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"Dillon, Leo"
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Why mosquitoes buzz in people's ears : a West African tale
A retelling of a traditional West African tale that reveals how the mosquito developed its annoying habit.
Book
Yes, the fish are gone ...: ... but we still need to know what went wrong with the fishery
Obviously the crises was ultimately caused by over-fishing. It does not take a rocket scientist to uncover that gem of wisdom, and yes indeed, Ms. [Catherine Ford], we Newfoundlanders have the capacity to grasp that issue. The blood supply was tainted because germs got into it. Young Somali's were injured because bullets went into their bodies and caused them to stop breathing. Duh! If indeed the crisis is found to be a direct result of federal acts and omissions, then the federal government ought to be shouldering the responsibility. We entered Canada as a nation state. We did not enter it on the understanding that our centuries old resource base was to be destroyed and our people massively relocated. Had anything of the sort been proposed, the terms of union would never have been accepted, not even by J.R. Smallwood who, in my opinion, despite his faults was first and foremost a proud Newfoundlander. Finally, and incidentally, the \"learn from us, we've been there\" attitude is also erroneous, not to mention somewhat arrogant. Ms. Ford refers to evolutionary changes within the rural economy of Alberta. This is but a very superficial similarity. The fisheries crisis is not simply a result of \"changing practices,\" which would in effect be a normal development within the fishery. It is very clearly the result of mismanagement of a major resource. Consequently, she is comparing not just apples and oranges, but watermelon and oranges! If Alberta farmers had been forced to adapt because the federal government had allowed activity which rendered the land barren beneath the farmer's feet, then there would be grounds for comparison.
Newspaper Article
Who's in Rabbit's house? : a Masai tale
Rabbit has a problem-- someone is inside her house and won't let her in.
Book
Ashanti to Zulu : African traditions
Explains some traditions and customs of 26 African tribes beginning with letters from A to Z.
Book
Many thousand gone : African Americans from slavery to freedom
Recounts the journey of Black slaves to freedom via the underground railroad, an extended group of people who helped fugitive slaves in many ways.
Book
More than water under the bridge: Bulk-water sales pose a threat locally, and far beyond
It is far more than that. Canadians of all provinces have voiced concerns regarding the possible implications of allowing the bulk sale of water -- i.e., that such action could potentially have the impact of transforming our water resources into a commodity subject to the rules and constraints imposed by NAFTA. Mr. [Alec Campbell] suggests there will be a major boon to Newfoundland by allowing the bulk sale of water. Does he suggest the extraction and sale of water will be a public enterprise with all profit accruing to the public?
Newspaper Article
The tale of the mandarin ducks
A pair of mandarin ducks, separated by a cruel lord who wishes to possess the drake for his colorful beauty, reward a compassionate couple who risk their lives to reunite the ducks.
Book
The Art of Illusrating PIcture Books Series Number: 4
The first step in illustrating a book is studying the manuscript. Our editor may call to discuss a story briefly and later send it to us, or we might receive a manuscript though the mail. After reading the story, we decide if it is something we want to do. We choose particular stories for different reasons. One may carry an idea or message we feel is important. At other times the challenge hooks us. For instance, a story like Hundred Penny Box (by Sharon Bell Mathis), that consists mostly of conversation in one room offers little in graphic terms. In a case like this, we must concentrate on subtle feelings and expressions. On the other hand, some texts such as Verna Aardema's Why Mosquitoes Buzz in People's Ears, are full of graphic images and, if the story is great too, it's hard to say no. Fantasy, such as Michael Patrick Hearn's The Porcelain Cat, gives us more freedom since we have a chance to create something that doesn't exist. After accepting a manuscript we go through the business of contracts and negotiations, discussing with the publisher the book's size, number of pages and whether to use color or black and white. Next, we read and re-read the manuscript, deciding where to break the text on each page for the best graphic images and flow of action. At this point, we usually start to get a feel for whether the type should be light or heavy and talk over several typefaces with the publisher's art director. The art director next sends the type-set to the agreed-upon size and width of columns-on a galley form. We cut up the galley and tape the copy on each page of a dummy-a hand-made book with the same size and number of pages as the actual book-to give us a feel for how the story moves from page to page. We then start work on the design of the page, deciding early on whether we want a border or not. Sometimes, a text like Margaret Musgrove's Ashanti to Zulu, requires each picture to be complete within itself. A border helps to accomplish that. At other times a story-such as Verna Aardema's Rabbit's House-should flow from page to page with no break, so we carry the art to the edge of the page (called a bleed).
Newspaper Article