• ISBN13: 9780698116481
• Condition: New
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“Time hasn’t dulled the suspense and humor of Irving’s chilling tale….The added treat here is the inviting art of Will Moses.” –Parents’ Choice

Told true to the original, the tale of the Headless Horseman and his effect on Ichabod Crane is enhanced by brooding, fitting folk-art illustrations.

“Will Moses, the great-grandson of Grandma Moses, has illuminated the original with a fluent retelling and handsome illustrations in an eminently suitable folk-art style….The dynamic full-color illustrations make the book spectacular….Simply splendid!” –The Horn Book, starred review

“The text is lively and compelling [and] the primitive paintings enhance the Hudson Valley setting.” –School Library Journal

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The wish spoken by Dorian Gray as he looks at his portrait forms the basis of the plot of this story of a gilded and spoilt hedonist who is willing to sell his soul for his beauty.A lush, cautionary tale of a life of vileness and deception or a loving portrait of the aesthetic impulse run rampant? Why not both? After Basil Hallward paints a beautiful, young man’s portrait, his subject’s frivolous wish that the picture change and he remain the same comes true. Dorian Gray’s picture grows aged and corrupt while he continues to appear fresh and innocent. After he kills a young woman, “as surely as if I had cut her little throat with a knife,” Dorian Gray is surprised to find no difference in his vision or surroundings. “The roses are not less lovely for all that. The birds sing just as happily in my garden.”

As Hallward tries to make sense of his creation, his epigram-happy friend Lord Henry Wotton encourages Dorian in his sensual quest with any number of Wildean paradoxes, including the delightful “When we are happy we are always good, but when we are good we are not always happy.” But despite its many languorous pleasures, The Picture of Dorian Gray is an imperfect work. Compared to the two (voyeuristic) older men, Dorian is a bore, and his search for ever new sensations far less fun than the novel’s drawing-room discussions. Even more oddly, the moral message of the novel contradicts many of Wilde’s supposed aims, not least “no artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style.” Nonetheless, the glamour boy gets his just deserts. And Wilde, defending Dorian Gray, had it both ways: “All excess, as well as all renunciation, brings its own punishment.”

Rating: (out of 391 reviews)

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Exuberantly coloured artwork and favourite animals make this rhythmic story the perfect introduction to looking and learning about colours. Each spread leads seamlessly into the next and young children will delight in Eric’s colourful collage animals and simple repetitive language.The gentle rhyming and gorgeous, tissue-paper collage illustrations in this classic picture book make it a dog-eared favorite on many children’s bookshelves. On each page, we meet a new animal who nudges us onward to discover which creature will show up next: “Blue Horse, Blue Horse, What do you see? I see a green frog looking at me.” This pattern is repeated over and over, until the pre-reader can chime in with the reader, easily predicting the next rhyme. One thing readers might not predict, however, is just what kinds of funny characters will make an appearance at the denouement! Children on the verge of reading learn best with plenty of identifiable images and rhythmic repetition. Eric Carle’s good-humored style and colorful, bold illustrations (like those in The Very Hungry Caterpillar, The Grouchy Ladybug, and Have You Seen My Cat?) have earned him a prominent place in the children’s book hall of fame. (Baby to Preschool) –Emilie Coulter

Rating: (out of 375 reviews)

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The wish spoken by Dorian Gray as he looks at his portrait forms the basis of the plot of this story of a gilded and spoilt hedonist who is willing to sell his soul for his beauty.A lush, cautionary tale of a life of vileness and deception or a loving portrait of the aesthetic impulse run rampant? Why not both? After Basil Hallward paints a beautiful, young man’s portrait, his subject’s frivolous wish that the picture change and he remain the same comes true. Dorian Gray’s picture grows aged and corrupt while he continues to appear fresh and innocent. After he kills a young woman, “as surely as if I had cut her little throat with a knife,” Dorian Gray is surprised to find no difference in his vision or surroundings. “The roses are not less lovely for all that. The birds sing just as happily in my garden.”

As Hallward tries to make sense of his creation, his epigram-happy friend Lord Henry Wotton encourages Dorian in his sensual quest with any number of Wildean paradoxes, including the delightful “When we are happy we are always good, but when we are good we are not always happy.” But despite its many languorous pleasures, The Picture of Dorian Gray is an imperfect work. Compared to the two (voyeuristic) older men, Dorian is a bore, and his search for ever new sensations far less fun than the novel’s drawing-room discussions. Even more oddly, the moral message of the novel contradicts many of Wilde’s supposed aims, not least “no artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style.” Nonetheless, the glamour boy gets his just deserts. And Wilde, defending Dorian Gray, had it both ways: “All excess, as well as all renunciation, brings its own punishment.”

Rating: (out of 365 reviews)

List Price: $ 3.95

Price: $ 3.10

Online Children Picture Book Read Children Flip Book Online by Eklavya Publications

Eklavya Unviels Online Children Book Rusi & Pussy – Read children flip book online Rusi and Pussy by Eklavya Publications. Children will enjoy reading flip book online & learn new things by reading these books. An initiative of Eklavya Publication to spread education across using online media!!

Eklavya is a non-profit, non-government organisation that develops and field tests innovative educational programmes and trains resource people to implement these programmes. It functions through a network of education resource centres located in Madhya Pradesh, India For over two decades, Eklavya has sought to relate the content and pedagogy of education – both formal and non-formal – to social change and the all-round development of the learner.

It evolves learner-centred teaching methodologies that foster problem-solving skills in children and encourage them to ask questions about their natural and social environment. This approach helps children become life-long self-learners. Eklavya looks at innovation holistically, which means that reforms in classroom practices are accompanied by reforms in examination systems, teacher training methods and the way schools are managed. It also means that learning spaces are extended beyond the school into the community. Eklavya has built up an extensive base of resource materials that includes educational literature, children’s literature, magazines, textbooks and other learning aids.

The beginnings In the early years of the decade of the 1980s, a group of educationists and social activists met to discuss the possibility of setting up an institute for educational research and innovative action in the Indian state of Madhya Pradesh. This group had a long association with a pioneering science education project that had started in 1972 and was then running in around 225 middle schools of Hoshangabad district of Madhya Pradesh. Known as the Hoshangabad Science Teaching Programme (HSTP), this project was a collaborative venture between two non-governmental organisations, Friends Rural Centre (FRC) and Kishore Bharati (KB), and the education department of the Government of Madhya Pradesh. HSTP had begun as a pilot project in 16 middle schools of two blocks of the district in 1972 and had been scaled up after the initial trials to cover all the schools of the district in 1978. The next step was to scale the project further.

The fledgling group wanted the new institute to take up this task as its immediate objective. But it envisaged a broader mandate of building up a partnership with the Madhya Pradesh government to improve school education. Under this mandate, the institute would take up innovative experiments in other subjects of the school curriculum from the primary to the higher secondary stage, assimilate the learnings from these projects into the curriculum and textbooks and look for ways to scale up these projects to cover all the schools in the state. The focus would thus stretch beyond the purely academic aspects to include support systems – teacher training packages, extra-curricular packages, administrative reforms, etc – needed to make these curricular packages working realities in schools. In short, the institute would evolve systems for macro-level implementation of micro-level educational experiments and act as a catalyst at the state, district, block and school levels to make the mainstream education system more receptive to innovations. However, while working with the government, it would remain autonomous in its functioning. More importantly, while operating at the state level, it would not be an urban-based institute but would function through a network of field centres situated in small towns and casbahs of the state.