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36
result(s) for
"Worms Fiction."
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Inch and Roly make a wish
Roly Poly, Inchworm, Dragonfly, and Beetle all feel bored one sleepy afternoon, until Roly suggests they go to the wishing well to wish for something to do.
Book
Exorcising Personal Traumas / Silencing History: Jennifer Johnston's \The Invisible Worm\
Jennifer Johnston's novel The Invisible Worm (1991) is an exemplary trauma narrative, both stylistically and thematically. It centres on the consciousness of its protagonist—Laura—and narrates her painful and protracted psychological process of coming to terms with a past marked by repeated sexual abuse by her father, which culminates in rape, and her mother's consequent suicide. Yet The Invisible Worm is also a contemporary example of the Irish Big House novel, a genre that articulates the identitarian, historical and social plights of the Anglo-Irish. My intention in this article is to consider how the narrative's evident interest in the personal dimension of Laura's traumas works to obviate the socio-historical and political elements that have also contributed to the protagonist's predicament. I will also analyse the different treatment afforded to the individual and the collective past: while the novel is explicit and optimistic in the case of Laura's personal story, it remains reluctant to speak out about historical evils, with the result that, at the end of the novel, although freed from her personal traumas, Laura remains the prisoner of her historical legacy. La novela de Jennifer Johnston titulada The Invisible Worm (1991) es un ejemplo perfecto de la \"novela de trauma,\" tanto estilística como temáticamente. El centro de interés recae en el mundo interior de Laura, la protagonista, y la novela narra el proceso psicológico, doloroso y prolongado, que Laura debe experimentar para recordar y asumir su pasado: un pasado marcado por los reiterados abusos sexuales de su padre, que culminan en violación, y el suicidio de su madre a consecuencia de estos hechos. Pero The Invisible Worm es también una novela que pertenece al género de la novela Big House irlandesa, y este es un género que tradicionalmente ha articulado los conflictos de identidad, históricos y sociales de los Anglo-irlandeses. En este artículo se considerará cómo el interés narrativo en la dimensión personal de los traumas de Laura—violación a manos de su padre y suicidio de su madre—simultáneamente sirve para obviar los elementos socio-históricos y políticos que también forman parte del conflicto de la protagonista. Intentaré así mismo llamar la atención sobre el tratamiento tan diferente que se otorga en la novela a la historia personal de Laura, en contraste con el pasado colectivo de la nación irlandesa: mientras la novela es mucho más explícita y optimista en cuanto a la historia personal de Laura, los hechos históricos se silencian, y al final de la novela, aunque Laura parece haber exorcizado sus traumas personales, su legado histórico todavía la mantiene prisionera.
Journal Article
Bad apple : a tale of friendship
Relates how Mac, the apple, and Will, the worm, become friends.
Book
Warfare, from Cold to Cyber
Today’s duel specters of sophisticated psychoterror and cyber warfare imperil our right to privacy and freedom. Experts warn that the cyberscape threatens to become the new war front among rival powers. Will our technology outflank our technical capacity—and our moral will—to safeguard civil liberties?
Journal Article
Richard Scarry's the early bird
After several cases of mistaken identity Early Bird finally finds a worm to play with.
Book
The word eater
Lerner Chanse, a new student at Cleveland Park Middle School, finds a worm that magically makes things disappear, and she hopes it will help her fit in, or get revenge, at her hated school.
Book
I can only draw worms
Teaches the reader to count to ten using worms that have great adventures or everyday experiences, described but not illustrated due to the author/illustrator's inability to draw anything but worms.
Book
Literature in Your Lifetime… and Beyond
The printed ‘book’ – a physical thing made up of paper, type, ink and board – has been around now for over 500 years. It has served literature wonderfully: packaging it in cheap (sometimes beautiful) forms that have helped to sustain mass literacy. Few inventions have lasted longer, or done more good.
The book may, however, have had its day. The tipping point has come very recently, in the second decade of the twenty-first century, when e-books – digital things made up of algorithms and pixels – began to outsell the traditional book on Amazon. An e-book, as it’s currently
Book Chapter