origination and distribution of indigenous writing. A towering roadblock is the tendency to imitate the children's books of the West.
It is true that this vast Eastern region, considered as a whole, has produced a number of works ranking as "classics." Most advanced is Japan. Its literature for children goes back at least to the late 19th century and by 1928 was established in its own right. Japan's "discovery" of the child seems to have been made directly after World War II. In Iwaya Sazanami, Japan has its Grimm; in Ogawa Minei, perhaps its Andersen; in the contemporary Ishii Momoko, a critic and creative writer of quality; in Takeyama Michio's Harp of Burma (available in English), a high-quality postwar controversial novel. But, though less markedly in Japan, the basic Oriental inspiration remains fixed in folklore (also, in China and Japan, in nursery songs and rhymes), and the didactic imperative continues to act as a hobble. By most criteria the development of Eastern (as compared with Western) children's literature still appears to be sparse and tentative.
North versus south
In western Europe there is a sharp variation or unevenness, as between north and south, in the tempo of development. This basic feature was first pointed out by Paul Hazard, a French critic, in Les Livres, les enfants et les hommes (Eng. trans. by Marguerite Mitchell, Books, Children and Men, 1944; 4th ed., 1960): "In the matter of literature for children the North surpasses the South by a large margin." For Hazard, Spain had no children's literature; Italy, with its Pinocchio and Cuore, could point only to an isolated pair of works of note, and even France in order to strengthen its claims had to include northern Frenchmen: Erckmann-Chatrian, Jules Verne—and the classic Comtesse de Ségur came from Russia.
Hazard wrote in the 1920s. Since then the situation has improved, not only in his own country, but in Italy and in Portugal. Yet he is essentially correct: the south cannot match the richness of England, Scotland, Germany, and the Scandinavian countries. To reinforce his position, one might also adduce the United States, noting that the Mason–Dixon line is (though not in the field of general literature) a dividing line: the American South, even including the Uncle Remus stories, has supplied very little good children's reading. As for nursery literature, though analogous rhymes are found everywhere, especially in China, the English Mother Goose is unique in the claims made for it as a work of art.
Why is the north superior to the south? The first criterion of development may be illuminating. It simply restates Hazard's dictum: "For the Latins, children have never been anything but future men. The Nordics have understood better this truer truth, that men are only grown-up children." ("Adults are obsolete children," says the American children's author "Dr. Seuss.") Hazard does not mention other factors. Historically, the south has shown greater attachment to authoritarian controls. Also, up to recent times, it has depended heavily on reworked folklore as against free invention. Besides, there is the mysterious factor of climate: it could be true that children in Latin countries mature faster and are sooner ready for adult literature. In France a special intellectual tradition, that of Cartesian logic, tends to discourage a children's literature. Clear and distinct ideas, excellent in themselves, do not seem to feed the youthful imagination.
Latin America
Again applying the chosen criteria, familiar patterns are recognizable: unevenness, as compared with the United States; belatedness—in Argentina the cuento infantil is hardly detectable before 1900; and especially an unbalanced polarity, with didacticism decidedly the stronger magnet. The close connection of the church with the child's family and school life has encouraged a literature stressing piety, and this at a time when the West, at least in its northern latitudes, is concerned less with the salvation than with the imagination of the child. Fantasy emerged only in the 1930s, in Brazil and in Mexico, where a Spanish exile, Antoniorrobles (pen name of Antonio Robles), continued to develop his inventive vein. And realistic writing about the actual life of the young evolved even more deliberately, being generally marked by a patriotic note. Though understandable and wholesome, this did not seem to help the cause of the imagination.
Folklore has been vigorously exploited, often by scholars of high repute. It is largely influenced by the legendry of Spain. Cuba, however, has produced interesting Afro-American tales for children; Argentina offers some indigenous folk stories and tales of gaucho life; and Central America is rich in native traditional verse enjoyed by children.
Latin American literature in general displays a special characteristic, part of its Iberian heritage: a partiality for linguistic decoration, which is unpalatable to the relatively straightforward taste of the young reader. Also the Latin-American view of the child remains tinged with a sentimentality from which many European countries and the United States had by 1914 more or less freed themselves. Thus verse for children, a medium specially cultivated in Latin America, has run to the soft, the sweet, even the lachrymose rather than to the gay, the humorous, or the sanguine—moods more congenial to the child's sensibility. This is true even of the children's verse of the Nobel Prize-winning poet Gabriela Mistral. To these two weaknesses one must add a third: the practical difficulty involved in the fact that most families cannot afford books. The absence of a powerful middle class has had a retarding effect.
Children in Latin America often complain that the authors write not for them but for their parents. They are given lectura ("reading matter") rather than literatura, which is but to say that in Latin America the admonitory note, considered so useful by church, state, and parent, continues to be sounded.
In summary, and applying the criteria: some less advanced Latin-American countries can hardly be said to have a children's literature at all. Others have produced notable writers: Brazil's José Bento Monteiro Lobato, Argentina's Ana Maria Berry, Colombia's Rafael Pombo, Uruguay's Horacio Quiroga. Yet the quality gap separating Latin-American children's literature from that of its northern neighbour is still wide.
Learn More in these related Britannica articles:
encyclopaedia: Children's encyclopaediasBefore the 19th century, only Johann Wagenseil had produced an encyclopaedia for children—the
Pera Librorum Juvenilium(1695; "Collection of Juvenile Books"). Larousse issued Petite Encyclopédie du jeune âge("Small Children's Encyclopaedia") in 1853, but the next, Encyclopédie Larousse des enfants("Larousse Encyclopaedia for…
dramatic literature: Audience expectations… have always been associated with children both as performers and as spectators. These plays tend to be fanciful in conception, broad in characterization, and moralistic in intention. Nevertheless, probably the most famous of children's plays, James Barrie's
Peter Pan(1904), implied that the young are no fools, and it celebrated…
fable, parable, and allegory: Influence of Jean de La Fontaine…of literature written specifically for children, in whom fable found a new audience. Among the most celebrated authors who wrote for them are Lewis Carroll, Charles Kingsley, Rudyard Kipling, Kenneth Grahame, Hilaire Belloc, and Beatrix Potter. There is no clear division between such authors and the "adult" fabulist, such as…
Robert Louis Stevenson: Romantic novels…the emotions and sensations of childhood; there is nothing else quite like them in English literature. In
Kidnappedthe fruit of his researches into 18th-century Scottish history and of his feeling for Scottish landscape, history, character, and local atmosphere mutually illuminate one another. But it was Dr. Jekyll—both moral allegory…
Lewis Carroll: Origins and publication of Alice's Adventures in Wonderland…of some of the best children's stories of the period. Macdonald took it home to be read to his children, and his son Greville, aged six, declared that he "wished there were 60,000 volumes of it."…
More About Children's literature21 references found in Britannica articles
Assorted References
- encyclopaedias for children
- relation to dramatic literature
- significance of "Black Beauty"
- In Black Beauty
contribution by
- Alcott
- In March family
- Boston
- In Lucy Boston
- Brown
- Carroll
- Chukovsky
- Dr. Seuss
- du Bois


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Digital Storytelling Resources
Digital Storytelling is the modern expression of the ancient art of storytelling. Digital stories derive their power by weaving images, music, narrative and voice together, thereby giving deep dimension and vivid color to characters, situations, experiences, and insights. Tell your story now digitally. – Leslie Rule, Digital Storytelling Association
The following curation is from http://couros.wikispaces.com, licensed under a Creative Commons Attribution Share-Alike 2.5 License.
Digital Storytelling
- "… refers to using new digital tools to help ordinary people to tell their own real-life stories." (Wikipedia)
- "Digital Storytelling is the modern expression of the ancient art of storytelling. Throughout history, storytelling has been used to share knowledge, wisdom, and values. Stories have taken many different forms. Stories have been adapted to each successive medium that has emerged, from the circle of the campfire to the silver screen, and now the computer screen." (Leslie Rule, Digital Storytelling Association)
Why (Digital) Storytelling?
- Storytelling is the expression of common cultural artefacts shared by individuals & societies with roots extending to the emergence of prehistoric humans.
- Stories help us make sense of ourselves, our cultures and societies, in rich and meaningful ways.
- Storytelling may give voice to individuals and groups who have been oppressed by a culture of literary dominance.
- Stories will help us leave a rich legacy of expression for future generations.
- Storytelling helps us reclaim our narratives from corporate and commercial interests.
- Stories and the process of storytelling can be used as a rich means of assessment.
- Storytelling proves to be an engaging alternative for many learners.
Is Digital Different?
- Digital stories are inherently easy to replicate and share.
- Digital stories are not constrained to text, but can make use of imagery, audio, video, and social affordances available in the medium.
- Digital storytelling can foster innovation and creativity as there are unlimited genres & forms available for expression.
Important Resources:
- The Educational Uses of Digital Storytelling (by Univ. of Houston)
- 50+ Storytelling Tools from CogDogBlog: Alan Levine has done much background work in finding some of the best tools available for developing web-based stories. Take a look and try some of the tools that Alan has listed.
- Digital Storytelling from Wes Fryer: Wes Fryer's digital storytelling wiki is one of the best resources on the subject. Beyond listing tools, Wes looks at some important issues such as copyright, fair use, and intellectual property.
- Center for Digital Storytelling Examples: This Center is a non-profit organization that helps individuals and institutions build digital stories. The examples of digital stories, and resources related to digital storytelling, may be useful.
- Digital Story Telling Workshop: This is an excellent resource from Patrick Woessner, MICDS (St. Louis) featuring a step-by-step workshop for teachers.
- Meg's Digital Storytelling Resources: An excellent resource with many good examples of digital stories and links across curriculum.
- Digital Storytelling Collection: Great resource from David Jakes including articles, media resources and examples of digital stories.
- Thirty Places: An excellent article that points to "Thirty Plus Places to Find Creative Commons Media"
- Digital Storytelling: A great resource from Helen C. Barrett.
- Beyond Words: "From essay to multimedia collage" by Jason Ohler.
- Digitales: The art of telling digital stories.
- Video in the Classroom: Excellent resource for elementary students by Matthew Needleman.
- AFI Screen Nation: Learning resources and examples from the American Film Institute.
- 21st Century Educator's Handbook (PDF): From the American Film Institute.
- Digital Storytelling Tools for Educators: A free book on Lulu by Silvia Tolisano.
- Integrating Digital Storytelling in Classrooms : from KSBE.EDU
- Digital Storytelling Evaluation Rubrics for Educators
- One Minute Movies: How to make a one-minute movie from the BBC.
- Seven Elements: Elements for building digital stories (point-of-view, dramatic question, emotional content, your voice, soundtrack, economy, pacing) from the Center for Digital Storytelling. See other treatment of these steps here and here.
- Digital Story Telling Cookbook (PDF): Excellent guide for creating digital stories.
- Making Stopmotion Movies: Useful resource for making stopmotion videos.
Examples of Digital Stories:
Digital stories take a number of forms, and I am very liberal with the interpretation of what is considered a digital story. I believe that inspiration can be found from a number of digital story types and formats. Here are a few to consider below.
Commercials & Commentaries:
- The Essay: An essay about the future from Nokia.
- Mr. Winkle Wakes: An animated, retelling of a classic story (by Matthew Needleman)
- Ze Frank Wants Respect: Master storyteller Ze Frank in his Time news series. I would also highly recommend Ze Frank's earlier series, The Show (not all content appropriate for younger viewers).
- The Canal & The Closet: What makes a great story? This commercial may help us consider this.
- Mother of All Funk Chords: Not a story, per se, however this video demonstrates the art of the mashup to make a beautiful, artistic piece. See other tracks at thru-you.
- Star Wars Uncut: Stitch together the movie Star Wars, 15 seconds at a time.
- Shining Recut: Remixing movie trailers to create the appearance of a different genre has become quite popular. See other examples such as Scary Mary, Home Alone, The Terminator, School of Rock and others.
- Forest Gump, One Minute, One Take: This short story takes a different approach to story summaries, and could be a motivational format for students. See also 28 Days Later, Kill Bill, and the Story of Johnny Walker (this one is a professional advertisement).
- Behind Every Tweet: Trailer made for a presentation regarding Twitter, used only archive.org (public domain) footage.
- Open Doctrine: An example of a personal attack ad made as a presentation trailer. This is another genre of story/video that is worth exploring.
Stop Motion & Other Innovative Techniques:
- Neighbours: This is a classic in the genre, a film from 1952 from Norman McLaren. The stop-motion technique used here is known as Pixilation. More about the film here.
- Tony vs. Paul: Excellent example of a stop motion video. Long, but gives many good ideas.
- Sorry I'm Late: Innovative film which includes a 'making of' section for ideas and processes.
- Bathtub IV: This is a wonderful music video featuring tilt/shift photography. In other words, these are real scenes videoed in a way that make them look as if the objects are fake miniatures.
- Last Day Dream: This is a powerful short video that signifies an individual's life in 42 seconds. (Language/content warning)
- Her Morning Elegance: This is a brilliant stop motion video. It is soft, smooth, and romantic, and accompanies the soundtrack beautifully.
- The PEN Story: This a beautiful, nostalgic stop motion video celebrating the Olympus PEN series of cameras. Two things strike me here. First, we are beginning to see an increase by advertisers as they push the boundaries of marketing through the creation of emotional, artistic productions. Second, the video reminds me of how much influence the camera has on our society, and how it ultimately frames our messages and our memories.
- The Time Machine: An Interactive Adventure: A story created using annotation linking in Youtube, similar to choose-your-own-adventure books.
- Alison: A very personal photo essay of one's daughter.
- Days with My Father: Haunting photo-essay about a photographer's relationship to his elderly father.
- Mankind is No Island: A story filmed entirely with a cellphone camera.
- Parisian Love: Story told through Google searches.
Public Service Announcements:
- Top Chef: Ontario's Workplace Safety Insurance Board released a number of gruesome safety ads that really pushed the boundaries of the PSA. This ad was one of the more popular (and gruesome) of the series.
- U.N. Landmine Commercial: This startling commercial brings home the reality of landmines. It calls out for action from those with privilege with the message "If there were landmines here, would you stand for them anywhere?"
- Belt Up In the Back: A surprising and horrendous seat belt safety commercial from the UK.
- Doubt: This eerie video was produced by the Israeli AIDS Task Force.
- Children See, Children Do: This is an effective Australian PSA regarding the imitation of behaviors by children of their parents.
- Clean House: Meth: This is an interesting (and strangely catchy) meth prevention PSA, typical of those provided by A Partnership for a Drug-Free America.
Student Created Stories:
- Mendy's Story – Created through the Life 'Round Here Project by Chris Craft (Grade 6). See many other stories from the Life 'Round Here Project.
- Calgary Science School – These resources were contributed by Neil Stephenson of the Calgary Science School. See examples of Grade 5, Grade 7, and Grade 9 stories and processes.
- Journey of an Unclaimed Life: Powerful story from an adult student shared by Stephen Ransom.
- Woodson's Home: Excellent short story by Ben Grey.
- Student & Teacher Movies: Long list of examples shared by Jon Orech.
- Research Based Stories: Shared by Michael Taylor, these stories were created using Nokia N95 mobile phones.
- Mysteries of Harris Burdick: An award-winning collaborative writing project.
- Stories Made With The Tools: Alan Levine shares more examples of stories made with various tools.
- Fat Cat: This is a great digital story from ECMP student, Alana Bashforth.
Other Resources & Stories:
- Ira Glass on Storytelling: Glass helps us consider the purest form of storytelling.
- The Story of a Sign – This is a beautiful, award-winning short film. Other than being an excellent piece for studying film grammar, it also portrays a wonderful message about the importance of carefully framing and designing one's message.
- 60 Second Recap: Classic stories in 60 seconds.
- Transmedia: By Henry Jenkins
More Resource Collections
Open Resources about photo, music and videos
Video tools and resources
Photo tools and resources
Free digital storytelling resources in classrooms (from pre-writing to publishing) for teachers (K-5) from Discovery Education
Open online course
DS106 is free for anyone, it offers digital storytelling course happens at various times throughout the year….but you can join in whenever you like and leave whenever you need.


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Nestle Introduces Juicy Juice Fruitifuls
Consumer insights show parents are increasingly focused on reducing their kids' sugar intake. Two-thirds of moms seek out lower-sugar drinks, and 58 percent are diluting beverages at home. To that end, Glendale, Calif.-based Nestlé USA introduces Juicy Juice Fruitifuls, an all-natural juice beverage with 35 percent less sugar than regular juice and all the benefits that fruit juice has to offer, including a full serving (1/2 cup) of fruit in every single-serve juice box.
With no sugar added, nothing artificial and in flavors kids love, Juicy Juice Fruitifuls offers a convenient way to help create healthy habits this back-to-school season. Parents can even freeze Fruitifuls boxes and place them in a plastic bag inside the lunch box, keeping the juice drink cold and refreshing until lunch time. Varieties include Apple Quench, Punch Splash, Berry Cherry Burst and Orange Strawbana Blast.
"Our goal with Juicy Juice Fruitifuls is to create new options that meet the variety of needs families face," says Megan Shea, brand manager for Nestlé Juicy Juice. "We know that many parents are concerned about sugar intake but [the drinks] are losing the juice flavor that appeals to kids. Now moms and dads no longer have to compromise when they want to provide a healthy beverage option."
Suggested retail price for an eight-pack of 6.75-oz. drink boxes is $3.49.


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Forest Hills Theatre
107-16 Continental Avenue,
Forest Hills,
10 people favorited this theater
Opened on February 5, 1922, the large Forest Hills Theatre is located around the corner from the more famous (and still operating) Midway Theatre in the Queens, New York neighborhood of Forest Hills.
After seven decades of showing movies, the theater was sold, along with the Midway Theatre, by United Artists to a local developer in 1998.
On August 28, 1999, the Duane Reade opened, with the theatre's facade restored. The original building beyond the facade was demolished for construction of the drugstore.
The project was given a local design award — ostensibly for the meticulously preserved exterior. The interior, however, is now part of Forest Hills' history.
Recent comments (view all 50 comments)
I meant if anyone else remembers seeing the Time Machine at the Forest Hills Theatre. I don't have the time right now to check newspaper ads from 1960.
Thank you.
Does the lobby part of the building exist, or just the exterior facade?
Hi Everyone! This is my Forest Hills Theatre flickr photoset, courtesy of Rego-Forest Preservation Council, which I founded and chair:
You can click the thumbnails to enlarge the photos, and view them in a low, medium, high resolution, or original (maximum) resolution, as well as download them for future reference.
If anyone can contribute any vintage photos or ads to this photoset, I will be happy to give you credit. All images help preserve the spirit of the former Forest Hills Theatre, and may contribute to other great preservation projects. Let's be proactive!
This photo of the Forest Hills is dated 1940, which the titles on the marquee bear out. Thanks to Tinseltoes, who introduced me to this website (for The New York City Organ Project) by linking out to pictures on other theater pages.
Thanks for posting, kurt. I remember seeing Radio Days here during your time as manager. A few years earlier, I did see a more conventional (and sort of goofy) fantasy/adventure flick here called The Beastmaster. Last movie I caught here was Trainspotting, upstairs in the summer of 1996. I miss this theater. Enjoyed watching films in both auditoriums, but really liked the raked seating of the balcony room.
I saw Blade Runner here in 1982. The biggest problem with this theater, as with the Midway, was parking.
DNAInfo.com is reporting …
Buffalo Wild Wings, the popular barbecue chain, is slated to open a massive location at the former Forest Hills Theatre soon.
The new location, at 107-16 71st Ave. — between Austin Street and Queens Boulevard — will measure around 10,000 square feet, which is about 40 percent larger than a typical Buffalo Wild Wings restaurant, said James Bitzonis, president of Four M Capital, LLC, the group launching the restaurant.
The restaurant will not interfere with the building's classic features, Bitzonis said, and it "will pay homage to the theater and Forest Hills" by displaying memorabilia, including photos and jerseys representing local sports teams.
The company is in the process of receiving a number of historical photos showing the building and the neighborhood. "We are enlarging them and framing them," he said.
Overall, there will be about 100 pieces of memorabilia displayed at the restaurant.
The scheduled opening is July 15.
I think only the facade remains? Wasn't the entire theater destroyed and the building rebuilt?
Was even the lobby retained?
Just login to your account and subscribe to this theater


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with Tommy
Retriever Activity Center (RAC) : Arena Track · Catering to all fitness levels, Fitness Basics offer the fundamentals in strength and conditioning, having the goal of developing fit and determined individuals.
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Winfrey Blackburn has commissioned a serpent sculpture to be created for his garden. It comes from the "brazen serpent†or "fiery serpent†mentioned first in the Old Testament, II Kings 18, verses 1 and 4. It was destroyed by Hezekiah around 700 B.C. There were lots of snake cults in Canaan in the early Bronze Age. Ugh! Phew!
Joe Autry, a multimedia sculptor and artistic contractor did the sculpture for Winfrey, for his terrace, at his home on Upland Road. Winfrey had a gathering of friends for the unveiling. Guests were muffled up on the cold sunny winter morning last week but survived by being treated to warm beverages and good old-fashioned chili to ward off
old man winter.
Joe has quite a book of his sculptures. He has traveled three times to Russia to compete in the sculpting of rock hard salt! The sculptures will survive as long as they are not subjected to water.
Corky Sachs had her favorite houseguests in last week: Pat and Geoff Halfpenny. Pat and Geoff are from Staffordshire, England, where Pat was the head of the Staffordshire Pottery Museum and a regular on the English Antiques Road Show (years before we had the American version). And Geoff was a specialist on bats. Bats are considered very important in England. If you wish to rid your house of bats you must contact someone certified in bats to come and get them and move them to a house that is new to the bats.
Pat has an international reputation and was wooed here to become the head of the museum at Winterthur, quite a prestigious position. She was also a leader in the International Ceramics Society, a writer of books on ceramics, and a consultant for Scotland Yard and the FBI concerning forgeries and thefts of valuable English antiquities and ceramics.
Both Pat and Geoff are now American citizens. She has retired, but he is still running the Delaware Natural History Museum. Anyone that meets them will be thoroughly and completely charmed.
Each year during Thanksgiving week, the students and teachers at the Heuser Hearing & Language Academy prepare their own Thanksgiving feast. It is a pleasure for them as well as a learning experience. The staff prepares the turkey and each class is responsible for a side dish. One will cook green beans, another sweet potatoes, and another the rolls. Then they all sit down together to enjoy the fruit of their labors.
Fabulous Finds, the resale shop at 2101 Frankfort Ave. that benefits Heuser Hearing & Language Academy, is holding its Holiday Open House in conjunction with the Frankfort Avenue Trolley Hop on Friday, Nov. 30, from 6 to 9 p.m. Event producer Tim Utley has promised that Santa & the Mrs. will be there, and there will be holiday punch, yummy treats and special buys throughout the store. Holiday décor including lighted trees, lovely decorations, children's toys and jewelry will be featured.


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Fitwithyo necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 149 diseños de 44 diseñadores freelance.
Ppebble is short for "Precious Pebble." I'm in the business of making people feel awesome after they've had a session with me and used my products. My products work on a vibrational level to help them safely and effectively work through stressful times in their lives.
Although my clients currently work with me, the products are designed to be self help systems. With a little coaching, they can create their own potions, learn new techniques and always know they have a place to go to alleviate most acute internal stress as well as chronic internal stress.
Also, over time, the use of these products and techniques can help a person shift their thought patterns and emotions from negative to positive.
It peels away the layers of negative thoughts that can over shadow our real ability to live life to it's fullest day to day. A stressed mind is a clouded mind.
A Ppebble mind has more clarity and calm.
It should be fun! People should be curious and ask lots of questions too. I want the urban crowd to choose to come to Ppebble for a remedy, tincture or short meditation session to "unwind" in lieu of other, less healthful choices.
Picture what a pharmacy would look like in 100 years. This is a place of healing from within. Holistic health without the yawn. A place to be authentic and feel safe.
Vibrant color will be used. Color therapy is part of the service
My audience (age 25 to 45) tries to eat right, exercise (maybe yoga), cares about the environment, works hard, socializes harder and lives a high octane urban life, but feels like they need more balance. Although they are generally confident and successful, they find themselves searching for a way to work with their ever increasing internal stress without medication.
My audience realizes when life feels a bit overwhelming, but doesn't feel the need for a therapist.
They are insightful and inquisitive and know that there is more to life than what the eye can see.
This audience also asks the question, "what's my purpose?"
They are restless.
They long for a connection with their soul. They are outwardly brilliant and confident, and although their brilliance is authentic, their confidence is geared towards their work and ability to get along with people on a surface level.
They are in need of internal peace. Self induced internal peace.
I would love for the design to incorporate a pebble or circle.
layers would be nice
The illusion of light from within the pebble or circle (perhaps)
The design must be simple. It's meant to offset the complexity of the world around us.
Color is key. The store itself will have vibrant colors of the rainbow in blocks or sections.
I would like to play with the color green, but if you're inspired to use another color feel free.
No cartoons
Very sleek and smart looking with a touch of holistic healing or alternative medicine.
Simple with a pop of WOW ! What's that?
There is a tag line - "raise your frequency"
this is an example of what I love
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.


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This product is out of stock, and not coming back.It may have been replaced by a newer version, see replacement/alternatives listed below.
Product code: CVACC-V019-Black
Intended for sale to adults 18 years or older. By entering this website, you certify that you are of legal smoking age in the state in which you reside.


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Q & A with Lorrie Fair
Former U.S. Women's National Team midfielder Lorrie Fair is no stranger to the Sports Envoy program. Through the Sports Envoy program, which is part of SportsUnited's Empowering Women and Girls through Sport Initiative, U.S. Soccer seeks to promote sports and spark dialogue with children from around the world. Fair has been on several trips with the program over the past five years, ranging from Morocco to Venezuela. When she heard about a Sports Envoy trip to Afghanistan, Fair jumped at the chance to join. Before heading to Afghanistan, Fair took some time to speak with ussoccer.com about the trip and the reason she continues to volunteer for the Sports Envoy program.
How did you become involved with this particular Envoy trip and what attracted you to it?
Lorrie Fair: "I've been involved with the Sports Envoy program for probably, I don't know, five years now and I love it because, for one thing, when you go and you play with the National Team, you see the hotel and you see the field but you also get to see things that, as a tourist, you would never get to see. You also get to see the unbelievable power of sport and not just what it did for my life but what it can do in other areas of the world. In particular, it highlights how lucky we are to live in a country where women have an opportunity and socially safe spaces to play sport. I've spent a lot of my time in the developing world and when this came up, I've traveled to the Middle East, Asia, Africa, North Africa and it's definitely one of those things that I feel a responsibility for as a global citizen, to try to help out in any way I can. Being a female soccer player, I learned over the years how rare it was. Being a kid, you just play because you love it but as you start to see the world, it definitely becomes evident that you are extremely lucky to have that opportunity.
"When this came up, I know its Thanksgiving and all, and Thanksgiving is actually a pretty special time for my family as well, but I think everybody understood that I had to go. I think it was an easy decision for me to have this opportunity with the State Department and U.S. Soccer to go on behalf of U.S. Soccer and the State Department to talk about women in leadership and the power of sport."
How did you find out about this specific trip??
LF: "We had just gotten the schedule of trips for next year and I had responded to the schedule and then just got an email from the people organizing the Sports Envoys at U.S. Soccer saying, 'Hey, this is kind of really soon, it's in a couple of weeks, but we've gotten a green light from security, would anybody like to go to Afghanistan?' Immediately, I thought, 'Yes,' and 'I need to tell my family that I won't be around for Thanksgiving.'"
That's quite the news to receive right before Thanksgiving.
LF: "Yeah, they understand, though. They get me and they don't worry about me all that much. I've been in some pretty hairy situations and somehow it always works out. It's with the embassy and the U.S., I'm not off on my own so there's nothing really to be afraid of."
On this trip, you will also be meeting with the Afghanistan Women's Basketball National Team. Have you ever interacted with a national team from a
different sport as a Sports Envoy or is this a first?
LF: "We've definitely interacted with people who are non-athletes, but I'm trying to think of whether there were any places where we interacted with someone from a different sport. Off the top of my head, I would say no. It's going to be pretty funny because I'm sure everybody will be taller than I am. I can definitely tell my basketball story of how I always fouled out of every game because I would always get five reach-in fouls. I gave it up because I was always sitting off the court because I fouled out. I wasn't meant to be a basketball player, I don't think. But, obviously, sport transcends a single sport. And leadership for sport definitely reaches across all sports. I'm pretty sure that everybody will be able to identify even though we play different sports."
Yours is one of the names that comes up over and over for the Sports Envoy program. What do you get out of participating in this program and what do
the women that you interact with get out of the program?
LF: "I can definitely say without a doubt that I gain more than I give. I say that in the nicest way and I mean that because whenever you volunteer for something, you may just say you're giving something good, you're affecting positive change. The truth of the matter is that you go and your world is opened up to a new culture and new people and you communicate, even though you might not be able to speak the same language, sometimes you can, sometimes you can't, you communicate and you meet people and there's so many things that you have in common and you just gain an unbelievable understanding of the world. Every time I go on a trip, despite what everybody says, I always leave there feeling like I gained a lot more than I gave. That part keeps me coming back but also just hearing the feedback the U.S. Embassy has gotten over the years with the Sport Envoys from the young people with whom we get to work with. This is the future of those other countries as well. It's the same in our country when we work with kids. It's like, this is the future of our country. The understanding they get from interacting with someone from the U.S., whatever stereotypes they might have about Americans, sometimes we break them and sometimes we fit the description. I remember when Jay Miller and I went to Morocco, the feedback when the press was interviewing the kids after a week of what was basically a residency camp, we had 60 boys and 60 girls and one field, 20 soccer balls. They said, 'yeah, we learned a little bit of soccer but we were surprised at how the Americans treated us like equals.' Immediately, Jay and I looked at each other and said, 'That is the most amazing thing that we've ever heard.' Obviously, these kids thought that Americans wouldn't treat them like that, which is kind of sad on one hand. It makes us think, what are we doing when we do go overseas? How are we treating other people, both within our country and on the outside? It's kind of a goal to be a better global citizen and I can't think of a program to do that."
Is there anything else that stands out about this trip in particular that should be noted?
LF: "I think one of the special things is that women in sport, in particular, I feel like because we've gone through the social acceptance of women playing sport a lot earlier than a lot of countries, we really need to support Afghanistan. Not just in supporting women leaders and education and things like that, but with the pending military withdrawal from Afghanistan, I think a lot of people are frightened about what's going to happen. History has told them it hasn't been good but I think this time around one of the most important things about the military transition out is that the U.S. is not leaving them in terms of support, by any means. There's a strong partnership there on a much deeper level than from a military standpoint, but just from a civilian standpoint and a program standpoint that we're going to support them in the transition and really, hopefully, take the lead from them on the ground and be there for whatever they need."


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Registered Office Address: Motilal Oswal Tower, Rahimtullah Sayani Road, Opposite Parel ST Depot, Prabhadevi, Mumbai-400025; Tel No.: 022-3980 4263;Website www.motilaloswal.com. Correspondence Adds: Palm Spring Centre, 2nd Floor, Palm Court Complex, New Link Road, Malad (West), Mumbai- 400 064. Tel No: 022 3080 1000. Registration Nos.: Motilal Oswal Securities Ltd. (MOSL): INZ000158836 (BSE/NSE/MCX/NCDEX);CDSL: IN-DP-16-2015; NSDL: IN-DP-NSDL-152-2000; Research Analyst: INH000000412. AMFI: ARN 17397; Investment Adviser: INA000007100.Motilal Oswal Asset Management Company Ltd. (MOAMC): PMS (Registration No.: INP000000670); PMS and Mutual Funds are offered through MOAMC which is group company of MOSL. Motilal Oswal Wealth Management Ltd. (MOWML): PMS (Registration No.: INP000004409) is offered through MOWML, which is a group company of MOSL. *Motilal Oswal Securities Ltd. is a distributor of Mutual Funds, PMS, Fixed Deposit, Bond, NCDs,Insurance Products and IPOs. *Real Estate is offered through Motilal Oswal Real Estate Investment Advisors II Pvt. Ltd. which is a group company of MOFSL. *Private Equity is offered through Motilal Oswal Private Equity Investment Advisors Pvt. Ltd which is a group company of MOFSL. *Research & Advisory services is backed by proper research. Please read the Risk Disclosure Document prescribed by the Stock Exchanges carefully before investing. There is no assurance or guarantee of the returns. Investment in securities market are subject to market risk, read all the related documents carefully before investing. Details of Compliance Officer: Name: Neeraj Agarwal, Email ID: firstname.lastname@example.com, Contact No.:022-38281085.
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I guess I can understand why easterners freaked out about the earthquake the other day; they are sufficiently rare, and if you've never been through one before the sensation of the ground suddenly heaving, rattling windows and shaking buildings, will seem pretty unsettling. Having grown up in southern California and lived through several of the larger, sharper California quakes, this was a piddly little excuse for a temblor. I actually got up and walked around the second floor of my house, looked out the window, and then walked down the stairs while it was still going (to check on a nine-year-old), and thought, "An earthquake in Virginia—how weird is that?" And as icing on the cake, I immediately estimated that it was probably about a 5.6 magnitude quake, just based on the duration and amount of the shaking—not too far off the official number that soon came in from the instruments. I. Am. That. Good.
The photo nearby expresses my sentiments about how easterners overreacted to the quake, which is similar to how we seem to go all DefCon1 with three inches of snow in the winter. (The only "damage" at my house was a book that, um, . . . fell into the commode in my bathroom. No, critics out there, it wasn't one of mine.) My guess is that by the time Hurricane Irene is done, people will forget entirely about the earthquake. This will be shake, rattle and roll of a different kind.
The precedents for this kind of storm don't look good. There are several good books about the hurricane of 1938 that struck Long Island (just as they may well be a few books about this one eventually), but there isn't time to get through one before the lights (perhaps) go out here in suburban Virginia. I dusted off William Manchester's brief account of the 1938 storm in his sweeping two-volume narrative history The Glory and the Dream, and it ought to be enough to dash any complacency. The 1938 storm was the largest to hit New York since 1815, so obviously no one was prepared or had any experience with a storm of this size. There's one aspect of Manchester's account that ought to be especially worrying. The typical line is that hurricanes weaken once they hit landfall, but Manchester describes why this didn't happen as much with the 1938 storm:
Long Island and New England had been lashed by rain for four straight days and nights. The air there was unnaturally warm and muggy. Ears felt queer, because atmospheric pressure was decreasing. In Vermont people noticed the smell of the seashore in the air. Hurricanes love nothing so much as warmth and dampness, and this one lurched toward the broad moist carpet six hundred miles long. Moreover, the instant it crossed the shore, another dreadful principle would come to bear upon it. Usually hurricanes weaken over land, but the soggy ground, extending all the way to Canada, meant the storm would continue to blow as hard as it had been in the Caribbean—picking up speed from the sticky air until the eye was moving at 60 miles per hour, as fast as a tornado, fast enough to reach Montreal that same night.
I don't know if Manchester is completely right about this, but if he is even partly right, then look out. It's been raining a lot lately here in the northeast, and the ground is saturated.
The 1938 hurricane killed more than 700 people, and destroyed over 60,000 homes (one of them J.P. Morgan's mansion on Glen Cove). The storm surge on Long Island went as far as a mile inland in some points. The storm was slow to make national news, by the way, because it occurred at the height of the Munich crisis, which commanded much more media and political attention. The political disaster in Europe outweighed the natural disaster in the U.S., and rightly so. That won't be the case this time.
Maybe Paul Krugman will tout the hurricane's economic benefits, as there's going to be a lot of broken windows by the end of the weekend. James Pethokoukis is probably more on target suggesting that the hurricane might be the blow that sends the economy back into recession (and provides Obama with yet another excuse). Moreover, this storm could be Obama's Katrina if the government response is seen to be slack. This will be a test of whether the Obama administration and FEMA have learned and adjusted from its mistakes after Katrina. Is Obama coming back to Washington early from Martha's Vineyard to take charge of the federal government's relief effort? I haven't heard. There isn't much he can actually do, of course, but the "optics," as they say in show-business world of modern politics, are important. President Bush took lots of fire for being at his Texas ranch during Katrina, and then doing his low-pass flyover.
My guess is that between the widespread geographical scale of the likely damage and the inherent difficulties of coordination for large scale one-off events like this, FEMA will not be seen to have performed very well. It can't, by its very nature as a lumbering federal bureaucracy. The thing to watch will be to see how much better state and local officials perform (Louisiana's Gov. Blanco and New Orleans Mayor Ray Nagin were incompetent, whereas New Jersey has Gov. Christie, etc), and whether FEMA impedes private sector efforts such as WalMart and the Red Cross, as it did shamefully with Katrina.
In 2003, my power was knocked out for two days when the remnants of Hurricane Isabel blew through northern Virginia. So if I don't show up here starting Sunday, you'll know why.


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Spartacus Cast Recalls First Kills and Epic Deaths Before Series Finale
Apr 11, 2013 9:00 PM EDT
Get ready to hear "I am Spartacus!" one last time. It has only been three years since Spartacus splashed its bloody way across Starz, and Friday's epic series finale (9/8c) will conclude the legendary rebel leader's quest to free the slaves of Ancien… Read more


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Discussions of an artificial heart often spark visions of Dr. Barney Clark or William Schroeder – patients almost constantly bedridden with limited mobility for all but brief and infrequent periods. The pneumatically powered artificial hearts that kept each of these men alive for several months are truly amazing but have substantial limitations.
The most significant drawback is dependence on an external compressed air source. This dependence certainly limits the patient's mobility, but, more significantly, requires large air hoses connecting the compressed air source to the imbedded heart. These hoses must enter the patient's chest cavity through the skin. This entryway is vulnerable to infection and requires careful maintenance and monitoring.
|Figure 1. Computer-generated illustration shows relative size and orientation of LVAS components. (Click image to enlarge.)
Another concept
More recently, efforts have focused on developing a battery-powered artificial heart that requires no skin penetration. One such device is the electrohydraulic left ventricular assist system (LVAS) undergoing joint development by The Cleveland Clinic Foundation, Cleveland, Ohio, and Nimbus, Inc., Rancho Cordova, California. This LVAS, Figure 1, is not a total artificial heart but, rather, an implantable system that boosts performance of a damaged heart.
A human heart contains four chambers: left and right atria and ventricles. The ventricles provide most of the heart's pumping power. The right pumps blood to the lungs, while the left pumps blood to the body. Because 80% to 90% of a heart's work is performed pumping blood throughout the body, severe damage to the left ventricle can render a heart virtually useless.
If an artificial organ can help the left ventricle pump blood to the body, performance of the natural heart's remaining three chambers often is adequate. So a totally implantable LVAS holds potential to improve the quality of life for a large portion of heart disease victims.
A critical component of the LVAS is as electrohydraulic energy converter. This device uses an electric motor-driven gear pump and spool valves to reciprocate a linear actuator. To hermetically seal the converter, the actuator's piston is magnetically coupled to a follower magnet that drives a blood pump pusher plate. The reciprocating motion of the pusher plate allows the blood pump to alternatively fill with blood, then eject blood out to the body.
Application details
The IDEAL heart, of course, is a healthy natural organ. Through years of experimentation and development, researchers have learned many requirements of an ideal artificial heart. But aside from longevity and precise operation, the LVAS meets operational and performance requirements that challenge those of any industrial machine.
For example, in addition to not penetrating the skin, all LVAS components are located entirely within the chest area. This compact construction places all components close to the natural heart, so length of vascular connections are kept short. It also eliminates abdominal surgery and the need to penetrate the diaphragm. Moreover, placing all components within the chest does not compress abdominal organs nor interfere with body movements.
Overall system efficiencies on the order of 10% to 20% present a challenge in dealing with heat dissipation. At 10% efficiency, 2 W delivered to the blood (9 1/min at 100-mm Hg) represents a heat load of 18 W. Heat generating components — such as the hybrid motor-controller circuit, motor, gear pump and battery rectifier — have been packaged to dissipate heat through available surface area. Studies are being conducted to determine the safe level of local heat flux to lung and muscle tissue.
Noise and system vibrations are other concerns. These parameters can have a tremendous psychological impact on a patient. In addition, all materials are compatible with the high humidity, corrosive environment inside the body.
System components
LVAS components include an externally worn battery pack, skin transformer, internal battery, variable-volume device, and integrated electrohydraulic energy convertor/blood pump, Figure 2. The external battery pack contains 12-V dc nickel-cadmium cells that can supply power for up to 10 hr to the pumping system. An inverter changes the external batteries' dc into ac. The ac flows into a transformer with external primary windings and secondary windings just beneath the skin.
|Figure 2. Simplified layout of left ventricle assist system during ejection cycle. (Click image to enlarge.)
From the skin transformer, the ac is directed to a rectifier, which converts the ac back into dc. The rectifier provides power for the system, or it can recharge an internal nickel-cadmium battery. This battery can power the LVAS for more than 1000 half-hour cycles to allow brief, totally untethered periods of operation.
Finally, power reaches the energy converter/blood pump combination, which is located in a space made available by removing a portion of one of the patient's ribs. The energy converter case is a biologically inert, investment-cast titanium housing that resists corrosion in a body fluid environment.
The electrohydraulic energy converter itself, Figure 3, is driven by a 3-phase, permanent-magnet ac synchronous motor. Flow rate of the hydraulics is controlled electronically by varying motor speed. An inverter changes the dc back to ac and controls motor speed by varying ac frequency. Flow direction is governed by hydraulic logic: a 2-way spool valve, check and diaphragm valves, hydraulic switch, and an accumulator.
Hydraulic fluid floods rotating components of the pump-motor to provide cooling and hydrodynamic support of its bearings by eliminating rubbing contact and wear. Heat is dissipated by directing fluid to the outer surface of the energy converter, which lies just under the skin between two ribs. Because it is cooler than the body's interior, skin acts as a heat sink to carry heat away from the energy converter. Such strategic placement also provides access to interior components of the energy converter without major surgery.
The piston of the energy converter's double-acting cylinder is magnetically coupled to the blood pump. The magnetic coupling allows hermetically sealing the hydraulic system from the blood pump and offers advantages over a metal bellows seal. A compression spring contributes force to the piston's thrust by storing energy when the blood pump fills and releasing the stored energy when the blood pump ejects.
The hydraulic system
Control of the hydraulic system is simple and reliable. It does not require the transducers or signal-processing circuitry associated with other designs that rely on electrocardiogram (ECG) signals, pusher plate position transducers, and pressure transducers. A tiny gear pump, Figure 4, operates between 5000 and 10,000 rpm, generating flows of 0.5 to 1.0 in.3/sec. System pressures range from 20 to 100 psi, based on the patient's aortic blood pressure between 70- and 200-mm Hg.
Figure 4. Disassembled gear pump, left, and assembled supplies hydraulic muscle to drive left-ventricle assist system.
Pressure fluid is alternately supplied above the driver magnet piston to extend the actuator for blood pump ejection. Conversely, fluid is directed below the piston to retract the actuator for pump filling. When in the ejection position (as illustrated), the main spool is held in place by a spring located at the left of the spool. While in this position, the upper actuator volume is ported to pump discharge; the bottom volume is coupled to pump suction.
When the piston approaches its end-of-extension (EOE) limit, pilot pressure at the left of the displacer piston is blocked, shifting the EOE spool valve to the left. This action sends pressure fluid to the left side of the main spool, which overcomes spring force and shifts to the left. Pressure fluid now is routed to the volume below the piston. But this pressure alone is not enough to initiate blood pump filling; it just counterbalances the main spring force. The pump holds this condition until the patient's left ventricle contracts.
Blood pressure from ventricle contraction combines with the actuator pressure to supply the force necessary to fill the blood pump. The filling process continues until the natural heart has ejected its entire volume or until the piston uncovers the end-of-fill port. If the port is exposed to pressure fluid, the shuttle valve directs this pressure fluid to the right end of the EOE spool. The EOE spool then shifts
to the left and directs flow to shift the main spool back to the extend position. If the piston stops moving prior to uncovering the port, an abrupt reduction in pressure above the piston takes place.
This event produces a piloting action that shifts the main spool back to the right. With the main spool shifted to the right, the actuator extends to cause the blood pump to eject the volume of blood acquired during filling. Blood pump volume and flow rate are controlled by the rate and volume pumped from the heart; maximum stroke volume is 90 cm3 .
This balanced-force sensing approach provides reliable synchronous counter pulsation with no dependence on ECG signals, pusher plate position sensing, or complex electronic signal processing hardware. The end effect of this control scheme is up to a 90% reduction in the natural left ventricle workload.
Support components
The accumulator in Figure 3 serves as a pressure regulator during actuator retraction and as a relief valve at the end of the actuator's retract stroke. Without the accumulator, slight delays between the end of pump extension and the beginning of left ventricle contraction would cause a pressure increase. This would require large motor controller corrections to maintain optimum torque angle. Wide swings in motor speed would lead to less efficient operation.
Perhaps more importantly, the accumulator stores pressure fluid when the actuator is retracting. This pressure fluid then becomes available during the next heart contraction – an energy-efficient practice that recovers fluid power that would otherwise be wasted.
Fill characteristics of the blood pump are established by the actuator main spring. These characteristics are selected so that the pusher plate begins to retract when blood pressure reaches 2 mm Hg. Blood pressure of at least 15 mm Hg is needed to fully retract the pusher plate. Blood flow from the heart dictates fill time because sufficient hydraulic flow exists to accommodate heart ejection rate with only modest increases in blood pump pressure.
The filter, placed in series with pump discharge flow, traps any particulate contamination circulating in the hydraulic fluid. This is a precautionary device intended to protect the hydraulic system from contamination that might be inadvertently introduced during fabrication, assembly, of testing of the energy converter.
The variable-volume device is an elastomeric diaphragm attached to a rigid backplate. This flexible chamber is attached to the blood pump via a flexible stainless steel duct. Functionally, the device accommodates air displaced by the moving blood pump pusher plate by accepting air during pump filling and allowing it to return during pump ejection.
Electrohydraulic LVASs of this type have been tested in calves for durations of up to 196 days. The systems have been able to synchronize with the left ventricle at over 150 beats per minute and to pump blood at flows exceeding 12 1/min. Two years of multiple-system bench tests and multiple-animal implants of five months are being planned as a precursor to human use.
Hydraulic fluid selection
Initially, silicone oil was selected as fluid for the LVAS's electrohydraulic energy converter. Selection was based on:
• the ability to tailor the fluid viscosity by blending
• low toxicity
• compatibility with system elastomers, and
• expected resistance to thermal decomposition.
Although satisfactory for nominal operating conditions, resistance to thermal decomposition proved inadequate when gear pump hydrodynamic bearing loads increased when pumping against aortic pressure as high as 200 mm Hg. Because these pressures can occur transiently, alternative fluids with greater thermal stability were evaluated.
Saturated hydrocarbons, which have excellent thermal stability and reasonable lubricity, were investigated, based on discussions with the USAF's Wright Air Development Center's Fuels and Lubricants Branch. Pentadecane (C15H32) has the required viscosity of 2.0 cP at the hydraulic fluid operating temperature. The fluid also demonstrated good compatibility with the materials it contacts within the energy converter. Gear pump testing under severe conditions (pressures of 100 psi) showed no tendency toward thermal decomposition. Pentadecane has been substituted for silicone oil in prototype energy converters and endurance units with expected performance as a result.
Richard R. Navarro previously held the position of Senior Research Engineer, Artificial Organs, at Cleveland Clinic Foundation and is currently President and CEO of OrthoData Inc, located in Hinckley, OH. For more information on OrthoData Inc., visit www.orthodatainc.com.
This article was originally published in the June 1996 issue of Hydraulics & Pneumatics. It is reproduced here for its historical value.


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Max Thieriot Weds Lexi Murphy, Kristen Stewart Attends!
Max Thieriot has married his longtime love Lexi Murphy, his rep confirms to JustJared.com!
The 24-year-old Bates Motel actor tied the knot with Lexi on Saturday (June 1) after being together for eight years.
PHOTOS: Check out the latest pics of Max Thieriot
In attendance at the joyous occasion was Max's Catch That Kid co-star Kristen Stewart, who went solo to the bash and wore a black sleeveless dress. She was seen posing in photos with some fans at the wedding, which were spread via Twitter.
Congratulations to Max and Lexi on the happy news!


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Dublin Bay Old Gaffer Association 50th Jubilee Event
Date: 2013 – May 31st to June 3rd Venue: Poolbeg YBC, River Liffey – Dublin. A Fleet of five Class A & B Tall Ships in Dublin Port will provide a spectacular backdrop to the entire Howth 17 gaff-sloop & topsail, keelboat Fleet, plus Old Gaffers Association boats participating in our Dublin Bay OGA50 celebration on the June Bank Holiday weekend. The Howth 17's are widely regarded as the oldest, actively-sailed fleet of one-design gaff topsail keelboats, still using their original rig. The Howth 17's were designed in 1897 by Howth lawyer, and founding Commodore of Howth YC, Mr. Herbert Boyd. He was known as Herbert Boyd until he became Sir Walter Boyd on the death of his father, the famous Judge Boyd (mentioned in Joyce's Ulysses) who had been the first Baronet. He was also an amateur naval architect who had shown a flair for yacht design, so the Club members asked him to design a suitable boat for Howth waters. By autumn end of 1987 Mr. Boyd put before them a design for a 17' waterline keelboat, 22'6" overall length and a 6' beam. Complete with a gaff sloop rig, short bowsprit and topsail, she would set 305 sq feet of sail and with a fine sheer, she looked a proper little yacht. The members were happy with the design and the first five boats were built by John Hilditch of Carrickfergus in Belfast Lough. They each cost just under £90 all found. Two years later Mr J Clancy of Kingstown ( now known as Dun Laoghaire) built another three boats. The Bublin Bay Sailing Club were provided with the Howth 17 drawings so they went ahead and had another 5 boats built by Mr J Kelly of Portrush and launched in 1906. Around late July 1906 all thirteen boats raced together for the first time. During the next six years four more boats were built to bring the family total to seventeen boats. During a windy 94 mile passage from Carrickfergus to Howth, the Howth 17's proved themselves to be sturdy, capable and seaworthy vessels, and from their first race on Wednesday May 4th 1898 and subsequent racing seasons over the last hundred and fifteen years, they have demonstrated over and over, how capable they are at sea. DBOGA have invited the entire Howth 17 fleet to race during their OGA50 Rally.. An Inaugural River Liffey Race is planned, with the Howth 17's racing upriver between the lifting East-Link Bridge and the spectacular Samuel Becket Bridge. The course will bring them right into the heart of Dublin. They will race upriver and downriver, past the Tall Ships moored on the quays, with the quayside providing close-up viewing for the holiday crowds. It promises to be an exciting and delightful spectacle for Dubliners during the Bank Holiday. The Tall Ships will be in Dublin for the Port Company's own Maritime Festival which has joined forces with the DBOGA in providing what should be a colourful and exciting Maritime display during the Bank Holiday weekend. The visiting OGA50 fleet will include a Dutch OGA contingent of six Traditional vessels led by the colourful Dutch Physiotherapist, Rik Jannsen, sailing his unique, self-built, steel-hulled Galway Hooker. Rik, who has over the years developed a close rapport with the Irish West Coast Galway Hooker Fleet, will lead his Dutch flotilla from the Netherlands down Channel along the UK East coast, then to the Scillies, and from there up the Irish Sea to Dublin Port. DBOGA expect many other OGA50 vessels to arrive at what should be the biggest Gaff-Rig Festival in the Irish Sea for many a year. They can expect a great 'Cead Mile Failte' (100,000 welcomes) from the DBOGA fellowship at Poolbeg YBC. Boats arriving and registered will be accommodated with free berthing on the Poolbeg YBC Marina for the Event duration, by kind courtesy of the Officers and members of Poolbeg YBC. Dublin Bay, and its two Ports, Dun Laoghaire and Dublin Port, provide 24 hour, all weather, all tide, safe and easy access to both safe Haven Ports. DBOGA's 3-day Rally programme will include a lively blend of social engagements under the heading of 'Craic and Ceoil' (Music and Fun) plus a sip or two of the local 'Foggy Dew'. Proceedings will kick off with arriving boat Registrations on Friday, May 31st. On Friday evening at 2000 we welcome participants with wine and finger food at the Sponsors Reception in Poolbeg YBC, with live traditional Irish music, 'craic and ceoil' until late. On Saturday there will be a race with a Dun Laoghaire start for the Inaugural, perpetual 'RMS Leinster' Trophy Plate, commemorating the sad loss on October 1918 of the Mailboat 'RMS Leinster', which was torpedoed and sunk while on passage from Kingstown (now known as Dun Laoghaire) to Holyhead, just 5 miles East of the existing Kish Lighthouse off Dublin Bay The race will track the course of the ill-fated 'RMS Leinster, out to where the U-boat torpedoed and sank her, then turn back towards Dalkey Sound and from there to the finish at Poolbeg lighthouse. Post race Barbecues will be in full production to satisfy the hunger of the racing crews and if time permits we plan to have a 'Poems and Pints' session after the Barbecue. The Irish Communications Workers Union, which represents the interests of Irish postal workers are currently in negotiation with the DBOGA, and OGA HQ re sponsorship of a specially commissioned Trophy for this event. Among RMS Leinster's passengers who lost their lives, were postal workers who were sorting the mail when the torpedo struck. Also planning to participate in the June Festival will be Eithne , now 120 years old, designed by Mr Boyd, and widely regarded as the progenitor and inspiration for his Howth 17 design, being similar in hull waterline and size. Eithne had but one sister, Marguerite also a Boyd design, built in 1895 and she too will attend the Rally.. Conditions permitting, the two old girls will take up position at the mouth of the Liffey, to greet and escort the fleet of Howth 17's upriver to Poolbeg. The Inaugural DBOGA Liffey River Race upriver for the Howth 17's will be a spectacle not to be missed, and will be closely followed by a 'Parade of Sail' upriver and downriver, by the entire flag-bedecked fleet of Gaffers. After the Post race barbecue we will have a repeat of the DBOGA's testing maritime quiz for competing boat teams. Seeking assistance from the Internet or Google is considered a yardarm hanging offence , then we have Craic and Ceoil until late, in the Clubhouse.. The Monday race will be for the unique 'Asgard' trophy, made from original and new timbers used in the construction and restoration of the famous 1916 uprising gun-runner – Asgard. The Asgard was owned and sailed by the famous Erskine Childers, author of that classic best selling novel, 'The Riddle of the Sands'. The splendidly restored Asgard is now on show in the Collins Barracks National Museum of Ireland, just up the Liffey from Poolbeg, and well worth a visit. The Prize giving in Poolbeg YBC will be immediately after the Monday Race.


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Family Search has updated their Polish Collection & Czech Census too on September 4th & 5th.
Poland, Radom Roman Catholic Church Books, 1587-1966; http://bit.ly/X9qxJ8
Poland, Lublin Roman Catholic Church Books, 1784-1964 was also updated: https://familysearch.org/search/collection/1867931
Also Czech Republic Censuses 1843-1921: https://familysearch.org/search/collection/1930345
Add Family Search Wiki Page if your genealogy research area is Poland:
Images and indexes of church books containing baptisms and births, marriages, burials and deaths for the parishes in the Radom & Lublin Roman Catholic Dioceses of Poland.
Births end in 1912,
Marriages end in 1937, and
Deaths end in 1982 due to Polish privacy rules.


text: Some common cpu tests: - linpack - mprime: http://www.mersenne.org/freesoft/ - compile a kernel Linpack and mprime are great to do cpu burn in tests. Mprime has a option to verify results, so you can detect aritmetic errors and there's a option for testing your machine without joining the grid. 2009/1/15 Jon Aquilina <eagles051387 at gmail.com> > try running memtest+86 its a cd that you boot on to that tests the memory > leave it running for a few hrs to makes sure it is the ram or sockets. i am > not sure about how to test the cpu. > > On Tue, Jan 13, 2009 at 10:26 AM, Francesco Pietra < > francesco.pietra at accademialucchese.it> wrote: > >> Hi: >> >> I am posting here from a suggestion on the Debian amd64 site. My >> original posting to the mainboard factory/vendor in Europe only >> resulted in uninteresting suggestions, and they did not answer any >> more. >> >> My question is directed to the attention of users familiar with >> multisocket UMA-type mainboards based on 875 dual opteron AMD CPU. My >> own is Supermicro H8QC8 with chipset nVidia CK804 and AMD 8132, driven >> by Debian Linux amd64 lenny. >> >> One of the CPUs has suddenly lost viability to its >> 4-slots memory bank (shut down the machine in order, the problem arose on >> next >> loading Linux). Still, the CPU cores are OK, hypertransport links are >> fully working, parallelization to both Amber 10 and NWChem 5.1 is >> fully provided, but one of the CPUs must be slower, having to borrow >> memory from the other >> banks. The hardware status, after a period of complete darkness, is >> described in the attached lshw_deb64_7Jan2009.txt. >> >> As each bank of Kingston DDR1 is filled 2+2+1+1 GB, I identified the >> faulty bank, removed all slots from there, and replaced the 1+1 GB >> slots at another bank with 2 + 2 GB from the faulty bank, so that now >> the computer is at 20GB. The situation is described in the attached >> lshw_deb64_lessCPU2_scrambling1G_2G_CPU4_7Jan2009.txt. Actually, >> identification of the CPU (CPU2) related to the faulty mem bank is >> insecure: I just considered the nearest CPU to the faulty bank. The >> manual is not helpful to this regard . >> >> I understand that, in order to remove non-mainboard causes, I should >> be certain that a CPU has not lost memory control. Since replacing (I >> have one spare second-hand CPU) or scrambling, the CPUs is quite >> troublesome, and risky, in my context (there is very little space >> around the mainboard in the rack that I engineered to accept the >> mainboard). Ventilation is excellent, however. >> >> Therefore, is it any software way to check if the CPUs are fully in >> order, including the memory controller? lshw and other software >> provided only partial help in my hands. >> >> Also any other suggestion would be greatly appreciated. >> >> Thanks for your kind attention >> >> francesco pietra >> _______________________________________________ >> Beowulf mailing list, Beowulf at beowulf.org >> To change your subscription (digest mode or unsubscribe) visit >> http://www.beowulf.org/mailman/listinfo/beowulf >> > > > > -- > Jonathan Aquilina > > _______________________________________________ > Beowulf mailing list, Beowulf at beowulf.org > To change your subscription (digest mode or unsubscribe) visit > http://www.beowulf.org/mailman/listinfo/beowulf > > -------------- next part -------------- An HTML attachment was scrubbed... URL: <http://www.beowulf.org/pipermail/beowulf/attachments/20090115/65ebc878/attachment.html>


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Man Rescues Dog From Sinking Yacht, Then His Wife
Ever suspected your husband secretly loves the dog more than you? Well this guy's wife no longer has to wonder.
On Sunday (Aug 3) a South African couple Graham Anley and his wife Cheryl, were on a sailing trip all the way up to Madagascar. It was a three-month long trip so they brought their nine-year-old Jack Russell terrier Rosie along.
As they were sailing near the Transkei Coast on the east side of South Africa, they were forced to abandon their yacht after it hit a reef. Graham, the chivalrous hero that he is, decided to rescue the dog first.
After he got Rosie safely on dry land, he swam back to get his wife.
A rescue helicopter picked them up, and all three ended up okay, although the boat was ruined.
Graham hasn't said why he grabbed Rosie before his wife, although we're thinking it's because terriers aren't great swimmers, and his wife was probably much better.
But still, you know Graham is going to be in the dog house for quite a while for this one.


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Little Greene Interior walls & ceilings
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Little Greene are particularly proud of their paint's depth of colour – undertones that subtly change in different lights, providing real character and definition: the more complex the pigmentation the more interesting the colour. This complex and profound formulation and unequalled depth of colour (with over 40% more pigment than many ordinary paints) is what really gives Little Greene paint a point of difference.
Use the tick boxes at the side to find your perfect Little Greene product and colour. These paints are especially tinted for you, therefore CANNOT be returned.