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Every Day is about the story of A, a genderless person who wakes up occupying a different body each day of a sixteen-year-old living in the East Coast. As described by Frank Bruni of The New York Times, "A. doesn't have a real name, presumably because they don't have a real existence: they're not a person, at least not in any conventional sense, but they have a spirit, switching without choice ...
The children grow crops, run a museum, have social clubs, raise children (dolls), and cook meals. The play violence comes in imitating "bullfighters, gladiators, or the imaginary ladies who torture Teddy". While the children learn the value of hard work and duty, play is relatively unregulated as it helps the children to develop their talents. [12]
Working: People Talk About What They Do All Day and How They Feel About What They Do is a 1974 nonfiction book by the oral historian and radio broadcaster Studs Terkel. [ 1 ] Working investigates the meaning of work for different people under different circumstances, showing it can vary in importance. [ 2 ]
"All work and no play makes Jack a dull boy" is an old proverb that means without time off from work, a person becomes both bored and boring. It is often shortened to "all work and no play". [ 1 ] It was newly popularized after the phrase was featured in the 1980 horror film, The Shining .
That’s the role you play as a journalist, so a lot of them get pissed off when you write critical stuff. But that’s your job.” It’s a juicy story—one in which Esquire played a major role.
Rudolf Franz Flesch (8 May 1911 – 5 October 1986) was an Austrian-born naturalized American author (noted for his book Why Johnny Can't Read), and also a readability expert and writing consultant who was a vigorous proponent of plain English in the United States. [1]
House, also referred to as "playing house" or "play grown up", is a traditional children's game. It is a form of make-believe where players take on the roles of a nuclear family . Common roles include parents, children, a newborn, and pets.
Writing in 1975, R. D. Mullen declared that in More Than Human, "[Sturgeon] had a theme well suited to his talents and inclinations, [and] the result is a book that pretty well avoids the mawkishness that mars most of his work. This book is not a masterpiece, but it comes pretty close."