This event listing is a little late, but your kids can still attend 2 more sessions! More details on the poster below.
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Reading daily with your child is critical to their development in many ways. There is no better way to increase vocabulary, teach literacy fundamentals, and expose your child to images and words to which they would otherwise not be exposed.However, just saying the words on the page, while giving some benefits to your child, will not make the experience as productive as possible. By adding just a few small changes to your read-aloud time, you will be greatly increasing your child’s reading preparedness. Here are seven suggestions to make read-alouds the best learning experience possible every time you read together:
Read the Title, Author’s Name, and Illustrator’s Name - It’s important for children to become familiar with what these three things mean. Explain what author and illustrator mean. It’s also great for them to understand that every book is written and illustrated by real people.Ask Your Child to Make Predictions - Read the title and look at the cover, then ask your child to tell you what they think might happen in the book. Most children will be quite uncomfortable with this in the beginning since they don’t know the answer, and they want to please you by saying only correct answers. Encourage them by saying that there is no wrong answer, but rather you just want them to take a guess. Ask them again in the middle of the book to make a prediction about how the story will end, and you could even make your own prediction and sometimes model that it’s okay to make an incorrect prediction.
Ask Your Child What Is Happening In the Pictures - It may not seem like pictures are as significant of a learning tool as the words, but when your child examines what is happening in a picture and explains it, it develops their inference skills. Just make sure not to do it with EVERY picture. Once or twice during a book will give them a chance to practice without completely interrupting the flow of the book.
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| Image Source : Pratham Books |
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Vladimir Nabokov wrote most of his novels, including Lolita and Pale Fire, on index cards. His novel Ada, for example, wound up taking over 2000 cards.
In a 1967 Paris Review interview, Nabokov says, “The pattern of the thing precedes the thing. I fill in the gaps of the crossword at any spot I happen to choose. These bits I write on index cards until the novel is done. My schedule is flexible, but I am rather particular about my instruments: lined Bristol cards and well sharpened, not too hard, pencils capped with erasers.”
Index cards were like his laptop and text editor: portable, in that he could write in the car while his wife drove him across the Western US on butterfly expeditions, and easily editable, because their order could be reshuffled. They also allowed him to write his novels non-linearly, middle last. Nabokov also preferred to write standing up. -wikipedia(Source: piecesofreiss)
But it's a minority that reads and speaks in their mother tongue. “Making perfect business sense was not our sole idea. We are fortunate to have enough to live on and don't want to get rich through this bookstore. Having said that I am also not willing to jump into conclusions about shrinking interest in the mother tongue. Let's keep it open,” says Lakshmi positively. Subodh takes the opportunity to narrate a recent happening. “It was just the other day, I was lounging in my easy chair, and this rather young chap comes on a macho bike asking for books. I was so sure he had made the wrong stop. And to my surprise, he bought Kannada books worth Rs. 1200! Someone even came up asking for the complete collection of Poornachandra Tejaswi. ” In fact, when Subodh had insisted that they get a market survey done to find out if there would be takers for their bookstore, Lakshmi was staunchly against the idea. It was an uphill effort and it took them 13 months to put the store together. “We don't want to be a Landmark or a Crossword. In a way defining our store has helped,” adds Lakshmi.Amazon said Thursday it has signed a deal for the electronic books rights to all seven Harry Potter titles in English, French, Italian, German and Spanish for its Kindle lending library.
The deal allows subscribers of the Amazon Prime service, which requires an annual subscription, to borrow the electronic versions of best-selling JK Rowling books.
Amazon said it inked the exclusive license with J.K. Rowling's Pottermore website to make the titles available to its customers via the Kindle e-reader.
But the deal only allows for borrowing of the ebooks, with Pottermore remaining the only place to buy the electronic versions.
"We're absolutely delighted to have reached this agreement with Pottermore. This is the kind of significant investment in the Kindle ecosystem that we'll continue to make on behalf of Kindle owners," said Jeff Bezos, Amazon's chief executive.
“It’s a commercial deal that makes sense even with a level of cannibalization of my sales,” Pottermore CEO Charlie Redmayne tells paidContent, “but I believe it will actually drive greater sales.”
“The way the deal is structured means that any lost sales are more than made up for,” Redmayne says. “Yes, some people will borrow from the Kindle Owners’ Lending Library and therefore not buy, but Amazon is paying us a large amount of money for that right, and I believe it’s a commercial deal that makes sense.”
Moreover, Redmayne says the deal “enables people to discover Harry Potter” and thinks that most of the time, readers who “kind of wanted to [buy Harry Potter books] but haven’t…will go to KOLL, discover the brilliance of Jo Rowling’s writing and want to buy the rest and own the set.” Redmayne pointed to some statistics Amazon previously released: The company said that in the case of the Hunger Games trilogy, which is available through KOLL, nineteen percent of customers who borrowed the first book in the trilogy went on to purchase one of the later books instead of waiting another thirty days to borrow it.
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| Image Source : Issac Mao |
No writer ever really wants to talk about censorship. Writers want to talk about creation, and censorship is anti-creation, negative energy, uncreation, the bringing into being of non-being, or, to use Tom Stoppard’s description of death, “the absence of presence.” Censorship is the thing that stops you doing what you want to do, and what writers want to talk about is what they do, not what stops them doing it.
The creative act requires not only freedom but also this assumption of freedom. If the creative artist worries if he will still be free tomorrow, then he will not be free today. If he is afraid of the consequences of his choice of subject or of his manner of treatment of it, then his choices will not be determined by his talent, but by fear. If we are not confident of our freedom, then we are not free.
And, even worse than that, when censorship intrudes on art, it becomes the subject; the art becomes “censored art,” and that is how the world sees and understands it. The censor labels the work immoral, or blasphemous, or pornographic, or controversial, and those words are forever hung like albatrosses around the necks of those cursed mariners, the censored works.
At its most effective, the censor’s lie actually succeeds in replacing the artist’s truth. That which is censored is thought to have deserved censorship. Boat-rocking is deplored.
This is the final victory of the censor: When people, even people who know they are routinely lied to, cease to be able to imagine what is really the case.
