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The children are back. And this time, they're out for blood. In this gripping supernatural thriller of horror and edge-of-your-seat suspense -- from New York Times bestselling author Douglas Clegg -- something is terribly wrong with the children of Colony, West Virginia. Innocent though they seem, these kids come out at night -- to hunt. "Clegg is the best horror writer of the post-Stephen King generation." - Bentley Little, bestselling author of The Haunting. When Joe Gardner returns with his wife and two young children to the peaceful mountain town of Colony, West Virginia, he doesn’t expect to find the girl who disappeared when he was a boy. But she remembers Joe -- and her other friends who left her behind, way down in a deep well within a mysterious barn. "Clegg's stories can chill the spine so effectively that the reader should keep paramedics on standby."-- Dean Koontz, NY Times Bestselling Author. Is she a vampire? Or something more demonic... Whatever’s lurking in the old mines under the town has been disturbed by Joe’s return. Joe did something when he was a boy – something that stopped the terror and evil from erupting. But now, a creature living in darkness wants out. It’s going to use the children of Colony to exact its revenge... Its hour has come 'round at last – the Children’s Hour… "Douglas Clegg knows exactly what scares us, and he knows how to twist those fears into hair-raising chills..." -- Tess Gerritsen, New York Times Bestselling Author. Books by Douglas Clegg Afterlife Goat Dance Purity Dark of the Eye The Words Wild Things The Children's Hour The Criminally Insane Series: Bad Karma Red Angel Night Cage The Harrow Series: Nightmare House Mischief The Infinite The Abandoned The Hour Before Dark You Come When I Call You Naomi The Nightmare Chronicles The Machinery of Night Isis The Necromancer Praise for Douglas Clegg's fiction "Clegg is the best horror writer of the post-Stephen King generation." -- Bentley Little, author of The Policy "Clegg delivers!" -- John Saul, bestselling author of Faces of Fear and The Devil's Labyrinth. "Douglas Clegg has become the new star in horror fiction." -- Peter Straub author of Lost Boy, Lost Girl and the New York Times Bestseller Black House (with Stephen King) "Clegg's stories can chill the spine so effectively that the reader should keep paramedics on standby." -- Dean Koontz "Clegg is one of the best!" -- Richard Laymon "Douglas Clegg is a weaver of nightmares!" -- Robert R. McCammon author of The Queen of Bedlam and Speaks The Nightbird.
The Children's Hour by Henry Wadsworth Longfellow Pdf
Of all of Longfellow's beloved poems (and there are many) none is so personal, so sunny, or so touching as this affectionate love letter to his three daughters, "grave Alice, and laughing Allegra, and Edith with the golden hair." Longfellow's happiest hours were spent writing on a cluttered desk by the south window of his beloved Craigie House, an imposing mansion still preserved on Cambridge's famous Brattle Street. It was here that most of the action takes place (except for his literary reference, and brief excursion, to the "Mouse-Tower on the Rhine"), here that his daughters come creeping down the stairs to beard the gentle, genial poet in his lair. Lang's luminous illustrations perfectly capture the happy atmosphere of that house, the author's affections for his daughters, and the painterly quality of his verse. This book for young readers presents one of the sweetest poems in the English language, her newly illustrated, beautifully presented, and now available to a new generation of readers.
For the Children's Hour by Carolyn Sherwin Bailey Pdf
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“What does ‘allegiance’ mean?” the New Teacher asked, hand over her heart. In this classic and chilling tale about an elementary school classroom in post-war occupied America, James Clavell brings to light the vulnerability of children and the power educators have to shape and change young minds. Originally written in the Cold War era, Clavell’s extraordinary and enduringly relevant allegory on the impressionability of the human mind is still read in schools around the globe today, and is a call to every person to keep questioning and keep learning.
From the renowned author of Possession, The Children’s Book is the absorbing story of the close of what has been called the Edwardian summer: the deceptively languid, blissful period that ended with the cataclysmic destruction of World War I. In this compelling novel, A.S. Byatt summons up a whole era, revealing that beneath its golden surface lay tensions that would explode into war, revolution and unbelievable change — for the generation that came of age before 1914 and, most of all, for their children. The novel centres around Olive Wellwood, a fairy tale writer, and her circle, which includes the brilliant, erratic craftsman Benedict Fludd and his apprentice Phillip Warren, a runaway from the poverty of the Potteries; Prosper Cain, the soldier who directs what will become the Victoria and Albert Museum; Olive’s brother-in-law Basil Wellwood, an officer of the Bank of England; and many others from every layer of society. A.S. Byatt traces their lives in intimate detail and moves between generations, following the children who must choose whether to follow the roles expected of them or stand up to their parents’ “porcelain socialism.” Olive’s daughter Dorothy wishes to become a doctor, while her other daughter, Hedda, wants to fight for votes for women. Her son Tom, sent to an upper-class school, wants nothing more than to spend time in the woods, tracking birds and foxes. Her nephew Charles becomes embroiled with German-influenced revolutionaries. Their portraits connect the political issues at the heart of nascent feminism and socialism with grave personal dilemmas, interlacing until The Children’s Book becomes a perfect depiction of an entire world. Olive is a fairy tale writer in the era of Peter Pan and Kenneth Grahame’s The Wind In the Willows, not long after Alice’s Adventures in Wonderland. At a time when children in England suffered deprivation by the millions, the concept of childhood was being refined and elaborated in ways that still influence us today. For each of her children, Olive writes a special, private book, bound in a different colour and placed on a shelf; when these same children are ferried off into the unremitting destruction of the Great War, the reader is left to wonder who the real children in this novel are. The Children’s Book is an astonishing novel. It is an historical feat that brings to life an era that helped shape our own as well as a gripping, personal novel about parents and children, life’s most painful struggles and its richest pleasures. No other writer could have imagined it or created it.
Based on a play by Lillian Hellman, The Children’s Hour (1961) was the first mainstream commercial American film to feature a lesbian character in a leading role. It centres on a teacher at a girls’ school (Shirley MacLaine) who is accused of harbouring feelings for her co-worker (Audrey Hepburn) and depicts the intense moral panic that ensues. Produced in the social climate of the Lavender Scare, the film reveals deep insights into the politics of sexuality and censorship in midcentury America, only a few years before more visible struggles for queer liberation. The director, William Wyler, lobbied hard to get the film made after an earlier straight-washed version in 1936. The tense road to production included debates about whether to eliminate mentions of lesbianism from the script and how implicitly queer subject matter might conflict with the Production Code, by then weakened but still in force. Julia Erhart’s reading of the film’s conception, production, and reception advances a nuanced case of censorship as a productive force. While contests between Hellman and Wyler suppressed scenes of overt affection between main characters Karen and Martha, reception was comparatively fixated on the characters’ lesbianism: it threatened middlebrow movie critics in the mainstream press and resonated with queer audiences. Erhart’s attentive interpretation of both the script and the sonic landscape yields a detailed analysis of the soundtrack as an original pro-lesbian element. As issues of queer censorship continue to permeate life and culture more than fifty years later, Erhart demonstrates that The Children’s Hour is as salient to social and political tensions around gender and sexuality today as it was in the 1960s.
This treasured collection of sermons, talks, and lessons for children is an essential tool for the formation of your child's Catholic character.Teach your children to:? Love God and their Catholic Faith? Respect their elders, priests, and teachers? Strive for virtue, Love God? Build Catholic friendships? Be holy even when it's difficult? And much more ...An uncompromised education is no longer available to the vast majority of Catholics. If your children are to become Catholic adults, who will keep the Faith and pass it to the next generation, they need to be unshakeably grounded in the truths of the Faith. This book provides the guidance most children would have received in a Catholic elementary school and can be read to children or used to supplement their Catholic formation at home.
Based on a play by Lillian Hellman, The Children’s Hour (1961) was the first mainstream commercial American film to feature a lesbian character in a leading role. It centres on a teacher at a girls’ school (Shirley MacLaine) who is accused of harbouring feelings for her co-worker (Audrey Hepburn) and depicts the intense moral panic that ensues. Produced in the social climate of the Lavender Scare, the film reveals deep insights into the politics of sexuality and censorship in midcentury America, only a few years before more visible struggles for queer liberation. The director, William Wyler, lobbied hard to get the film made after an earlier straight-washed version in 1936. The tense road to production included debates about whether to eliminate mentions of lesbianism from the script and how implicitly queer subject matter might conflict with the Production Code, by then weakened but still in force. Julia Erhart’s reading of the film’s conception, production, and reception advances a nuanced case of censorship as a productive force. While contests between Hellman and Wyler suppressed scenes of overt affection between main characters Karen and Martha, reception was comparatively fixated on the characters’ lesbianism: it threatened middlebrow movie critics in the mainstream press and resonated with queer audiences. Erhart’s attentive interpretation of both the script and the sonic landscape yields a detailed analysis of the soundtrack as an original pro-lesbian element. As issues of queer censorship continue to permeate life and culture more than fifty years later, Erhart demonstrates that The Children’s Hour is as salient to social and political tensions around gender and sexuality today as it was in the 1960s.