I Hate to Read! by R. Marshall

2012 ◽  
Vol 1 (4) ◽  
Author(s):  
Kim Frail

Marshall, Rita, and Etienne Delessert. I Hate to Read! Mankato, MN: Creative Education, 1992. Print. As you might guess from the title, this book invites reluctant readers to discover the wondrous adventures that can be accessed through turning the pages of a book, as opposed to tuning into TV programs.  The cover features the narrator—third-grader Victor Dickens—on a dragon’s back, with flames licking out of the pages of a stack of books.  Readers are told that Victor is a “really good kid” “most of the time,” and many children will be able to relate to his academic difficulties: “Victor got As in math and Bs in science, but Fs when it came to the ABCs”.  He calls himself a “victim of the hate to read syndrome”. One night, Victor is visited by a series of storybook creatures, including a crocodile in a white coat, a field mouse carrying gold coins, a pirate parrot, and a white rabbit in black barn boots; all of whom attempt to convince him to read. He repeats his usual mantra, “I hate to read,” until gradually he begins turning pages, and his imagination takes over. Fictional characters morph into people from his real life: Sleeping Beauty turns into Natalie Nickerson, on whom Victor appears to have a bit of a crush. The turning point comes when one of the characters whispers: “It’s fun to read even when you’re not supposed to.” This thought appeals to his sense of juvenile rebellion, and he continues in his literary reverie, even missing his favourite TV program.  He imagines his teacher as a witch, throwing books into a cauldron, and his classmates, led by Natalie, shouting, “We hate to read!” Instead of joining in, however, Victor thinks of how sad he would be to lose all of his new friends, so he looks for them in his book: “And as he read each page, he just hated…to come to the end.” Writer and designer Rita Marshall and illustrator Etienne Delessert have each been awarded numerous literary prizes for their work. The large-scale drawings of the storybook creatures are whimsical and inviting.  They also contain small details that might not be noticed on the first reading. For example, the toes and talons of the dragon on the cover also form crow-like birds with pointy beaks. In another image, letters of the alphabet are hidden in animal tracks.  On the other hand, the book includes some literary references that would likely be lost on a typical third-grader.  For example, Victor’s parents are said to have bought all 56 volumes of the Encyclopedia Britannica to help pique his interest in reading. It is unlikely that many families would have this set in their homes, nor would a child normally encounter one in an elementary school library. However, these details will perhaps prompt questions from curious readers.  On the whole, “I hate to read” is highly likely to achieve its principal goal. Much like Victor, most children will probably hate to see it come to an end. Not to fear, they can continue to follow Victor’s adventures in “I Still Hate to Read,” which was published in 2007. Highly recommended: 4 out of 4 starsReviewer: Kim Frail Kim is a Public Services Librarian at the H.T. Coutts Education Library at the University of Alberta. Children’s literature is a big part of her world at work and at home. She also enjoys gardening, renovating and keeping up with her two-year old.

2015 ◽  
Vol 40 ◽  
Author(s):  
Christy Danelle Di Frances

Robert Louis Stevenson is well known as a writer of popular Victorian adventures, yet much of his fiction is steeped in the cultural and historical preoccupations of Scotland. Texts such as Kidnapped (1886), The Master of Ballantrae (1889), and Catriona (1893) hinge upon culturally significant events such as the Jacobite Rising of 1745 and the Appin Murder. These works also allude to the Highland Clearances of the eighteenth and nineteenth centuries and the Battle of Culloden with its ensuing disarming acts—all occurrences which contributed to or comprised significant catalysts for the large-scale expulsion of Scots from their homeland. Certainly, themes of exile pervade Stevenson’s Scottish work and maintain a more liminal presence in his later South Seas fiction, and many of the author’s finest characters can be read as enactments of temporary or permanent expatriates whose real-life counterparts form a fascinating cross-section of the diasporic movement. This paper focuses on several of these characters, whose adventures are encoded into their corresponding texts as fictional re-constructions of a broader experience common to displaced Scots in the eighteenth and nineteenth centuries. Some are driven from Scotland as a direct result of economic hardship or domestic conflict, while others leave (at least temporarily) as a means of avoiding the political corruption and intrigue characteristic of the historical struggle for Scottish independence. Through characters like David Balfour, Alan Breck Stewart, James Durie, and Archie Weir, Stevenson explores the psychological ramifications of politically enforced and self-imposed exile, thus providing fictional extrapolations of the Scottish diasporic experience. These portrayals, infused with a the author’s own experiences abroad, offer fascinating microcosms which gesture towards the collective experience of a wide-scale network of displaced Scots in the Victorian world. An early version of this paper was presented at the NAVSA 2012 “Victorian Networks” conference hosted by the University of Wisconsin at Madison.


Author(s):  
Dianne Oberg

The online distance education program, Teacher-Librarianship by Distance Learning (TL-DL), was developed and implemented at the University of Alberta, Canada beginning in the late 1990s. In this paper, TL-DL is used as an example to explore: how an online program was established and maintained and how the challenges facing the program have been and are being addressed. TL-DL‟s approach to preparing school librarians to support student access to new and emerging technologies was compared and found to be similar to the approaches used in two other types of programs identified through recent research conducted in the United States and Australia. Emerging from the research are questions about the need for shifts in curriculum content and pedagogy to engage digital age learners.


2019 ◽  
Vol 9 (1) ◽  
Author(s):  
Sandy Campbell

McDermott, Noel.  Kiviuq and the Bee Woman. Iqauit, NU, Inhabit Media, 2019. When we last heard of Kiviuq, he had just survived a harrowing encounter with scary monster mermaids or tuutalik (Deakin Review by Kirk MacLeod). In Kiviuq and the Bee Woman, the grandfather who narrated Kiviuq and the Mermaid continues the bedtime story to his grandchildren. Kiviuq begins paddling home, but comes upon a tent where an old woman invites him to rest and dry his clothing. She turns out to be a giant Bee Woman who wants to cut up Kiviuq and put him in her cooking pot. For a bedtime story, both the text and the illustrations are quite scary. Illustrator Toma Feizo Gas lets us see into the dark, dramatic and frightening world of the Bee Woman, who is a determined killer. “She shouted, ‘I am Iguttarjuaq, the Bee Woman, and I am going to kill you with my ulu’.”  The accompanying image shows a woman with pointy teeth and insect mouth pincers, who is shaking a sharp ulu (knife) at Kiviuq. As is the case with many of Inhabit Media’s publications, the reading level is higher than one would expect to find in a picture book. For younger children, this book will need some adult intervention. In addition to the scary content, human skulls talk, the woman eats her own eyelids and “Kiviuq, realized the woman was boiling human meat.” Some of the language is difficult. For example, Kiviuq “fainted” of fright, but “feinted” to get away. McDermott also intersperses many Inuktitut words, which will slow down younger readers. These are defined at the end of the book. Overall, this excellent product from Inhabit Media should be included in public library collections and school library collections, but should probably be placed in collections designed for older children.  Highly recommended: 4 out of 4 starsReviewer: Sandy Campbell Sandy is a Health Sciences Librarian at the University of Alberta, who has written hundreds of book reviews across many disciplines. Sandy thinks that sharing books with children is one of the greatest gifts anyone can give. 


2013 ◽  
Vol 3 (2) ◽  
Author(s):  
Debbie Feisst

Donaldson, Julia. The Highway Rat. Illus. Axel Scheffler. New York: Arthur A. Levine Books, 2013. Print.The children’s literature dream team of author Julia Donaldson and illustrator Axel Scheffler are at it again with this delightful take on Alfred Noyes’ classic narrative poem, “The Highwayman.” Donaldson and Scheffler, best known for their popular Gruffalo series as well as Room on the Broom, have created a lush narrative replete with repetitive phrases and rich illustrations that will captivate children while engaging the adult reader in an intelligent manner.“The Highway Rat was a baddie; the Highway Rat was a beast. He took what he wanted and ate what he took…” Indeed!  The Highway Rat holds up fellow travelers and those he meets along the way with a voracious attitude and pointy sword.  Though he prefers sweets, he takes anything –even a bunch of clover deemed tasteless and dull –to satisfy his greed and without a morsel of regret. As the other creatures along the road grew thinner and thinner, the Highway Rat grows plump until one plucky duck delivers poetic justice and some just ‘desserts’ to this nasty rat. Children will be pleased with the appropriate comeuppance for the Highway Rat that arrives with a healthy message of kindness and sharing.Fans of Donaldson and Scheffler’s previous work will not be disappointed, in particular those who have encountered “The Highwayman” as younger readers.  This rollicking book will make a nice addition to any elementary school library collection and is best suited for students in K-3. Highly recommended: 4 out of 4 stars Reviewer: Debbie FeisstDebbie is a Public Services Librarian at the H.T. Coutts Education Library at the University of Alberta.  When not renovating, she enjoys travel, fitness and young adult fiction.


2016 ◽  
Vol 5 (4) ◽  
Author(s):  
Kyle Marshall

Brown, Don. Drowned City: Hurricane Katrina and New Orleans. Boston, MA: Houghton Mifflin Harcourt, 2015. OverDrive Read. Web. 21 Mar. 2016.While it wasn’t the “big one” that meteorologists had predicted for New Orleans, the havoc wreaked by Hurricane Katrina’s landfall on August 29th, 2005 was monstrous in proportion. Many will surely remember the news stories, but Drowned City gives the reader an as-it-happened view of the various hardships faced by the residents and rescuers. Stories from all walks of life are here - the heroic acts of residents with boats who saved their neighbours, the hospital patients kept alive by friends and family after generators lost power, the forced separation of pets from owners, and the trains and cargo ships turned away as a result of mishandled organizational efforts. Throughout the story, Brown subtly explores the racial politics of the event, including Gretna’s police force turning away displaced New Orleanians, and George W. Bush comfortably surveying the chaos and squalor in the city below from his private jet. Once the streets had drained, the dead were accounted for - all 1,833 of them.Drowned City has already been featured on year-end lists from Kirkus, School Library Journal and Publishers Weekly. Rather than approach the story with a harshly dogmatic invective, Brown’s compassionate, matter-of-fact prose exposes the situation for what it was - a catastrophe that impacted millions of lives, featuring both acts of heroism and gross incompetence. Matching the text are the author’s gritty watercolours, crafted with a muted palette that effectively sets the tone of the book. This combination is used to illustrate the struggles that dogged survivors: stifling heat and stench without the reprieve of air conditioning.New Orleans’ recovery story remains complex; though rejuvenated tourism spending far surpasses pre-Katrina levels, its African American populations have dropped significantly since the storm. Brown’s book evocatively captures the event that changed everything for this great city and is a prototypical example of the power of graphic novels for historical subjects. A must for library collections.Highly recommended: 4 out of 4 starsReviewer: Kyle MarshallKyle Marshall is the School-Aged Services Intern Librarian for Edmonton Public Library. He graduated with his MLIS from the University of Alberta in June 2015, and is passionate about diversity in children's and youth literature.


2015 ◽  
Vol 5 (1) ◽  
Author(s):  
Colette Leung

Gallant, Gail. Apparition. Toronto: Doubleday Canada, 2013. Print.This Young Adult mystery-ghost story tells the story of seventeen year-old clairvoyant, Amelia MacKenzie. Amelia has seen ghosts since she was a little girl, and after her mother passed away from cancer, Amelia saw her mother’s ghost too. Until recently, Amelia thought she was imagining these visions, but that all changes when her best friend and crush Matthew dies.Amelia lives near the small city of Owen Sound, Ontario, with her grandmother Joyce, and her two brothers Ethan and Jack. Amelia struggled with depression after her mother’s death, but her friendship with Matthew helped her through the hardest time of her life, and leads to burgeoning romantic feelings. After Amelia gathers the strength to express her feelings to him, Matthew is flustered. The next time she meets him, however, Matthew is acting strangely, and while giving Amelia a ride home, begins to talk about a mysterious girl. Amelia finds out the next day that Matthew apparently killed himself in a nearby barn. Although devastated, Amelia feels something is off about Matthew’s death.At Matthew’s funeral, Amelia meets a local journalist named Morris Dyson. Morris investigates paranormal occurrences, as he believes ghosts travel along specific geographic routes, and sometimes become stuck or cause trouble. Morris also believes Amelia can see ghosts, just like he knew her mother could. Morris suspects Matthew’s death is linked to similar deaths that happened in the same barn - all young men who committed suicide after heart-break surrounding a mysterious woman named Dot. Morris theorizes a ghost is in the barn and causing all these problems.With the help of Morris’ handsome and charming son, Kip, Amelia and Morris begin to unravel the mystery of the barn, the ghosts who still haunt it (including Matthew), and the impact for those who come into contact with the barn. At the same time, Amelia learns to come to terms with her gift, her grief, and to explore her own identity.Gail Gallant conveys the stark beauty of the Canadian landscape throughout her novel, and captures the unique and realistic culture of small town Ontario. The setting will strike home with many Canadian youth. Even with its supernatural elements, Gallant’s characters are interesting and realistic, especially for a young adult novel. Amelia makes a notable heroine not because of her clairvoyance, but from how she learns to understand her own feelings as an ordinary teenager. Amelia cares deeply for her brothers, and her stern, no-nonsense grandmother, but can at times find them aggravating. She also navigates realistic issues, such as family, friendship, and integrity in relationships. Gallant presents these themes with sophistication and empathy.Apparition tackles mature issues including depression, grief, death, romance, the afterlife, and murder. Young readers may find some content scary, although the novel is more suspenseful than frightening. The book stands complete on its own, but has a sequel, Absolution.Recommended: 4 out of 4 starsReviewer: Colette LeungColette Leung is a graduate student at the University of Alberta, working in the fields of Library and Information science and Humanities Computing who loves reading, cats, and tea. Her research interests focus around how digital tools can be used to explore fields such as literature, language, and history in new and innovative ways.


2018 ◽  
Vol 8 (2) ◽  
Author(s):  
Sean Borle

Davies, Nicola. The Pond. Illustrated by Cathy Fisher. Graffeg, 2017. In this picture book, a half-finished garden pond, “a muddy, messy hole that filled our garden,” becomes a metaphor for a family’s grief at the death of a father, “a muddy, messy hole that filled our hearts.” The story highlights the fact that when someone dies, the family loses not only the person, but also the activities that the family did with that person. Eventually, the mother in this story gets the pond lined and it starts to come to life with tadpoles, dragonflies and a water lily, mirroring the family’s progression through their grief.  The artwork really carries the story forward, and accompanied by the simple text Nicola Davies depicts aquatic environments in a variety of ways. Her work is cinematic, capturing the movement and messiness of pond life.  She uses dark colours, splatters, scribbles and fractures in lines to depict the family’s grief. Some of the images are beautiful.  Her water lilies on solid black backgrounds are exceptional. The images in this book will engage all ages. This book would be good for children coping with loss or those preparing to cope with loss and should be a part of public and school library collections.  Recommendation:  4 stars out of 4Reviewer:  Sean Borle Sean Borle is a University of Alberta undergraduate student who is an advocate for child health and safety.  


2012 ◽  
Vol 1 (3) ◽  
Author(s):  
David Sulz

Isop, Laurie. Illustrated by Gwen Millward. How do you Hug a Porcupine? New York: Simon & Schuster Books for Your Readers, 2011. Print. A charming and hopefully harmless little book.  The variety of animals is illustrated realistically enough to be recognizable on the page and probably even in real-life. The text is nicely lyrical with a rhythm and rhyme that makes you want to sing while reading. The message, however, is not all positive. On the good side, the portrayal of animals as worthy of human attention, respect, and appreciation (although not particularly original in children’s books) is always welcome.  Also nice is the mix of familiar animals (e.g. cow, horse, pig, giraffe) with some that don’t get much attention (e.g. hedgehog, yak, ostrich) so young readers might learn something new. On the negative side, however, is the encouragement to hug any-and-all animals. Knowledge of the difference between tame (domestic) animals and wild animals should be instilled from a young age and, even if not taught explicitly, children’s authors should at least not introduce ideas that must be unlearned in real life. Pandas, yaks, porcupines, kangaroos, and dolphins should NOT, as a general rule, ever be hugged and people should NOT be convinced that everything needs a hug. For one thing, animals are unpredictable and potentially dangerous to the hugger. For another, hugging or touching a wild animal can be dangerous for the hugged - hugging a porcupine would dislodge many quills and reduce its defenses against predators. Sometimes I wonder if the national park tourists who slather honey on their child’s arm to get a picture of the cute bear licking it or approach a fully-grown elk to touch its antler velvet were maybe too exposed to this sort of book. In short, the answer to “how do you hug a porcupine?” should be, “you don’t!” Stick to hugging your own kitty-cat or puppy-dog instead that you know will probably appreciate it and not attack you. Recommended with reservations: 2 out of 4 stars (charming and lyrical but potentially dangerous in later life). Reviewer: David Sulz David is a librarian at the University of Alberta working mostly with scholars in Economics, Religious Studies, and Social Work. His university studies included: Library Studies, History, Elementary Education, Japanese, and Economics. On the education front, he taught various grades and subjects for several years in schools as well as museums. His interest in Japan and things Japanese stands above his other diverse interests.    


2015 ◽  
Vol 5 (2) ◽  
Author(s):  
Kyle Marshall

Dawson, James. This Book is Gay. London: Hot Key Books, 2014. Print.As North American jurisdictions play host to battles over proposed sex education curricula, barriers to providing basic sexual health information to youth are becoming painfully evident. In the place of strong classroom instruction, many governments expect parents to engage in these conversations, but even progressive parents may feel inadequately prepared for discussing sex education with their LGBT children. Similar issues exist surrounding cultural identification and attainment; where most youth simply observe or take part in family and societal practices, queer youth must undertake greater lengths to self-educate and identify.Enter James Dawson’s publication, This Book is Gay, which serves as part sex education, part cultural information manual for all things LGBT. With strong credentials as a former teacher and YA author, Dawson also deployed an international survey and conducted interviews to add statistics and quotations that expand and diversify the experiences captured within the book. The book covers a vast array of topics complete with catchy chapter titles, including terminology (“The Name Game”), homophobia and transphobia (“The Fear” and “Haterz Gonna Hate”) and, a topic of interest to most LGBT teens, same sex education (“The Ins and Outs of Gay Sex”). Within these chapters is a balance of reader empowerment, stereotype dismantling, community building and jokes - lots of jokes - to keep the reader entertained and informed throughout. Adding to the levity and frankness of Dawson’s tone are illustrator Spike Gerrell’s ebullient comics (think lightning bolts retreating from a gonorrhea patient’s groin).An uplifting read that will inform and entertain all types of readers, I highly recommend This Book is Gay. The book does use certain colloquialisms native to Dawson’s United Kingdom, but these should serve as only very minor distractions - or even points of curiosity - to the non-British reader. This Book is Gay would work as a very thoughtful gift to a newly out or questioning teen, but there needs to be a place for it in every junior high and high school library. As a stand-in for a funny, frank and extremely knowledgeable older sibling, this book should do the trick.Highly Recommended: 4 out of 4 starsReviewer: Kyle MarshallKyle Marshall is the School-Aged Services Intern Librarian for Edmonton Public Library. He graduated with his MLIS from the University of Alberta in June 2015, and is passionate about diversity in children's and youth literature.


Energies ◽  
2019 ◽  
Vol 12 (5) ◽  
pp. 811 ◽  
Author(s):  
Ali Kuyuk ◽  
Seyed Ghoreishi-Madiseh ◽  
Agus Sasmito ◽  
Ferri Hassani

Subsurface mining operations are continuously getting deeper and more complex due to depletion of shallow deposits. This fact inevitably brings more expensive, high-tech oriented and most importantly energy intensive subsurface mining operations to come alive. Accordingly, while big mining companies are developing sensible extraction methods to exploit orebodies located at great depths, they are also seeking to cut down their costs and carbon footprint. A large percentage of the energy needed by a subsurface mine is due to the mine ventilation and air conditioning reasons. In fact, for mines deeper than 2 km, mine air conditioning becomes a must. Yet, as there are not many alternatives developed, most of the modern mines are subjected to deploy tens of megawatts worth of cooling plants using massive refrigeration units. This does not only create a large financial burden during the project stage but also results in heavy energy demands during the operation. This paper aims to investigate a natural, alternative deep-mine lake cooling system by providing a detailed ‘front-end-loading’ design conducted for a real-life, Canadian example.


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