BEN WEATHERSTAFF

One of the strange things about living in the world is that it is only now and then one is quite sure one is going to live forever and ever and ever. One knows it sometimes when one gets up at the tender solemn dawn-time and goes out and stands alone and throws one's head far back and looks up and up and watches the pale sky slowly changing and flushing and marvelous unknown things happening until the East almost makes one cry out and one's heart stands still at the strange unchanging majesty of the rising of the sun—which has been happening every morning for thousands and thousands and thousands of years. One knows it then for a moment or so. And one knows it sometimes when one stands by oneself in a wood at sunset and the mysterious deep gold stillness slanting through and under the branches seems to be saying slowly again and again something one cannot quite hear, however much one tries. Then sometimes the immense quiet of the dark blue at night with millions of stars waiting and watching makes one sure; and sometimes a sound of far-off music makes it true; and sometimes a look in some one's eyes.
And it was like that with Colin when he first saw and heard and felt the Springtime inside the four high walls of a hidden garden. That afternoon the whole world seemed to devote itself to being perfect and radiantly beautiful and kind to one boy. Perhaps out of pure heavenly goodness the spring came and crowned everything it possibly could into that one place. More than once Dickon paused in what he was doing and stood still with a sort of growing wonder in his eyes, shaking his head softly.




“Don`t talk to me about Matisse
the European style of 1900, the tradition of the studio
where the nude style woman reclines forever
on a sheet of blood.


Talk to me instead about the culture generally
how the murderers were sustained
by the beauty robbed of savages: to our remote
villages the painters came, and our white-washed
mud-huts were splattered with gunfire.”
Michael Ondaatje, Running in the Family

vocative o
http://www.dailywritingtips.com/the-indispensable-interjection-%E2%80%9Coh%E2%80%9D/




Macbeth:
Tomorrow, and tomorrow, and tomorrow,
Creeps in this petty pace from day to day
To the last syllable of recorded time,
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life’s but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.

Viola: (Twelfth Night)
By innocence I swear and by my youth
I have one heart, one bosom, and one truth

Albany: (King Lear)
Wisdom and goodness to the vile seem vile

Olivia: (Twelfth Night)
Love sought is good, but given unsought better

Essay on Herbert's "Heaven" (Echo poem)
http://communiquejournal.org/120503_confr_silence.html


http://www.bing.com/videos/search?q=Sleeping+Beauty+Read-Along+Storybook&FORM=RESTAB#view=detail&mid=8D81C977B7F9B74B58F68D81C977B7F9B74B58F6



“The cure for boredom is curiosity. (Dorothy Parker)




“Fall has always been my favorite season.
The time when everything bursts
with its last beauty,
as if nature had been saving up all year
for the grand finale.”

Lauren DeStefano, Wither

The creative act is not performed by the artist alone;the spectator brings the work in contact with the external worldby deciphering and interpreting its inner qualificationsand thus adds his contribution to the creative act.
- Marcel Duchamp

Only words

can fly for you like birds

on the wall of the sun...

--Patrick Lane



Give me the splendid silent sun

with all his beams full-dazzling.

--Walt Whitman

Dangers of the Victorian Home
https://www.youtube.com/watch?v=K8Sq2FQrST0

Little April Song
http://www.youtube.com/watch?v=G8D5cUr87Eo


http://www.mediaed.org/assets/products/241/studyguide_241.pdf Killing Us Softly 4

http://www.mediaed.org/assets/products/206/studyguide_206.pdf Killing Us Softly 3


“Don't tell me the moon is shining;
show me the glint of light on broken glass.”

I Lived on the Moon animated short - suspenseful & optimistic http://www.youtube.com/watch?v=n6aDiOeOEUI
What a girl really wants with French chef http://www.youtube.com/watch?v=y13rUB2BIRo
Old man - super sad http://www.youtube.com/watch?v=OzwBHP3nnNM
The Big Guide for little creatures - situational irony http://www.youtube.com/watch?v=f9SFCjJZvVc
Defective Robot - situational irony
http://www.youtube.com/watch?feature=endscreen&NR=1&v=c86I-ZQiXZw
A True Act of Kindness
http://www.youtube.com/watch?v=p0lynZYyshg
Bear on Exercise Machine
http://www.youtube.com/watch?NR=1&v=tGtXyWOcYM0&feature=fvwp
Children playing tape race
http://www.youtube.com/watch?feature=endscreen&v=Q85xVaTfdgE&NR=1

Context knowledge that you bring to your reading: You may not be thoroughly knowledgeable on all of these topics because they have been addressed in class to various degrees. These sample questions are open-ended enough to allow you to show a range of thinking skills as you generate things to say. The range is as follows: knowledge, understanding, application, analysis, and synthesis. The first example illustrates how you would make one of several points to compose a paragraph.
  • Shakespeare's biography gives us insights. What does it tell us? What seems relevant to our reading of Romeo and Juliet? Explain why your points are relevant. (For a knowledge-base, you would draw material from the handout and from your recollection of things that were said at different points in time while read the play (e.g., Shakespeare wrote plays and, is speculated, had relationships in London while his wife and children lived in his hometown of Stratford...). The detail in your answer would involve a analytical breakdown in your reference to the play; for example, ...This, together with his apparent dislike of puritanical attitudes evidenced in his characterization of Malvolio in Twelfth Night makes it unlikely that he wants his audience to be severely critical of Romeo and Juliet's desire for one another when they meet at the masque and express their passion for each other later, in the balcony scene. As you can see, no, you do not need to remember specific Act and Scene numbers in order to refer to specific occurrences and scenes.
  • The setting of the play is ambiguous, but we deal with it as though it takes place in medieval Italy. How does a knowledge of the setting (or a lack of knowledge about the setting) contribute to our understanding of some of the messages in the play?
  • The historical context of the play is Elizabethan England. How does a knowledge of the worldview of Shakespeare and his audience affect our understanding of the play?
  • Shakespeare's version of the play is one in a line of different versions in various genres for hundreds of years. Could you elaborate with some particulars of this subject? How might knowing the fact that there were different versions of the play before and after Shakespeare's affect our understanding of Shakespeare's version? Could you elaborate on that?

One Line Poem

ON RECEIVING FATHERAT JFK AFTER HIS LONGFLIGHT FROM KASHMIR

As I open my arms wide, he extends his hand.
Source: http://www.3quarksdaily.com/
African American PoetsIndig Peoples LitIndig Peoples LitRita WongPoets and Poems from different countries

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Concision, Clearity, Cohesion


http://www.unt.edu/writinglab/concisionclarityandcohesion.html


RK heavenly hair


Beowulf
http://web.utk.edu/~rliuzza/Beowulf/index.htm



Don Kelly
http://www.funnybusiness.ca/roster.php?id=150

Drew Hayden Taylor

http://www.drewhaydentaylor.com/





The creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act. - Marcel Duchamp

Installation: (Finland) Silence and Whispers is an experiential prototype in the
form of an audio installation intended to assemble and
pass on narratives that reflect this multi-layered cultural
history...
(http://ocs.sfu.ca/nordes/index.php/nordes/2009/paper/viewFile/289/142)


...Silence and Whispers employs peephole strategies to
engage visitors both in a very concrete sense - in that it
is situated in an ‘alternate’ underground setting,
accessible by cave entrances, luring visitors nearby by
use of auditive whispers - and in a more abstract sense,
in that the narratives are deliberately fragmented and the
installation plays on visitors’ curiosity by demanding
that they explore the caves in order for them to bring
together the snippets into complete storylines.



Integrating Quotations


http://writing.wisc.edu/Handbook/QuoLitIncorporating.html


The human mind, endowed with the powers of generalization and
abstraction, sees not only green-grass, discriminating it from other things (and finding it fair
to look upon), but sees that it is green as well as being grass. But how powerful, how
stimulating to the very faculty that produced it, was the invention of the adjective: no spell
or incantation in Faerie is more potent. And that is not surprising: such incantations might
indeed be said to be only another view of adjectives, a part of speech in a mythical grammar.
The mind that thought of light, heavy, grey, yellow, still, swift, also conceived of magic that
would make heavy things light and able to fly, turn grey lead into yellow gold, and the still
rock into a swift water. If it could do the one, it could do the other; it inevitably did both.
When we can take green from grass, blue from heaven, and red from blood, we have already
an enchanter's power—upon one plane; and the desire to wield that power in the world
external to our minds awakes. It does not follow that we shall use that power well upon any
plane. We may put a deadly green upon a man's face and produce a horror; we may make the
rare and terrible blue moon to shine; or we may cause woods to spring with silver leaves and
rams to wear fleeces of gold, and put hot fire into the belly of the cold worm. But in such
“fantasy,” as it is called, new form is made; Faerie begins; Man becomes a sub-creator.
An essential power of Faerie is thus the power of making immediately effective by the will
the visions of “fantasy.” Not all are beautiful or even wholesome, not at any rate the fantasies
of fallen Man. And he has stained the elves who have this power (in verity or fable) with his
own stain. This aspect of “mythology” —sub-creation, rather than either representation or
symbolic interpretation of the beauties and terrors of the world—is, I think, too little
considered. Is that because it is seen rather in Faerie than upon Olympus? Because it is
thought to belong to the “lower mythology” rather than to the “higher”? There has been
much debate concerning the relations of these things, of folk-tale and myth; but, even if
there had been no debate, the question would require some notice in any consideration of
origins, however brief.

gymnopedie
Spare Change NFB Animation
The Passenger
Balance
Chopin's Raindrops
Day and Night
Cool techno music with bu
desolate art

Reading Circles
http://www.heinemann.com/shared/onlineresources/E00702/minilessons.pdf

Example of double-entry journal:

Double-Entry Journal for Walden by Henry David Thoreau
Quotations
Reflections
"To be awake is to be alive." (from the chapter "Where I Lived and What I Lived For"
I think that you can go though your whole life asleep if you don't stop and think about what you're doing. It's important to make conscious choices, especially when you're my age.
"I should not talk so much about myself if there were anybody else whom I knew as well. Unfortunately, I am confined to this by the narrowness of my experience." (from the chapter "Economy")
I disagree with what Thoreau says here. I think that you can know another person as well as you know yourself. I know my best friend as well as I know myself. Sometimes, I don't think I know myself well at all.
"Say what you have to say, not what you ought. Any truth is better than make-believe." (from the Conclusion)
Sometimes it is difficult to tell the truth because you don't want to hurt a person's feelings or because it's hard for you to admit something. It was hard for me to tell my dad that I didn't want to go to the same college he did, but I was glad that I told him afterwards.
Source: http://www.teachervision.fen.com/writing/letters-and-journals/48536.html#ixzz1aYpwBwKf


http://hidvl.nyu.edu/video/003335513.html
http://www.contemporaryverse2.ca/index.php/spring-2007/122-an-interview-with-daniel-david-moses-excerpt-
http://vimeo.com/29684854
http://canlit.ca/canlitpoets/poets/daniel_david_moses
http://www.openbookontario.com/news/kingston_writersfest_interview_series_daniel_david_moses

metaphor

The deer, bear, lynx, and fox / Raccoon, wolf, moose, and hawk / Will move far away / To find a place the beaver hasn't been / Where clear, cold, clean water still flows / Living, laughing, tumbling liquid life / Waterfalls, brooks and streams / These are the highways of life's dreams (From "The Beaver" by Duke Redbird)