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Reverend William Joseph Long (1866-1952) who wrote under the pen name Peter Rabbit was an American author. His works include: Ways of Wood Folk (1899), Wilderness Ways (1900), Secrets of the Woods (1901), Beasts of the Field (1901), School of the Woods (1902), Following the Deer (1903), Wood Folk at School (1903), Little Brother to the Bear, and other Animal Studies (1903), Northern Trails: Some Studies of Animal Life in the Far North (1905), A History of English Literature (1908), English Literature: Its History and its Significance (1909), American Literature (1913), Outlines of English and American Literature (1917), How Animals Talk, and Other Pleasant Studies of Birds and Beast (1919), Mother Nature: A Study of Animal Life and Death (1923), America: A History of Our Country (1923), Outlines of American Literature, With Readings (1925), Outlines of English Literature, With Readings (1925), Our Country (1929), The Spirit of the Wild (1956) and Wings of the Forest (1957).
Ways of Wood Folk by William Joseph Long, first published in 1899, is a rare manuscript, the original residing in one of the great libraries of the world. This book is a reproduction of that original, which has been scanned and cleaned by state-of-the-art publishing tools for better readability and enhanced appreciation. Restoration Editors' mission is to bring long out of print manuscripts back to life. Some smudges, annotations or unclear text may still exist, due to permanent damage to the original work. We believe the literary significance of the text justifies offering this reproduction, allowing a new generation to appreciate it.
DigiCat Publishing presents to you this special edition of "Secrets of the Woods" by William J. Long. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
For fans of Nina LaCour's We Are Okay and Adam Silvera's History Is All You Left Me, this heartfelt and ultimately uplifting novel follows one sixteen-year-old girl's friend breakup through two concurrent timelines--ultimately proving that even endings can lead to new beginnings. "Stunning." --Nic Stone, bestselling author of Dear Martin and Odd One Out You can't rewrite the past, but you can always choose to start again. It's been twenty-seven days since Cleo and Layla's friendship imploded. Nearly a month since Cleo realized they'll never be besties again. Now Cleo wants to erase every memory, good or bad, that tethers her to her ex-best friend. But pretending Layla doesn't exist isn't as easy as Cleo hoped, especially after she's assigned to be Layla's tutor. Despite budding friendships with other classmates--and a raging crush on a gorgeous boy named Dom--Cleo's turbulent past with Layla comes back to haunt them both. Alternating between time lines of Then and Now, When You Were Everything blends past and present into an emotional story about the beauty of self-forgiveness, the promise of new beginnings, and the courage it takes to remain open to love. "Breathtakingly beautiful....Woodfolk has a way of making words sing and burst with light." --Tiffany D. Jackson, award-winning author of Monday's Not Coming and Let Me Hear A Rhyme
"Ways of Wood Folk" by William J. Long. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
“A fabulous book! . . . If you enjoy tiny, detailed projects that allow for lots of creativity and personal handiwork, I cannot recommend this book enough!” —Feeling Stitchy Salley Mavor’s book Felt Wee Folk inspired tens of thousands to handcraft dolls from simple materials. Now, she invites you to return to the wee world with Felt Wee Folk—New Adventures, starring 120 dolls to spark smiles and creativity. As requested by fans, this long-awaited follow-up shares more challenging projects. Explore fresh scenes and an array of new outfits, hairstyles, and accessories, with full-sized patterns. Make bendable dolls that resemble you, your family, or your favorite fairy-tale characters with wool felt, chenille stems, and decorative stitching. Display the figures in a dollhouse, atop a wedding cake, or in a holiday scene to be cherished year after year. From the pages of Mavor’s award-winning children’s books to your home, the enchanting wee folk dolls appeal to crafters of all ages and skill levels. More dolls, more scenes, and more outfits Use your stash—wool felt, chenille stems, and simple embellishments Delightful, challenging projects, as requested by fans Felt Wee Folk was a Foreword Reviews’ GOLD WINNER for Crafts & Hobbies “While the original book included projects beyond Wee Folk dolls, the new volume focuses on the dolls themselves. Fairies and families, kings and knights, and even some not-too-scary pirates all grace the pages of the book, beckoning readers to at least admire, if not try to create, Wee Folk of their own.” —The Enterprise (Cape Cod)
Folk art emerged in twentieth-century Nova Scotia not as an accident of history, but in tandem with cultural policy developments that shaped art institutions across the province between 1967 and 1997. For Folk’s Sake charts how woodcarvings and paintings by well-known and obscure self-taught makers - and their connection to handwork, local history, and place - fed the public’s nostalgia for a simpler past. The folk artists examined here range from the well-known self-taught painter Maud Lewis to the relatively anonymous woodcarvers Charles Atkinson, Ralph Boutilier, Collins Eisenhauer, and Clarence Mooers. These artists are connected by the ways in which their work fascinated those active in the contemporary Canadian art world at a time when modernism – and the art market that once sustained it – had reached a crisis. As folk art entered the public collection of the Art Gallery of Nova Scotia and the private collections of professors at the Nova Scotia College of Art and Design, it evolved under the direction of collectors and curators who sought it out according to a particular modernist aesthetic language. Morton engages national and transnational developments that helped to shape ideas about folk art to show how a conceptual category took material form. Generously illustrated, For Folk’s Sake interrogates the emotive pull of folk art and reconstructs the relationships that emerged between relatively impoverished self-taught artists, a new brand of middle-class collector, and academically trained professors and curators in Nova Scotia’s most important art institutions.
From the PREFACE. "ALL crows are alike," said a wise man, speaking of -'*- politicians. That is quite true - in the dark. By daylight, however, there is as much difference, within and without, in the first two crows one meets as in the first two men or women. I asked a little child once, who was telling me all about her chicken, how she knew her chicken from twenty others just like him in the flock. "How do I know my chicken? I know him by his little face," she said. And sure enough, the face, when you looked at it closely, was different from all other faces. This is undoubtedly true of all birds and all animals. They recognize each other instantly amid multitudes of their kind; and one who watches them patiently sees quite as many odd ways and individualities among Wood Folk as among other people. No matter, therefore, how well you know the habits of crows or the habits of caribou in general, watch the first one that crosses your path as if he were an entire stranger; open eyes to see and heart to interpret, and you will surely find some new thing, some curious unrecorded way, to give delight to your tramp and bring you home with a new interest. This individuality of the wild creatures will account, perhaps, for many of these Ways, which can seem no more curious or startling to the reader than to the writer when he first discovered them. They are, almost entirely, the records of personal observation in the woods and fields. Occasionally, when I know my hunter or woodsman well, I have taken his testimony, but never without weighing it carefully, and proving it whenever possible by watching the animal in question for days or weeks till I found for myself that it was all true. The sketches are taken almost at random from old notebooks and summer journals. About them gather a host of associations, of living-over-agains, that have made it a delight to write them; associations of the winter woods, of apple blossoms and nest-building, of New England uplands and wilderness rivers, of camps and canoes, of snowshoes and trout rods, of sunrise on the hills, when one climbed for the eagle's nest, and twilight on the yellow wind-swept beaches, where the surf sobbed far away, and wings twanged like reeds in the wind swooping down to decoys, - all thronging about one, eager to be remembered if not recorded. Among them, most eager, most intense, most frequent of all associations, there is a boy with nerves all a-tingle at the vast sweet mystery that rustled in every wood, following the call of the winds and the birds, or wandering alone where the spirit moved him, who never studied nature consciously, but only loved it, and who found out many of these Ways long ago, guided solely by a boy's instinct. If they speak to other boys, as to fellow explorers in the always new world, if they bring back to older children happy memories of a golden age when nature and man were not quite so far apart, then there will be another pleasure in having written them. My thanks are due, and are given heartily, to the editors of The Youth's Companion for permission to use several sketches that have already appeared, and to Mr. Charles Copeland, the artist, for his care and interest in preparing the illustrations.
Delightful rhymes and charming hand-stitched art celebrate the many ways we sleep across the world. Perfect for a baby shower gift and for fans of This Is How We Do It.
Teach Yourself to Play the Folk Harp by Sylvia Woods Pdf
This book teaches the student step by step how to play the harp. Each of the 12 lessons includes instructions, exercises, and folk and classical pieces using the new skills and techniques taught in the lesson. --from publisher description.
Ways of Wood Folk first appeared in 1899 and is now considered a beloved classic that brilliantly brings nature to life. Mr. William J. Long wrote this collection of stories to share his love of the wilderness with the young and the old. These tales from the woods accurately portray the habits of animals with new details that many do not know. This living book makes a perfect addition to complete a Charlotte Mason style education.
