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Literature — «A Story of The Stone Age: Herbert George Wells» - [MP3/PDF]

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<span> <a href="#youtube" style="text-decoration: none;"><font color="#301ce2"> H.G.Wells </font></a> - Photo: <a href="https://www.google.com/#q=A+Story+of+The+Stone+Age:+Herbert+George+Wells+site:benjaminmadeira.com" style="text-decoration: none;" target="_blank" title="A Story of The Stone Age: Herbert George Wells"><font color="#FF4000"> © Creative Commons</font></a> / <a alt="A Story of The Stone Age: Herbert George Wells" href="http://www.benjaminmadeira.com/search/label/history" style="text-decoration: none;" target="_blank" title="A Story of The Stone Age: Herbert George Wells"><font color="#FF4000"> illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/jpNuOY] This story is of a time beyond the memory of man, before the beginning of history, a time when one might have walked dryshod from France (as we call it now) to England,_______________________and when a broad and sluggish Thames flowed through its marshes to meet its father Rhine, flowing through a wide and level country that is under water in these latter days, and which we know by the name of the North Sea.</span></div></H2> <br /><br />

<div class="citajbm"> :: RT: ‪Stone Age ▶ http://goo.gl/SQPdGb ◀ In that remote age the valley which runs along the foot of the Downs did not exist, and the south of Surrey was a range of hills, fir-clad on the middle slopes, and snow-capped for the better part of the year. The cores of its summits still remain as Leith Hill, and Pitch Hill, and Hindhead. On the lower slopes of the range, below the grassy spaces where the wild horses grazed, were forests of yew and sweet-chestnut and elm, and the thickets and dark places hid the grizzly bear and the hyæna, and the grey apes clambered through the branches. And still lower amidst the woodland and marsh and open grass along the Wey did this little drama play itself out to the end that I have to tell. Fifty thousand years ago it was, fifty thousand years--if the reckoning of geologists is correct. #History #StoneAge #Story </div> <br /><br />

<div class="JBMCode"> And in those days the spring-time was as joyful as it is now, and sent the blood coursing in just the same fashion. The afternoon sky was blue with piled white clouds sailing through it, and the southwest wind came like a soft caress. The new-come swallows drove to and fro. The reaches of the river were spangled with white ranunculus, the marshy places were starred with lady's-smock and lit with marsh-mallow wherever the regiments of the sedges lowered their swords, and the northward-moving hippopotami, shiny black monsters, sporting clumsily, came floundering and blundering through it all, rejoicing dimly and possessed with one clear idea, to splash the river muddy.  <br /> <br />

Up the river and well in sight of the hippopotami, a number of little buff-coloured animals dabbled in the water. There was no fear, no rivalry, and no enmity between them and the hippopotami. As the great bulks came crashing through the reeds and smashed the mirror of the water into silvery splashes, these little creatures shouted and gesticulated with glee. </div> <br /> <br />

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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> "A STORY OF THE STONE AGE: UGH-LOMI AND UYA, THE CAVE BEAR, THE FIRST HORSEMAN," from Tales of Space and Time by the father of science fiction, nominated for the Nobel Prize in Literature in four different years (1921, 1932, 1935, 1946,), Herbert George Wells, <a name="pdf">PDF</a> :: </span></div></H2> 
<CENTER> <a href="https://drive.google.com/file/d/0B4kGy0lOHL12NHp5akdFdlZZRGc/view?usp=sharing?origin=http://www.benjaminmadeira.com/2016/04/herbert-george-wells.html" target="_blank" title="A STORY OF THE STONE AGE: UGH-LOMI AND UYA, THE CAVE BEAR, THE FIRST HORSEMAN, PDF"><img alt="A STORY OF THE STONE AGE: UGH-LOMI AND UYA, THE CAVE BEAR, THE FIRST HORSEMAN, PDF - Official Website - BenjaminMadeira" border="0" height="96px" itemprop="photo" oncontextmenu="alert('BenjaminMadeira.com - Official Website');return false" oncopy="alert('BenjaminMadeira.com - Official Website');return false" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGJAXCWZuTFPkbZytdRiYouVEQzU1gwKkrC_4MnzGEW2JhI0XZsdRWOWnORv_-CPnUHe0q2VDR06xiz2YavlTEnIGRDWsFy8OD-eF8FldqNaRtNt6nPerZyP-P-hbklKAih7tyjhuCx8RW/s1600/pdf-BenjaminMadeira-com.png" title="A STORY OF THE STONE AGE: UGH-LOMI AND UYA, THE CAVE BEAR, THE FIRST HORSEMAN, PDF - Official Website - BenjaminMadeira" width="100%" /> </a> </CENTER> <br />
<div style="text-align: center"> <span style="color: darkgreen"> <span style="font-size: 17pt; line-height:10pt"> [ <a class="explicacion"> <b>H. G. Wells, intended for nonprofit, home use / domestic, educational, discussion purposes only.</b> <span> PDF, Herbert George Wells, for educational, discussion purposes only </span></a> ] </span> </span> </div> <br />

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<center><b><font face="Verdana" size="3"><a href="http://facebook.com/sharer.php?u=http://www.benjaminmadeira.com/2016/04/herbert-george-wells.html" oncontextmenu="alert('Literature - BenjaminMadeira.com - Official Website');return false" oncopy="alert('Literature - BenjaminMadeira.com - Official Website');return false" style="text-decoration: none;" target="_blank" title="Compartir - Share via FACEBOOK"><font color="#CC0000">SHARE: FACEBOOK</a></font></font></b> | <b><font face="Verdana" size="3"><a href="http://twitter.com/home?status= — The story was featured in three parts between May and August 1897 in The Idler magazine, and was later released in collected editions http://www.benjaminmadeira.com/2016/04/herbert-george-wells.html [via @BenjaminMadeira]" oncontextmenu="alert('Literature - BenjaminMadeira.com - Official Website');return false" oncopy="alert('Literature - BenjaminMadeira.com - Official Website');return false" style="text-decoration: none;" target="_blank" title="Compartir - Share via TWITTER"><font color="#CC0000">TWITTER</a></font></font></b></CENTER><br />
<center><strong><span style="font-size:18px; color: #0B610B;"> <span itemprop="name"> <a name="mp3"> MP3 </a> — The story is set during the Stone Age, and tells of a caveman named Ugh-lomi, who bonds with the young woman Eudena and becomes the first man to ride a horse, and to combine stone and wood to fashion an axe. :: </span></span></strong></CENTER> <br />
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    <CENTER><div class="track-details"> A Story of The Stone Age: Herbert George Wells</div> </CENTER>
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<CENTER>This audio file should be playable on most browsers. It has been tested succesfully on : Firefox 10, 12, Chrome 37, Opera 11, iPhone, iPhone 3, iPhone 4, iPhone 5, iPhone 6, iPhone 6 plus, & iPad (IOS 3+) , Android 2.3 (2010) up to 4.4.4 (2014) , Internet Explorer 8, 9, 11, Surface Windows RT, Dolphin Browser for Android, UC Browser for mobiles & tablets </CENTER>

<ol>
<li class="playing">
<a alt="A Story of The Stone Age: Herbert George Wells" data-src="https://archive.org/download/EnglishTeacherLukeBenjaminMadeiraCom/English-Teacher-Luke-BenjaminMadeira-com.mp3?source=http://www.benjaminmadeira.com/2016/04/herbert-george-wells.html" href="#" title="A Story of The Stone Age: Herbert George Wells">Tales of Space and Time: Intro/Jungle - 15sec</a> </li>

<li><a alt="A Story of The Stone Age: Herbert George Wells" data-src="http://www.archive.org/download/talesofspaceandtime_1401_librivox/talesofspaceandtime_01_wells_128kb.mp3?source=http://www.benjaminmadeira.com/2016/04/herbert-george-wells.html" href="#" title="A Story of The Stone Age: Herbert George Wells"> 01. The Crystal Egg: Tales of Space and Time: Herbert George Wells, MP3 - Read by Richard Kilmer, 49min</a> </li>

<li><a alt="A Story of The Stone Age: Herbert George Wells" data-src="http://www.archive.org/download/talesofspaceandtime_1401_librivox/talesofspaceandtime_02_wells_128kb.mp3?source=http://www.benjaminmadeira.com/2016/04/herbert-george-wells.html" href="#" title="A Story of The Stone Age: Herbert George Wells"> 02. The Star: Tales of Space and Time: Herbert George Wells, MP3 - Read by Richard Kilmer, 31min</a> </li>

<li><a alt="A Story of The Stone Age: Herbert George Wells" data-src="http://www.archive.org/download/talesofspaceandtime_1401_librivox/talesofspaceandtime_03_wells_128kb.mp3?source=http://www.benjaminmadeira.com/2016/04/herbert-george-wells.html" href="#" title="A Story of The Stone Age: Herbert George Wells"> 03. A Story of the Stone Age - Part 1 - Ugh-Lomi and Uya: Tales of Space and Time: Herbert George Wells, MP3 - Read by Richard Kilmer, 41min</a> </li>

<li><a alt="A Story of The Stone Age: Herbert George Wells" data-src="http://www.archive.org/download/talesofspaceandtime_1401_librivox/talesofspaceandtime_04_wells_128kb.mp3?source=http://www.benjaminmadeira.com/2016/04/herbert-george-wells.html" href="#" title="A Story of The Stone Age: Herbert George Wells"> 04. A Story of the Stone Age - Part 2 - The Cave Bear: Tales of Space and Time: Herbert George Wells, MP3 - Read by Richard Kilmer, 31min</a> </li>

<li><a alt="A Story of The Stone Age: Herbert George Wells" data-src="http://www.archive.org/download/talesofspaceandtime_1401_librivox/talesofspaceandtime_05_wells_128kb.mp3?source=http://www.benjaminmadeira.com/2016/04/herbert-george-wells.html" href="#" title="A Story of The Stone Age: Herbert George Wells"> 05. A Story of the Stone Age - Part 3 - The First Horsemaan: Tales of Space and Time: Herbert George Wells, MP3 - Read by Richard Kilmer, 27min</a> </li>

<li><a alt="A Story of The Stone Age: Herbert George Wells" data-src="http://www.archive.org/download/talesofspaceandtime_1401_librivox/talesofspaceandtime_06_wells_128kb.mp3?source=http://www.benjaminmadeira.com/2016/04/herbert-george-wells.html" href="#" title="A Story of The Stone Age: Herbert George Wells"> 06. A Story of the Stone Age - Part 4 - Uya the Lion: Tales of Space and Time: Herbert George Wells, MP3 - Read by Richard Kilmer, 26min</a> </li>

<li><a alt="A Story of The Stone Age: Herbert George Wells" data-src="http://www.archive.org/download/talesofspaceandtime_1401_librivox/talesofspaceandtime_07_wells_128kb.mp3?source=http://www.benjaminmadeira.com/2016/04/herbert-george-wells.html" href="#" title="A Story of The Stone Age: Herbert George Wells"> 07. A Story of the Stone Age - Part 5 - The Fight in the Lion's Thicket: Tales of Space and Time: Herbert George Wells, MP3 - Read by Richard Kilmer, 27min</a> </li>

<li><a alt="A Story of The Stone Age: Herbert George Wells" data-src="http://www.archive.org/download/talesofspaceandtime_1401_librivox/talesofspaceandtime_08_wells_128kb.mp3?source=http://www.benjaminmadeira.com/2016/04/herbert-george-wells.html" href="#" title="A Story of The Stone Age: Herbert George Wells"> 08. A Story of the Days to Come - Part 1 - The Cure for Love: Tales of Space and Time: Herbert George Wells, MP3 - Read by Richard Kilmer, 44min</a> </li>

<li><a alt="A Story of The Stone Age: Herbert George Wells" data-src="http://www.archive.org/download/talesofspaceandtime_1401_librivox/talesofspaceandtime_09_wells_128kb.mp3?source=http://www.benjaminmadeira.com/2016/04/herbert-george-wells.html" href="#" title="A Story of The Stone Age: Herbert George Wells"> 09. A Story of the Days to Come - Part 2 - The Vacant Country: Tales of Space and Time: Herbert George Wells, MP3 - Read by Richard Kilmer, 46min</a> </li>

<li><a alt="A Story of The Stone Age: Herbert George Wells" data-src="http://www.archive.org/download/talesofspaceandtime_1401_librivox/talesofspaceandtime_10_wells_128kb.mp3?source=http://www.benjaminmadeira.com/2016/04/herbert-george-wells.html" href="#" title="A Story of The Stone Age: Herbert George Wells"> 10. A Story of the Days to Come - Part 3 - The Ways of the City: Tales of Space and Time: Herbert George Wells, MP3 - Read by Richard Kilmer, 49min</a> </li>

<li><a alt="A Story of The Stone Age: Herbert George Wells" data-src="http://www.archive.org/download/talesofspaceandtime_1401_librivox/talesofspaceandtime_11_wells_128kb.mp3?source=http://www.benjaminmadeira.com/2016/04/herbert-george-wells.html" href="#" title="A Story of The Stone Age: Herbert George Wells"> 11. A Story of the Days to Come - Part 4 - Underneath: Tales of Space and Time: Herbert George Wells, MP3 - Read by Richard Kilmer, 45min</a> </li>

<li><a alt="A Story of The Stone Age: Herbert George Wells" data-src="http://www.archive.org/download/talesofspaceandtime_1401_librivox/talesofspaceandtime_12_wells_128kb.mp3?source=http://www.benjaminmadeira.com/2016/04/herbert-george-wells.html" href="#" title="A Story of The Stone Age: Herbert George Wells"> 12. A Story of the Days to Come - Part 5 - Biindon Intervenes: Tales of Space and Time: Herbert George Wells, MP3 - Read by Richard Kilmer, 41min</a> </li>

<li><a alt="A Story of The Stone Age: Herbert George Wells" data-src="http://www.archive.org/download/talesofspaceandtime_1401_librivox/talesofspaceandtime_13_wells_128kb.mp3?source=http://www.benjaminmadeira.com/2016/04/herbert-george-wells.html" href="#" title="A Story of The Stone Age: Herbert George Wells"> 13. The Man Who Could Work Miracles - A Pantoum in Prose: Tales of Space and Time: Herbert George Wells, MP3 - Read by Richard Kilmer, 46min</a> </li>

</ol>

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<div style="text-align: center"><font color="#0404B4"><span style="font-size: 17pt; line-height:10pt"> [ <a class="explicacion"> <b>Herbert George Wells, intended for nonprofit, home use / domestic, educational, discussion purposes only.</b> <span> The Herbert George Wells, for educational, discussion purposes only </span></a> ] </span> </font> </div> <br />
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<div style="text-align: center"> <strong><span style="font-size:14px; color: #000000; background-color: #FFFF00;">A STORY OF THE STONE AGE: UGH-LOMI AND UYA, THE CAVE BEAR, THE FIRST HORSEMAN.</span></strong></div> <br />
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Tales of Space and Time: Herbert George Wells (1866-1946) Five short Science Fiction stories. Summary by Richard Kilmer
https://librivox.org/tales-of-space-and-time-by-h-g-wells/
Tales of Space and Time by H. G. Wells
https://archive.org/details/talesofspaceandtime_1401_librivox
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Literature — «A Story of The Stone Age: Herbert George Wells» - [MP3/PDF]

H.G.Wells - Photo: © Creative Commons / illustration — [http://goo.gl/jpNuOY] This story is of a time beyond the memor...

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English — «Luke's English Podcast: Mystery Story / Narrative Tenses» — (MP3) - UK

<div itemscope> <div style="text-align: center"> <a class="highlightJBM" href="http://www.benjaminmadeira.com/2015/10/mystery-story.html"> <img alt="Lukes English Podcast: Mystery Story / Narrative Tenses - Official Website - BenjaminMadeira" border="0" itemprop="photo" oncontextmenu="alert('BenjaminMadeira.com - Official Website');return false" oncopy="alert('BenjaminMadeira.com - Official Website');return false" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4ic-cmZdrOCF8iKJavimLyc5YCbtnr_zAseKrHJdwV3Of59qU9M8aAU8kRWYWFVxblhCXp4M64BbXmE_a3adgpvPsqjk3EolQt7RDqZuuqMB92ef6i1RNyKK6OItmA-SOPmkAKFL-7-PK/s280/mystery-BenjaminMadeira-com.jpe" style="width: 280px;height: 215px;" title="Lukes English Podcast: Mystery Story / Narrative Tenses - Official Website - BenjaminMadeira"/> </a><br />
<span> <a href="#mp3" style="text-decoration: none;"><font color="#301ce2"> Luke's English Podcast </font></a> - Photo: <a href="https://www.google.com/#q=Learning+English+Luke+Podcast+Mystery+Story+Narrative+Tenses+site:benjaminmadeira.com" style="text-decoration: none;" target="_blank" title="Lukes English Podcast: Mystery Story / Narrative Tenses"><font color="#FF4000"> © Anna Sousa</font></a> / <a alt="Lukes English Podcast: Mystery Story / Narrative Tenses" href="http://www.benjaminmadeira.com/search/label/luke-english-podcast" style="text-decoration: none;" target="_blank" title="Mystery Story / Narrative Tenses"><font color="#FF4000"> illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-size:17px; font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/crLRLH] We use these tenses to sequence stories about the past:_______________________past simple, past continuous & past perfect.</span></div></H2> <br /><br />

<div class="citajbm"> :: RT: Speaking British English ▶ http://goo.gl/crLRLH ◀ «Luke's English Podcast: Mystery Story / Narrative Tenses» | #BrE #BritishEnglish #RP #UK #English #LukesPodcast #Mystery </div> <br /><br />

<div class="JBMCode"> Luke Thompson is an English Language teacher from London but now he teaches English at a university in Paris, while working on other projects including Luke’s English Podcast. He started Luke’s English Podcast in 2009. He is also a stand-up comedian, which means that he likes to stand up in front of audiences of people, and make them laugh.  <br /><br />

He has experience of teaching courses in business English, academic English, legal English, general English and English for exam courses like FCE, IELTS and BEC.  <br /><br />

He graduated from Liverpool John Moore’s University in 1999 with a BA Hons degree in Media and Cultural Studies. He worked at various media production companies before going into English language teaching. He took his CELTA in 2001 and then his Higher Diploma in English Language Teaching to Adults (DELTA) in 2006 at UCL.   <br /><br />

He writes a lot of ELT materials, and he develops a lot of courses in business English and EAP. He has written original courses for English for the Pharmaceutical Industry, English for the Oil and Gas Industries and English for Journalists, as well as communication skills workshops in presentations, meetings and negotiations. He is a semi-published author with some of his work being used in materials publications in several countries.</div> <br /> <br />

<div class="comillas"> <b>The mystery story:</b>  <br /><br />
Last night <b>I was walking</b> home next to the river thames, when something strange <b>happened</b> to me. <b>It was</b> late at night and <b>I’d had</b> a long and difficult day at work. <b>There was</b> a large full moon in the sky and <b>everything was</b> quiet. <b>I was</b> tired and lonely and <b>I’d</b> just <b>had</b> a few pints of beer in my local pub, so <b>I decided</b> to stop by the riverside and look at the moon for a while. <b>I sat</b> on some steps very close to the water’s edge and <b>looked up</b> at the big yellow moon and <b>wondered</b> if <b>it</b> really <b>was</b> made of cheese. <b>I felt</b> very tired so <b>I closed</b> my eyes and after a few minutes, <b>I fell</b> asleep.  <br /><br />

When <b>I woke up</b>, the moon <b>had moved</b> behind a cloud and <b>it was</b> very dark and cold. <b>The wind was blowing</b> and <b>an owl hooted</b> in a tree above me. <b>I rubbed</b> my eyes and <b>started</b> to get up, when suddenly <b>I heard</b> a splash. <b>I looked</b> down at the water and <b>saw</b> something. Something terrible and frightening, and unlike anything <b>I’d</b> ever <b>seen</b> before. <b>Something was coming</b> out of the water and <b>moving</b> towards me. Something green and strange and ugly. <b>It was</b> a long green arm and <b>it was stretching</b> out from the water to grab my leg. <b>I was</b> so scared that <b>I couldn’t</b> move. <b>I’d</b> never <b>been</b> so scared in my whole life. The cold green hand <b>was moving</b> closer and closer when suddenly <b>there was</b> a blue flash and a strange noise from behind me. <b>Someone jumped</b> onto the stairs next to me. <b>He was wearing</b> strange clothes and <b>he had</b> a crazy look in his eyes. <b>He shouted</b> “Get Back!” and <b>pointed</b> something at the monster in the water. <b>There was</b> a bright flash and the monster <b>hissed</b> and <b>disappeared</b>.  <br /><br />

<b>I looked</b> up at the man. <b>He looked</b> strange, but kind. “Don’t fall asleep by the river when there’s a full moon”, <b>he said</b> “The Moon Goblins will get you.” <b>I’d</b> never <b>heard</b> of moon goblins before. <b>I didn’t know</b> what to do. “Who... who are you?” <b>I asked</b> him. “You can call me... The Doctor.” <b>He said</b>. <b>I was trying</b> to think of something else to say when <b>he turned</b> around and <b>said</b>, “Watch the stars at night, and be careful of the full moon”. <b>I was trying</b> to understand what <b>he meant</b>, when <b>there was</b> another blue flash and <b>I closed</b> my eyes. When <b>I opened</b> them again, <b>he had gone</b>.  <br /><br />

<b>I couldn’t</b> believe <b>what had happened</b>. What on earth <b>were</b> Moon Goblins, and <b>who was</b> the mysterious Doctor? And why <b>had he saved</b> me? <b>I was determined</b> to find the answers to these strange questions. <b>I stood up</b>, <b>looked</b> at the moon and quickly <b>walked</b> home.</div> <br />

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<center><strong><span style="font-size:18px; color: #0B610B;"> <span itemprop="name"> <a name="mp3"> MP3 </a> — To master the use of these narrative tenses you have to deal with their form, their use and thier pronunciation – both for listening and speaking. </span></span></strong></CENTER> <br />
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<li class="playing">
<a alt="Lukes English Podcast" data-src="https://archive.org/download/EnglishTeacherLukeBenjaminMadeiraCom/English-Teacher-Luke-BenjaminMadeira-com.mp3" href="#" title="Lukes English Podcast">Lukes English Podcast: Intro/Jungle - 15sec</a> </li>

<li><a alt="Lukes English Podcast: Mystery Story - Narrative Tenses, 1of2" data-src="http://traffic.libsyn.com/teacherluke/29-mystery-story-narrative-tenses.mp3" href="#" title="Lukes English Podcast: Mystery Story - Narrative Tenses, 1of2"> Lukes English Podcast: Mystery Story - Narrative Tenses, 1of2, MP3 - 26min</a> </li>

<li><a alt="Lukes English Podcast: Mystery Story - Narrative Tenses, 2of2" data-src="http://traffic.libsyn.com/teacherluke/30-the-mystery-continues.mp3" href="#" title="Lukes English Podcast: Mystery Story - Narrative Tenses, 2of2"> Lukes English Podcast: Mystery Story - Narrative Tenses, 2of2, MP3 - 25min</a> </li>

<li><a alt="Lukes English Podcast: Hello! - Argument Sketch" data-src="http://traffic.libsyn.com/teacherluke/31-hello-argument-sketch.mp3" href="#" title="Lukes English Podcast: Hello! - Argument Sketch"> Lukes English Podcast: Hello! / Argument Sketch, MP3 - 25min</a> </li>

<li><a alt="Lukes English Podcast: Mystery Story - Doctor Who" data-src="http://traffic.libsyn.com/teacherluke/32-doctor-who.mp3?dest-id=511319" href="#" title="Lukes English Podcast: Mystery Story - Doctor Who"> Lukes English Podcast: Mystery Story - Doctor Who, MP3 - 25min</a> </li>

<li><a alt="The Return of Sherlock Holmes, 11 hours audio" data-src="https://archive.org/download/ReturnSherlockHolmes/Return_Sherlock_Holmes.mp3" href="#" title="The Return of Sherlock Holmes audio"> The Return of Sherlock Holmes (Version 3) (FULL Audiobook), MP3 - 720min</a> </li>

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<div class="citajbm"> <a alt="The History of the Alphabet, mp3" href="http://teacherluke.libsyn.com/rss" style="text-decoration: none;" target="_blank" title="The History of the Alphabet, mp3"><font color="#FF4000"> Support Luke's work by visiting his podcast: "Luke Thompson: Lukes ENGLISH Podcast". Luke's English Podcast is an award-winning podcast for learners of English. Listen, learn and have fun while picking up natural British English as it really is spoken. </font></a>. </div> <br /> <br />

<div style="text-align: center"> <span style="color: blue"> <span style="font-size: 17pt; line-height:10pt"> [ <b>• Luke Thompson on Twitter: (@EnglishPodcast) <a alt="Luke Thompson on Twitter" href="https://twitter.com/englishpodcast" target="_blank" title="Luke Thompson on Twitter">https://twitter.com/EnglishPodcast</a> </b> ] </span> </span> </div> <br /> <br />

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<div style="text-align: center"><span style="color: blue"><span style="font-size: 13pt; line-height:12pt"> <strong> Mystery Story / Narrative Tenses </strong> </span></span></div> 
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English — «Luke's English Podcast: Mystery Story / Narrative Tenses» — (MP3) - UK

Luke's English Podcast - Photo: © Anna Sousa / illustration — [http://goo.gl/crLRLH] We use these tenses to sequenc...

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Humor — «Xenophobe's Guide to the English» — [PDF/Video] Dodgy foreigners

<div itemscope> <div style="text-align: center"> <a class="highlightJBM" href="http://www.benjaminmadeira.com/2015/06/xenophobes-guide-english.html"> <img alt="Xenophobes Guide to the English - Official Website - BenjaminMadeira" border="0" height="175" itemprop="photo" oncontextmenu="alert('BenjaminMadeira.com - Official Website');return false" oncopy="alert('BenjaminMadeira.com - Official Website');return false" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFDhJN9ZZVmerXhVsLcDloeKiw9fJkHf3AflLOfFnH2epnXmh_9XznwP07xVebt94DT2dVl8A5ZP73gAqlMVk2jDYgmXXDA4EFxAgyM_UxeJDloVKZNs-K7dZgP1fz2slWQFOxMXV_qW5B/s280/tea-and-good-book-BenjaminMadeira-com.jpg" title="Xenophobes Guide to the English - Official Website - BenjaminMadeira" width="280" /> </a><br />
<span> <a href="#mp4" style="text-decoration: none;"><font color="#301ce2"> Xenophobe's Guide </font></a> <a href="#pdf" style="text-decoration: none;"><font color="#301ce2">to the English </font></a> - Photo: <a href="https://www.google.com/#q=Xenophobes+Guide+to+the+English+site:benjaminmadeira.com" style="text-decoration: none;" target="_blank" title="Xenophobes Guide to the English"><font color="#FF4000"> English humor</font></a> / <a alt="Xenophobes Guide to the English" href="http://www.benjaminmadeira.com/search/label/society" style="text-decoration: none;" target="_blank" title="Xenophobes Guide to the English"><font color="#FF4000"> illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/RAa8jN] Xenophobe's Guide to the English _______________________Humor</span></div></H2> <br /><br />

<div class="citajbm"> :: RT: Reading http://goo.gl/RAa8jN a book with @SoniaMunozLlort - <i>Xenophobe's Guide to the English</i> | #Humor #Englishmen #Xenophobe #Xenopili #England #Guide</div> <br /><br />

<div class="JBMCode"> The attitude of the English towards other nations is not so much xenophobia (fear of foreigners) as xenopili (pity for foreigners for having the misfortune to be, well, NOT English).  <br /> <br />

The visionary financier and empire builder, namely Cecil Rhodes (who gave his name to Rhodesia – today’s Zimbabwe), a ‘genuinely first-rate man,’ ‘wholly civilized,’ ‘luckily born an Englishman,’ once observed: ‘To be born English is to win first prize in the lottery of life.’  (Rhodes 293; Miall and Milsted 6).</div> <br />

<div class="citajbm"> 'Nine hundred years ago the last invasion of England was perpetrated by the Normans. They settled, tried to integrate themselves with the indigenous population and failed. <br /><br />

The indigenous population then, as now, displayed an utter contempt for them not merely because they had conquered but more importantly because they had come from abroad. <br /><br />

Even today descendants of those Normans who think to impress with a throw-away remark about their families having "come over with the Conqueror" find themselves on the receiving end of the sort of English frost normally reserved for someone who has broken wind in a lift between floors.' </div> <br />

<div class="JBMCode"> The book goes on to underline the English distrust of foreigners thus: <br /><br />

'Germans are megalomaniac; the Italians are hysterical and dishonest; the Spanish, lazy; the Russians gloomy; and the Scandinavians, Dutch, Belgians and Swiss, dull. Further afield English odium is no less concentrated. Americans and Australians are vulgar, Canadians are boring, and all oriental peoples inscrutable and dangerous.'</div> <br />

<div class="citajbm"> Turning to how the English perceive their own country, the author notes: <br /><br />

'The English have a natural distrust of the unfamiliar and nowhere is this more clearly seen than in their attitude to the geography of their own country.  <br /><br />

Since time immemorial there has been a North-South divide in England. To the Southerner, civilaztion ends at Potters Bar. Beyond that point, he believes, the inhabitants are all ruddier in complexion, more hirsute and blunt to the point of rudeness. These traits he generously puts down to the cooler climate.  <br /><br />

In the North they frighten their children to sleep with tales of the deviousness of the inhabitants " down South."
They point to their softness, their mucked-about food and airy-fairiness on all matters of real importance. Nevertheless, any English man or woman, no matter how soft or hairy, is entitled to special treatment as, to a lesser extent, are the inhabitants of those countries which represent the English conscience -- once the Empire, now the shrinking Commonwealth.' </div> <br />

<div class="JBMCode"> Under the heading 'Sex', the book amusingly points out that....'while other nations celebrate their sexuality, to a greater or lesser extent, the English regard theirs as the enemy within.' <br /><br />

However....: 'Voyeurism is a favourite hobby. The English love to read about sex. Newspapers are full of the bedtime exploits of others and the peccadillos of the famous are a constant thrill. Nothing, not even the act itself, can enthral the English quite as much as reading about some sado-masochistic pillar of society caught bending over in Bayswater on a Sunday afternoon.'</div> <br />

<div class="citajbm"> There are many other observations on Englishness, including : animals; children; manners; tradition etc. etc. but in deference to the literary nature of this forum, here's a snippet from the English attitude to culture: <br /><br />

'England is the country of Shakespeare, Milton, Byron and Beatrix Potter. The first is, by common consent, a hero of the human race, a Titan of literature against whom all other writers of the past four hundred years have been measured. The second two are worthy names in most literate households. But the work of the fourth is best known to the English; for while the first three tended to write about people, Beatrix Potter wrote about animals and the English prefer animals and understand them better.
Close on the heels of Beatrix Potter comes the sinister A.A. Milne, whose Winnie the Pooh - written by an adult for other adults but passed of as a children's book - is read by adults for the rest of their lives.'  </div> <br />

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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> <i>Xenophobe's Guide to the English</i> by Antony Miall (western Kent, England) and David Milsted (Sussex [South East England], Dorset [South West England]), <a name="pdf">PDF</a> :: </span></div></H2> 
<CENTER> <a alt="Xenophobes Guide to the English, PDF" href="https://drive.google.com/file/d/0B4kGy0lOHL12VEtWMGlhQ0FVdG8/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/06/xenophobes-guide-english.html" target="_blank" title="Xenophobes Guide to the English, PDF"><img alt="Xenophobes Guide to the English, PDF - Official Website - BenjaminMadeira" border="0" height="96px" itemprop="photo" oncontextmenu="alert('BenjaminMadeira.com - Official Website');return false" oncopy="alert('BenjaminMadeira.com - Official Website');return false" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGJAXCWZuTFPkbZytdRiYouVEQzU1gwKkrC_4MnzGEW2JhI0XZsdRWOWnORv_-CPnUHe0q2VDR06xiz2YavlTEnIGRDWsFy8OD-eF8FldqNaRtNt6nPerZyP-P-hbklKAih7tyjhuCx8RW/s1600/pdf-BenjaminMadeira-com.png" title="Xenophobes Guide to the English, PDF - Official Website - BenjaminMadeira" width="100%" /> </a> </CENTER> <br />

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<div style="text-align: center"><span style="color: darkgreen"><span style="font-size: 12pt; color: #FFFF00; background-color: #F52887; line-height:13pt"> Fuente: Youtube, Servicios de Internet | Source: Youtube, Video hosting service </span></span></div> <br />
<div style="text-align: center"><font color="#00FFFF"><span style="font-size: 17pt; line-height:10pt"> [ <a class="explicacion"> <b>Dylan Moran's video for domestic purposes only.</b> <span> Dylan Moran's Videoclip - for domestic purposes only, and might not work in some countries </span></a> ] </span> </font> </div> <br />
 <br />

<div class="citajbm"> 
<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> WORKS CITED —  REFERENCES :  </span> <br /><br />

• [1] Rhodes, Cecil (1853-1902) (ed. Basil Williams). <i>Makers of the Nineteenth Century</i>. New York, H. Holt & Company, 1921. Print and Web. Retrieved on June 2015 from https://goo.gl/V9agqC  <br /> <br />

• [2] Miall, Antony, and David Milsted. <i>The Xenophobe’s Guide to The English</i>. London: Ravette Books. (1999) 2008. Print and EPUB Edition. ISBN: 9781906042295

</div> <br /> <br />

Humor — «Xenophobe's Guide to the English» — [PDF/Video] Dodgy foreigners

Xenophobe's Guide to the English - Photo: English humor / illustration — [http://goo.gl/RAa8jN] Xenophobe's ...

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Essay — «Crevecoeur and Monica Ali’s Brick Lane» — Cultures [PDF/Videos]

<div itemscope> <div style="text-align: center"> <a class="highlightJBM" href="http://www.benjaminmadeira.com/2015/05/crevecoeur-and-brick-lane.html"><img itemprop="photo" oncontextmenu="alert('BenjaminMadeira - Official Website');return false" oncopy="alert('BenjaminMadeira - Official Website');return false" /></a> <br />
<span> <a href="#pdf" style="text-decoration: none;"><font color="#301ce2"> Crevecoeur vs Monica Ali </font></a> - Photo: <a alt="Crevecoeur —Letter III, What is an American— and Monica Ali Brick Lane" href="http://www.benjaminmadeira.com/search/label/essays" style="text-decoration: none;" target="_blank" title="Crevecoeur —Letter III, What is an American— and Monica Ali Brick Lane"><font color="#FF4000"> Deliss/Godong/Corbis/illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/qlYsOI] Crevecoeur —Letter III, What is an American— and Monica Ali’s Brick Lane.  _______________________Immigration</span></div></H2> <br /><br />

<div class="citajbm"> :: RT: Writing http://goo.gl/qlYsOI an essay on Crevecoeur —Letter III, What is an American— and Monica Ali's Brick Lane; Interdisciplinary Course with Cultural Studies | #Essay #Immigration #Bangladesh #Muslims #British #Americans #StudyNotes #UniversityStudies #SocialStudies #CulturalStudies #Society #Culture What is an American? What is a Bangladeshi in Brick Lane? </div> <br /><br />

<div class="JBMCode"> Exam in Interdisciplinary course (combines both literature and cultural studies: UK/American Literature and UK/American Culture) <br /><br />

The earliest articulation of the melting pot concept came in 1782, from J. Hector St. John Crevecoeur, a French officer turned New York settler, who envisioned assimilated Europeans as ingredients in a vast melting pot of cultures. The concept of the melting pot later expanded to include people from different races and backgrounds, as it became one of the cornerstones of assimilation theory. While many academics dispute the relevance of the term, the model of the melting pot offers an idealistic vision of U.S. society and identity, combining people from diverse ethnic, religious, political, and economic backgrounds together into a single people. <br /><br />

In The Journals and Miscellaneous Notebooks of Ralph Waldo Emerson, ed. by William H. Gilmanetal. (Cambridge, Mass.: The Belknap Press of Harvard University Press, 1960-1982), vol. IX, 1843-1847, ed. by Ralph H. Orthand Alfred R. Ferguson (1971), pp. 299f., the following entry for 1845 can be found:  <br /><br />

Well, as in the old burning of the Temple at Corinth, by the melting & intermixture of silver & gold & other metals, a new compound more precious than any, called the Corinthian Brass, was formed so in this Continent, -asylum of all nations, the energy of Irish, Germans, Swedes, Poles, & Cossacks, & all the European tribes, - of the Africans, & of the Polynesians, will construct a new race, a new religion, a new State, a new literature, which will be as vigorous as the new Europe which came out of the smelting pot of the Dark Ages [...] </div> <br />

<div class="citajbm"> "Cultural identification" :: how a culture or ethnic group is identified in the literary text.<br /><br />

In "Brick Lane" and "Letter III, What is an American?" we have several cultural groups identified in the text, white Europeans, Muslims, Bangladeshi, British, and so on. We know that's what they are because they're identified as such.<br /><br />

However, we know that every author chooses the images and vocabulary, metaphors, and so on--all the narrative techniques we can employ in crafting a story--with an eye toward achieving that particular effect or story. So, for instance, how is Muslims presented here, by what means, and to what effect?<br /><br />

That's what we mean by "cultural identification" and analyzing that culture.<br /><br />

How are those elements presented in these two texts, "Brick Lane" and "Letter III, What is an American?". By choosing one culture in each text (for example, Muslims and Americans), one can handle them in their respective texts. For instance, what does Crévecoeur do in defining American culture, and what does Ali do in defining British (or Bangladeshi) culture? Are they the same? Different? To what effect or what purpose?<br /><br />

One just needs to support one's argument with examples from the texts and understanding of the cultural context.   <br /> <br />

*The term America is used in this essay to mean the United States of America.</div> <br />

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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Five-paragraph essay on Crevecoeur —Letter III, What is an American— and Monica Ali's Brick Lane; Interdisciplinary Course with Cultural Studies, Benjamin Madeira, <a name="pdf">PDF</a> :: </span></div></H2> 
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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> What is an American? What is a Bangladeshi in Brick Lane? :: </span></div></H2> 
<div class="citajbm"> In <i>Letter III</i> (1782) and <i>Brick Lane</i> (2004), both French-born American Crevecoeur and Bangladeshi-born British Monica Ali address the issue of belonging by portraying a definition of individuals’ identity on different environments. In both cases, their choice of setting serves to underline their ideological concerns. When attempting to find out what the authors’ stance is on national or individual identity, one can ask them out loud: should immigrants be one hundred percent Americans, British, without clinging to some of their native culture? In his arguments, James, the farmer, purports that immigrants lost their cultural roots and hence became Americans (Crevecoeur 54). Monica Ali, on the other hand, champions policies that have been adopted with the perspective of convergence to an endogenous, social cohesion, meaning “pluralist integration model,” which leads to uniformity. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> The « melting pot » metaphor :: </span></div></H2> 
<div class="citajbm"> By changing his name Michel-Guilluame-Jean de Crèvecœur to the Americanized James Hector St. John, French Crèvecoeur provides himself as an example in how the new race of men should act upon their arrival to the British colonies in America. Crevecoeur’s letter writer, a farmer named James Hector St. John, addresses a fictional English recipient in Letter III where he attempts to portray various perspectives of being an American; what the national identity this emerging American society should have. Crevecoeur was the first proponent of the American prototype encapsulated in the « melting pot » metaphor. This type of society would be a relatively heterogeneous entity that becomes increasingly homogenous as the varying elements met together to one harmonious whole that has a common or shared culture (Modood 3). In this American community “individuals of all nations are melted into a new race of men" (Crevecoeur 55, emphasis added). Crevecoeur’s purpose in Letter III is to delineate a monolithic integration model, which is equated with cultural assimilation and acculturation rather than a multithreaded tapestry of immigrants in modern United States society (Crevecoeur 56).  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Either a European, or the descendant of a European :: </span></div></H2> 
<div class="citajbm"> According to James, most Americans were made up of a mixture of immigrants from some European ethnic groups, “a mixture of English, Scotch, Irish, French, Dutch, Germans, and Swedes” (Crevecoeur 51) who, if they were "honest, sober and industrious" (Crevecoeur 91), would prosper in a welcoming land of opportunity (Crevecoeur 55). "[‘Where there is bread, there is my country’] is the motto of all emigrants," postulated James (Crevecoeur 54). The fictional narrator of the text, James, the American farmer, captures that the American, “this new man […] is either a European, or the descendant of a European, hence that strange mixture of blood, which you will find in no other country” (Crevecoeur 54). According to the monolithic integration model advocated by Crevecoeur, those immigrants who left their homes, should ignore any ethnic heritage; they should strive to love their new country more than their country of origin, thus “[t]he American ought […] to love this country much better than that wherein either he or his forefathers were born” (Crevecoeur 43, 55).  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Immigrants did not have their own home culture :: </span></div></H2> 
<div class="citajbm"> Hence, according to the monolithic integration model, the immigrants did not have their own home culture and were to embrace the dominant cultural aspects of this new white race in America (Martin 8). Immigrants are thus forced to share and use cultural aspects of the larger group so as to become culturally homogenous. As James, the farmer, advances, “[t]he American is a new man, who acts upon new principles. He must therefore entertain new ideas and form new opinions” (Crevecoeur 56). What defines Americans and British today would not be complete without mentioning the increasing pluralistic integration model where different cultures have adopted social cohesion while at the same time maintaining their cultures. The multiculturalists believe that homogeneity is to be achieved when each cultural group is recognized and treated on equal measure (Martin 8).  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Monica Ali's  Brick Lane :: </span></div></H2> 
<div class="citajbm"> Brick Lane scrutinizes modern integration with a view to ethnic heritage. Readers will follow the story of Nazneen, a young Bangladeshi girl. She is a literary character that has depth, layers and can surprise the readers and convince them. She has ‘the incalculability of life’ about her (Forster 55); she is thus, a round character. Nazneen, at the age of eighteen is married off to Chanu, a forty year old Bengali man living in London, specifically on Tower Hamlets, a hidden place largely populated by immigrants from Bangladesh (Lane, n/p). Monica Ali utilizes diverse literary techniques when crafting her story on Bangladeshi-immigrant protagonist Nazneen. The author explores diverse themes; however, in order to elaborate shortly on this paper, the focus will be individual identity. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> The Bengali community: an entity that depends on fate :: </span></div></H2> 
<div class="citajbm"> Monica Ali begins portraying the Bengali community as an entity that depends on fate, destiny or predestination and as a consequence of this, they are passive when facing decisions in life. As the third person narrator advances: “‘[o]f course, Fate will decide everything in the end, whatever route you follow’” or “[…] you are destined to die of hunger […]” (Ali 14). Furthermore, by portraying Nazneen's mother as a saint and all her lineage, it is being implied that Nazneen is destined to be an obedient wife (Ali 80); if she suffers then she should be patient and silent within her own ethnic community and within multicultural Brick Lane. Therefore, she should know, integration cannot take place. The author depicts the Bengalis this way so as to plough the field, in Brick Lane, and thus, surprise her readers with Nazneen's changing identity while debating immigration and the pluralist integration model.  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Interaction in local communities is a paramount aspect in human sociality :: </span></div></H2> 
<div class="citajbm"> In order for an immigrant to become integrated into a society, interaction in local communities is a paramount aspect in human sociality, the Bangladeshi villager, however, remains ‘in a very sorry state’ in her apartment, refusing to shed all vestiges of her cultural heritage. She embodies what other Bengali immigrants feel while on British soil: “[t]heir bodies are here but their hearts are back there” (Ali 32). “In all her eighteen years, she could scarcely remember a moment she had spent alone. Until she married. And came to London to sit day after day in this large box with the furniture to dust, and the muffled sound of private lives sealed away above, below and around her” (Ali 24; Parekh 197). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Now our children are copying what they see here :: </span></div></H2> 
<div class="citajbm"> Monica Ali attempts to portray the western –British– culture from East’s perspective in doctors Azad’s words: “[...] I saw two of our young men in a very sorry state” (Ali 31), explaining why immigrants should not become integrated in western society. Nazneen’s spouse corroborates it, as the male focalizer exemplifies that: "[...] for my part, I don't plan to risk these things happening to my children. We will go back [before [my] children [are] affected by Western habits]" (Ali 32). Doctor Azad regrets, "now our children are copying what they see here, going to the pub, to nightclubs. […] The problem is our community is not properly educated about these things" (Ali 31).  In Brick Lane, Monica Ali concludes that ‘gradual fusion’ or metamorphosis should be every individual’s decision as is the case of Nazneen’s daughters. Newcomers should choose whether they want injection of regular doses of local culture or not (Parekh 197; Øien-Vikaune, Lesson 2, video: 24:09).  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Individual identity is non-static :: </span></div></H2> 
<div class="citajbm"> “Identity” is a topic of wide variety, but can be defined for this purpose as ‘their understanding of who she is, what she wants to be recognized as.’ The concept of individual identity is non-static, it changes all the time, and immigrants, such as Nazneen, struggle with an evolving identity within themselves (Bloom 52; Fearon 4-6). Monica Ali gives her readers the feeling of the emptiness and confusion in Nazneen’s live by placing 'dead grass,' 'broken paving stones' (Ali 17), and so on, in the pages of the immigration story. Such figurative language evokes vivid images that reveal characterization and reinforce Ali's themes while contrasting Nazneen's Bangladeshi village. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Nazneen goes on to establish an extra-marital affair :: </span></div></H2> 
<div class="citajbm"> In Brick Lane, Nazneen meets obstacles, but she will demonstrate that she can overcome them by challenging the beliefs imposed on her that dictates that she is not the master of her own life. Since birth, Nazneen’s mother, Rupban, told her that it was pointless to oppose fate (Ali 14). On deciding to oppose her mother’s advice, Nazneen goes on to establish an extra-marital affair with Karim, a young Muslim from the same community, and their attraction between them destroys their moral expectations, and as time goes by, she gives up supporting her husband. Even after being almost half his life on British soil his heart is still in his country of origin; not even the tears of his daughters make the jingle of his own voice stop echoing: “[t]he pull of the land is stronger even than the pull of blood” (Ali 32). Nazneen takes her own decision on whether she will stay home or go back to the rice fields of rural Bangladesh. Unlike Chanu, Nazneen has finally being released from fate that kept her subjugated and silent for years. Nazneen can finally formulate questions and by acting this way she is even defying God’s will: “[i]f God wanted us to ask questions, he would have made us men" (Ali 80), Nazneen had been advised. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Conclusion :: </span></div></H2> 
<div class="citajbm"> Societies change—for better or worse—and the United States also does; Great Britain is not the exception to the rule. While Crevecoeur argues for the idea of a monolithic integration, Monica Ali defends the idea that immigration is good for Britain but not the blending of many cultures, languages and religions to form a single national identity as articulated by Crevecoeur. As immigrants flourish in new societies, their identity changes from their country of origin to being progressively adjusted. As Monica Ali points out, immigrants change, perhaps it is a slowly process but it happens nevertheless (Ali, 2014, video 07:12-26). Immigrants will eventually become integrated in the host society as Nazneen’s daughters and eventually Nazneen herself did. Parekh concludes that “[...] minorities have a right to maintain and transmit their ways of life, and denying it to them is both indefensible and likely to provoke resistance” (197). </div> <br />

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<div style="text-align: center"><span style="color: blue"><span style="font-size: 13pt; line-height:12pt"> <strong> What is an American? Hector St. John Crevecoeur :: </strong> </span></span></div> 
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<div style="text-align: center"><span style="color: blue"><span style="font-size: 13pt; line-height:12pt"> <strong> Monica Ali's Brick Lane : </strong> </span></span></div> 
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<div style="text-align: center"><span style="color: blue"><span style="font-size: 13pt; line-height:12pt"> <strong> Immigration Is Good For Britain | Monica Ali : </strong> </span></span></div> 
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<div class="citajbm"> 
<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> WORKS CITED —  REFERENCES :  </span> <br /><br />

• [1] Ali, Monica. Brick Lane, excerpt (chapters 1, 2 and 3). London: Black Swan, 2004.  11-80. Print.  <br /><br />

• [2] Bloom, William. Personal Identity, National Identity, and International Relations. Cambridge: Cambridge University Press. 1990. Print. <br /><br />

• [3] <a alt="Letters from an American farmer, 1904, PDF" href="https://drive.google.com/file/d/0B4kGy0lOHL12TDdlNVA3THUtcEk/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/04/crevecoeur-american.html" style="text-decoration: none;" target="_blank" title="Letters from an American farmer, 1904, PDF"><font color="#FF4000">Crevecoeur J. Hector St. John de. Letters from an American Farmer</font></a>. New York: Fox, Duffield and Company. (1904 [1782]). Print. Pp. 48-91.  <br /><br />

• [4] Fearon, James D. What is identity? Stanford University. 1999. Print. <br /><br />

• [5] Forster, E. M. Aspects of the Novel. New York: RosettaBooks. 1927. Print. ISBN 0-7953-0952-X <br /><br />

• [6] Lane, Harriet. Ali's in wonderland. TheGuardian, 2003. Web. Retrieved on May 2015 from http://goo.gl/OYf4lI <br /><br />

• [7] Martin, Philip. Immigration and Integration: The US Experience and Lessons for Europe. Commission for Migration and Integration Research, Vol 16, 2007. 1-14.  <br /><br />

• [8] Modood, Tariq. Remaking multiculturalism after 7/7. Open Democracy, 29(7). 2005. Web. Retrieved on May 2015 from https://goo.gl/5xT42r <br /><br />

• [9] Parekh, Bhikhu C. <a alt="Rethinking Multiculturalism" href="https://drive.google.com/file/d/0B4kGy0lOHL12VjdyVXkweFZ5Nkk/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/02/integration.html" style="text-decoration: none;" target="_blank" title="Rethinking Multiculturalism"><font color="#FF4000">“Rethinking Multiculturalism : cultural diversity and political theory” in: Chapter 7: The Political Structure of Multicultural Society</font></a>. 2000. Cambridge, Mass. : Harvard University Press. Print. ISBN: 0674004361 <br />
<div class="JBMCode"> By an academic, for academics, using academic argument forms, and with an academics meanness of spirit. </div> <br /><br />

• [10] Øien-Vikaune, Ane. Cultural Studies Unit 2: Race, and integration theory. Take Credit, NTNU: Lesson 2, 2015. Web. Retrieved on Feb 2015 from (Video) https://goo.gl/B8dZOM and (PDF) https://goo.gl/j0kSZN <br /><br />

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Essay — «Crevecoeur and Monica Ali’s Brick Lane» — Cultures [PDF/Videos]

Crevecoeur vs Monica Ali - Photo: Deliss/Godong/Corbis/illustration — [http://goo.gl/qlYsOI] Crevecoeur —Letter III, What...

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CuriousIncidentDogNightTime — Mark Haddon - Interview - Video

<H3> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> <b>The book</b> "'The Curious Incident of the Dog in the Night-time' is not a novel about disability, but a novel about difference", <a href="#video" style="text-decoration: none;"> Mark Haddon</a>.</span></div></H3> <br /><br />

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<span>The Curious Incident of the Dog in the Night-time - Photo: Mark Haddon</span> </div> </div> <br />

<center><font color="#301CE2"><strong> University studies | <a href="https://plus.google.com/111394417792438554096/about" rel="author" target="_blank"> — Madeirinha — </a> 
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<div class="citajbm"> A fantastically unusual detective story written from the perspective of a 15-year-old autistic boy, who is obsessed with maths, science and Sherlock Holmes but finds it hard to understand other people. When he discovers a dead dog on a neighbour’s lawn he decides to solve the mystery; as in all good detective stories, however, the more he unearths, the deeper the mystery gets.</div> <br /><br />

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CuriousIncidentDogNightTime — Mark Haddon - Interview - Video

The book "'The Curious Incident of the Dog in the Night-time' is not a novel about disability, but a novel about differenc...

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Analysis — The Curious Incident Dog NightTime - Mark Haddon

<div style="text-align: center"> <span style="background-color: #ffffff;"> • ✔ <span style="font-size: 14px; font-weight: bold; color: #301ce2;"> <a href="#analysis" style="text-decoration: none;"><font color="#301ce2"> Literary Analysis — The Curious Incident Dog NightTime</font></a>, <a href="#pdf" style="text-decoration: none;"><font color="#301ce2"> Literary Analysis about the novel by Mark Haddon </font></a> </span> </span> </div><br />

<center><font color="#301CE2"><strong>University studies | Mark Haddon, Literature | <a href="https://plus.google.com/111394417792438554096/about" rel="author" target="_blank"> — Madeirinha — </a> 
<a href="https://plus.google.com/111394417792438554096/posts" rel="publisher" target="_blank"> Benjamin Madeira — </a></strong></font></CENTER><br /><br />

<div style="text-align: center"> <span style="color: #FF7400; font-weight: bold;font-size:260%;">L</span><span style="font-size: 13px; font-weight: bold; color: #301ce2;">ITERARY ANALYSIS OF THIS BOOK, </span> <span style="font-size: 13px; font-weight: bold; color: #301ce2;"><a href="http://www.rojadirecta.me/goto/www.benjaminmadeira.com/2014/09/analysis-haddon-mark.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2"> »The Curious Incident of the Dog in the Night-Time« </font></a> , <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/analysis-haddon-mark.html?m=0" style="text-decoration: none;" target="_blank"><font color="#301ce2"> Mark Haddon: English Literature </font></a> , <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/analysis-haddon-mark.html?m=1" style="text-decoration: none;" target="_blank"><font color="#301ce2"> Critical Essay </font></a> - </span> <span style="font-size: 13px; font-weight: bold; color: #301ce2;"> On the surface, "The Curious Incident of the Dog in the Night-Time" is a story about a unique young man setting out to solve an unusual crime and record his progress in a novel. «« </span> </div> <br />

<div class="JBMCode"> <a alt="The Curious Incident of the Dog in the Night-Time" name="analysis" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2"> Research: Michelle Campbell, Nicodemus Ford, Sarah Genik, Tamara C. Nott, Tracie Richardson. Permissions: Mary Ann Bahr, Margaret Chamberlain, Kim Davis, Debra Freitas, Lori Hines, Jackie Jones, Jacqueline Key, Shalice Shah-Caldwell</font></a> : <br /><br />

<strong>Chapter 2 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

Chapter 2 is only one page long, but within that short space Mark Haddon establishes
himself as an innovative writer. Why, for example, would a writer begin his book with
Chapter 2, instead of Chapter 1? The answer to that question is not revealed for
several more chapters, but it is a powerful and integral component of the development
of the narrator's character. Although the narrator's name is not revealed until the
following chapter, it immediately becomes clear that this is no common teller of tales.
Who, for example, recalls the precise time that an unexpected event occurs? The
narrator does not saya <i>bout midnight</i> or <i>just past midnight</i>, but at <i>precisely</i> seven minutes past midnight. Within the first few words of the novel, Haddon has already deeply engraved this character's persona in the reader's mind. He uses very few adjectives, and those he does use are simply descriptive--never gratuitous or emotionally charged. Yet, even without words describing feelings, the reader senses deep feelings of pathos and grief as the narrator picks up the dead dog with "blood leaking out" and strokes the corpse. <br /><br />

<strong>Chapter 3 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

As with Chapter 2, Chapter 3 is only one page long, and it is nothing short of
masterful. The astute reader will already have a deep empathetic understanding of
Christopher Boone. He states that he knows every prime number up to 7,057, and
since two and three are the first prime numbers, it seems reasonable to assume that
Christopher is using prime numbers to identify his chapters. A glance forward in the
book confirms that, since the next chapter numbers are 5, 7, 11, 13 and 17. This
chapter also hints that Christopher attends a special school or some sort of workshop
and that Siobhan is one of his instructors or counselors. Christopher seems to
experience a disconnect between the emotions he feels and the socially appropriate
behaviors associated with those emotions. When Siobhan laughs at him about his chart
of human expressions, he responds by tearing up the paper. Clearly, Christopher's feelings are hurt, and Siobhan senses this deeply enough to apologize. It seems that
Christopher can view the world only in black and white, logical terms. This suggests a
knowledgeable insight into the autistic mind--an area of Haddon's expertise--and that
his character is indeed autistic. This sets up the delightful prospect of a detective who is capable only of logical, non-emotional thought. At least, those are the only thoughts he can actually express as the narrator of the tale of <i>The Curious Incident of the Dog in the Night-Time</i>--interpreting the actions of normal people, who are often driven by emotion and bereft of logic. <br /><br />

<strong>Chapter 5 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

Chapter 5 ends before the bottom of page 4 of this 226-page novel, and the central
character is almost fully developed, a remarkable feat. Haddon continues to flesh out
Christopher's autism (more specifically Asperger Syndrome) through Christopher's
own voice, describing the events of the night Wellington is murdered. While many
writers have displayed great sympathy and compassion for children with disabilities
from the omniscient perspective, Haddon brings a sense of nobility--indeed
superiority--to his character by letting him define his condition and behaviors in his
own terms. This is an immensely complex creative process that can flow smoothly and
credibly only from the pen of a truly gifted writer. </div><br />

<div class="JBMCode">  <strong>Chapters 7, 11, 13 and 17 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

This spate of four chapters adds even more layers to the increasing intricacy of the
complex--yet somehow refreshingly simple--personality of Christopher, a
fifteen-year-old autistic genius. Looking at the Milky Way and figuring out the Big
Bang Theory without anyone having to tell you about it is just the sort of thing every
teenaged boy does in the back of a police car delivering him into bondage for
assaulting a police officer, isn't it? What else would someone be thinking about in
those circumstances? To the clinician, this inability to connect the proper emotions to
the events and behave accordingly--that is to say, emotionally--might be viewed as a
symptom of Christopher's disorder. When viewed through Christopher's eyes,
however, this lunacy is endearing and, well, logical. <br /><br />

Christopher also reveals his penchant of quickly identifying people and things with the
first, or most startling, stimuli to enter his sensory processing system. Siobhan has
blond hair and green plastic glasses, while Mr. Jeavons wears brown shoes, each with
sixty holes. The cop car smells of plastic, aftershave and French fries. How might this
eye for detail serve a budding detective? Also consider Christopher's angle of focus.
When he sizes up Siobhan, Christopher is looking at her hair and her eyes, and yet he
stares at Mr. Jeavons' shoes. Does this imply that he trusts Siobhan more than
Jeavons? <br /><br />

<strong>Chapter 19 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

Is Chapter 19 simply a diversion intended to expand our awareness of Christopher's
genius and eccentric way of thinking, or is it a key clue that relates to the murder of
Wellington that only he can see? It is doubtful that Haddon felt a need to educate his
readers on the rudiments of prime number, but can this be a red herring that his
character waves under our noses? <br /><br />

<strong>Chapters 23, 29, 31 and 37 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong>  <br /><br />

There is nothing particularly revealing in these chapters, with the exception of the
foreshadowing involving Christopher's mother. The two simple statements, "She was a
small person who smelled sweet," and, "She said I didn't lie because I was a nice
person," say much about Christopher's relationship with his mom. The use of the past
tense hints of tragedy, and although Christopher is incapable of feeling and expressing
emotions as so-called normal people do, these statements speak volumes about
tenderness and love. While there's not much new information in the rest of the chapter,
Haddon continues to weave the masterful tapestry that is Christopher.</div><br />

<div class="JBMCode">  <strong>Chapters 41 and 43 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

Christopher's father emerges as a caring, loving parent, dealing valiantly with the
stress of raising a child with many special needs. He owns a blue-collar business,
installing and repairing boilers and heating systems. There is something obviously
amiss with the death of Christopher's mother, however. What sort of sudden illness
would take her away from home for an extended stay in an environment where she could not visit with her son? Why does Christopher suspect that it might be a mental
institution? This appears to foreshadow something more complex, perhaps a mental
collapse or some sort of domestic separation. <br /><br />

<strong>Chapter 47 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

Readers gain deeper insights here both to Christopher's disability and his genius. More
importantly, we are exposed to the cruelty with which disabled children must contend
on a daily basis. We saw some evidence of this in the previous behavior of Mrs.
Shears and the police officer, but it is brought to the surface here as a full-fledged
theme. What begins to emerge here is the notion that, although Christopher may not
know the appropriate way to express his emotions, he doesfeelthem. Obviously,
being called a spazzer and being told he will never be able to do anything other than
menial jobs hurts him. Since his world exists largely in his own mind, he really slams
Terry with his sophisticated response. The question arises, then, whether he feels the
same sweet revenge with this internal, cranial comeback as a normal person might feel
in crafting such a devastating retort in verbal human interaction. <br /><br />

<strong>Chapter 53 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

Christopher's matter-of-fact way of dealing with his mother's death underscores his
disassociation of his emotions from the actual event. Christopher clearly loves his
mother, and surely, he must feel something akin to remorse at her death. Still, he is
unable to express it in any deeper way than a mere observation of the fact. Mrs. Shears
introduces another interesting dynamic here as well. She is immediately on the spot as
comforter and nurturer when they get the news of Mother's death. It is as if she is
trying to move into the nest to replace Mother. This is inconsistent with her behavior
on the night Wellington is killed, when she treats Christopher as some sort of frightful freak. It is possible that Christopher's mother hasn't really died, obviating the need for Mrs. Shears to observe a respectable mourning period before moving in. <br /><br />

<strong>Chapters 59 and 61 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong>  <br /><br />

Chapter 59 provides further insight into the curious dynamics of Christopher's mind. It
also highlights questions about his family's relationship with Mrs. Shears. This is the
same woman who came over to love and nurture Christopher when Mother died, and
now she treats him as if he were an alien from a hostile planet. <br /><br />

Chapter 61 delves further into Christopher's psyche, this time skirting on the spiritual, which is a realm that his logical mind rejects out of hand. This is to be expected in light of what readers have seen of his character so far. What is more revealing, however, are his thoughts about the cremation of Mother. Why would a son be denied a final opportunity to pay his respects at his mother's funeral, unless there was no funeral? </div><br />

<div class="JBMCode">  <strong>Chapter 67 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

If one were to use a visual metaphor to describe the character of Christopher that
Haddon has drawn so far, it might be seen as a stark outline in India ink, filled with
fading shades of pastel watercolor. The obvious parts of Christopher's persona are
precise and rigid--logic, fear and insight. His emotional side, except when he becomes
violent, is muted and subdued. Such feelings as love, humiliation and kindness are
there in abundance, but they are only hinted at in his ruminations as he recalls events. Having thus conjured a masterful portrait of Christopher as he is, in Chapter 67 Haddon begins to actually develop his character, which is to say that Haddon will now cause Christopher to grow before our eyes. It is a huge step for Christopher--presumably a positive one--when he balls up the courage to begin interviewing his neighbors. To the normal reader this might seem trivial, but to Christopher it is huge. Christopher's father is fleshed out here a bit as well. Readers learn, for example, that he generally spends his Saturdays on outings with his son, although on this particular Saturday he chooses to watch a soccer match. This, of course, provides a perfect opportunity for Christopher to scour the neighborhood for clues to Wellington's death. <br /><br />

A theme that has been evident since Chapter 2 comes into full blossom in Chapter 67
as Christopher interviews his neighbors. That theme is the way that normal people
treat those with afflictions such as Christopher's. With the exceptions of Mrs. Shears
and Mrs. Alexander, the neighbors are at first sarcastic about this strange young man,
becoming condescending as they realize he is different. The encounter with Mrs. Alexander illustrates the tragic side of this relationship Christopher has with the world outside his own thoughts. Mrs. Alexander seems somewhat lonely in her dotage, and
she is genuinely grateful for Christopher's company. Rather than benefit from her
proffered friendship, however, Christopher becomes paranoid when she takes too long
and abandons the potential warmth, security and camaraderie of a budding relationship. <br /><br />

A whole bunch of plot questions pop up in this chapter. What, for instance, is the
reason for Mrs. Shears' overnight visits with Christopher and Father, and what does
this have to do with Mother's supposed death and Mr. Shears' absence? Why is Mr. Shears so angry? Why has Mrs. Shears gone from trying to ingratiate herself with
Christopher to being downright rude and aggressive? Finally, what does any of this
have to do with a dead dog and a pitchfork? <br /><br />

<strong>Chapter 71 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

Some good British humor is found in this chapter--the children being taunted with
special needs instead of the old epithets and the irony of the notion that Christopher's genuine special needs are subordinate to bureaucratic order. Still, it is dark humor. It underscores the tragedy that Christopher is smarter than the world that controls, limits and manages his entire existence. Christopher shares this common dilemma with another classic character from modern British literature, the Savage in Huxley'sBrave New World. Christopher's summary of his options, either hiring someone to care for him or getting some girl to marry him, tugs sharply at the reader's heartstrings.<br /><br />

<strong>Chapter 73 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

It is clear by now that the mystery of Wellington and the garden fork is purely
tangential to the real story of what life is like in the family, the neighborhood and the cranium of a genius adolescent with autism. <br /><br />

<strong>Chapter 79 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

The plot thickens <i>vis a vis</i> Mr. Shears. Why does Father see him as evil? Why is
Father so angry? What's going on with Mrs. Shears that now makes her unwelcome in
Christopher's household? The plot is beginning to take on the aroma of a love triangle
or, more accurately perhaps, a quadrangle. <br /><br />

<strong>Chapter 83 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

The timing of this diversionary chapter may be more revealing than its content. It
comes in the midst of confusing revelations about Christopher's family life and
mysterious new emotions voiced by his father concerning the Shears. Confused by the
goings-on of adult humans, Christopher seeks refuge in something more easily
understood, such as rocket science. Although he would prefer the comfortable and
predictable camaraderie of his pet rat, he would even forego that simple relationship in favor of adventure. <br /><br />

<strong>Chapter 89 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

Curiously, when Christopher wants to do something he has been told not to do, he can
create some very colorful and complex rationalizations to justify breaking the rules.
Yet, when Siobhan offers a simple rationalization for not continuing with his book, he
rejects it out of hand. His elaborate system for deciding good days and bad days based
on the colors of the cars he sees on his way to school--and the permission he gives
himself to close his eyes when things are consistently bad--seems irrational when
viewed from afar. Still, his behavior makes an odd sort of sense when seen through Christopher's eyes and mind. </div><br />

<div class="JBMCode">  <strong>Chapter 97 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

What the astute reader may have already surmised is revealed as fact in this pivotal
chapter. Christopher's mother ran off with Mr. Shears, a banker, and Father sees Mr.
Shears as an evil man because he is having an affair with Father's wife. It is not yet
clear why Mrs. Shears, who was apparently ministering to Father, has also fallen from
grace. It may be that Mrs. Shears wanted Father to make other arrangements for his
son so that she could move into the nest without competition, but given Father's love
of Christopher, he balked at the idea. More will be revealed. <br /><br />

<strong>Chapter 101 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

The author's point in this chapter is not entirely clear. Perhaps the lesson is that, as with numbers, life is not always clear. This chapter also highlights the fact that, while Christopher has no problem solving difficult math problems, he has trouble discerning simple human emotional issues. <br /><br />

<strong>Chapter 103 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

Is the conversation about Parky and the ancient circuits relevant to the story of
Christopher and Wellington, or is it just a clever device to slip in the double entendre about the sleeping dog? The cloud dreaming that Christopher does in this chapter tends to underscore the notion that he is, in many ways, just like other boys his age. What teenaged boy has not, at one bored time or another, lain on his back, creating fantasies from the clouds forming in a sunny sky? <br /><br />

<strong>Chapter 107 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

This chapter may be full of clues as to who killed Wellington, or it may be one huge
red herring. More will be revealed. <br /><br />

<strong>Chapter 109 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

Christopher has now alerted the bureaucracy that he knows about his mother's
dalliance, even though he has not told his father. The school becomes a
co-conspirator--in the persona of Siobhan, along with Mrs. Alexander--in the
deception of Christopher's father. Clearly, Father is the one person who has the most
genuine love for Christopher, and one might wonder at these other adults urging
Christopher to deceive him. This is understandable in the case of Mrs. Alexander,
perhaps, because she unintentionally reveals the secret, but it seems somewhat sinister
in Siobhan's case, since she works under an official mandate. There is also further
insight in this chapter into the workings of Christopher's mind, since he does not feel
sad because it would be illogical. This begs the question of how Christopher might
react if he discovers that his mother is not dead. <br /><br />

<strong>Chapter 113 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

Christopher's DVD-like memory is consistent with what we have learned about the
inner-workings of his mind. The revelation of his mother's daydream, however, is out
of the blue--sort of a foreshadowing in retrospect. It is a precursor, perhaps, to her
affair with Mr. Shears. <br /><br />

<strong>Chapter 127 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

Christopher and his father have apparently reached a new level of negative emotion.
More significantly, perhaps, Christopher's narrative has become an object of conflict
in the bigger, less defined, story of the demise of Christopher's family.
Self-reflexively, Christopher's writings, which in actuality are fictional, become a real and literal part of the story, the subject of the dispute between Christopher and his father. This sort of labyrinthine path between the real and the imagined has a long and ancient tradition in English literature. Shakespeare, perhaps, perfected the technique when he included plays within his plays. Readers also gain a deeper insight into the workings of Christopher's usually precise mind when he says that he had no memory for a short while during the pique of emotion during his fight with Father. "It was like someone had switched me off, then switched me back on again. And when they
switched me back on again I was sitting on the carpet with my back against the wall
and there was blood on my hand." </div><br />

<div class="JBMCode">  <strong>Chapter 131 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

At an emotional low point for Christopher, he ruminates on the things he dislikes. He
rationalizes his hatred of yellow and brown, revealing again his need to impose logic
on all things that are emotional. <br /><br />

<strong>Chapter 137 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

Readers gain two insights here, one into Father and the other into Christopher. This
chapter brings out the frustration, anger, grief and remorse that are a part of the cycle caregivers go through when dealing with special-needs children who just don't react the way they are supposed to in the "normal" world. Readers also learn that, while the abstract values and properties of "caring for" are a bit too imprecise for Christopher, he does grasp the rudiments of <i>love</i>. <br /><br />

<strong>Chapter 139 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

There is a seeming incongruity here. How is it that Christopher can look at the clouds
and envision alien spacecraft and other imaginary forms but is so totally closed off to
the notion of anything that is not observable in the real universe? Much as Christopher
sees metaphors as lies, he sees the supernatural also as lies. <br /><br />

<strong>Chapter 149 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

In this blockbuster chapter the reader learns for certain that Christopher's mother is not dead, although he does still not accept that he has been lied to these past two years. Unable to lie himself, the thought doesn't even cross his mind. His reaction to the purloined letters, rather, is excitement at the additional mystery they create. Clearly, Father is conspiring to keep the truth from his son. Is his motivation to save
Christopher's feelings or to punish his unfaithful wife? We are likely to find out--albeit circuitously--now that Christopher is on the case. <br /><br />

<strong>Chapter 151 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

This is a short segue chapter, which moves the character along in time without
actually advancing the plot. The novel is a mystery, however, so some of the many
digressions Christopher takes into seemingly irrelevant topics may in fact be clues that will come to light later as he deduces the solution. On the other hand, they may just be red herrings. <br /><br />

<strong>Chapter 157 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

At precisely the mid-point in this novel, everything changes. Up until now, almost all
of the author's work has been devoted to a masterful development of the character
Christopher. Now the pace of events--the forward motion of the plot--increases at an
almost alarming rate. The mystery of Christopher's mother, which has been niggling at
the back of readers' minds for a hundred pages, but which has not even crossed
Christopher's unique mind because of a pure, albeit naïve, faith in the truth of
Father's words, is suddenly solved. The impact on Christopher of this truth, however,
is devastating, propelling him, at least temporarily, into a new reality. Even his most
prominent phobia, that of being touched by others, has been erased by this new
awareness. It will be intriguing to see what happens as Christopher adjusts to this new
truth. </div><br />

<div class="JBMCode">  <strong>Chapter 163 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

In the timeline of the plot, Christopher has just suffered a huge trauma. His whole
world, his entire belief system, has been stood on its head. He has woken up from a
complete emotional retreat from the ugliness of the reality of his father's lies about his mother. Clearly, Christopher writes this chapter well after the trauma, apparently
laying the groundwork for something that will occur in succeeding chapters--or not. <br /><br />

<strong>Chapter 167 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

The mystery is solved. Readers know who killed Wellington, so why isn't the novel
over? The mystery was never about who killed the dog. The whole scenario of
Wellington's death, and Christopher's efforts to unmask the culprit, is nothing more
than a giant red herring. It was a big fish, though, with an astute literary motive. The scenario provides Haddon with a broad canvas upon which to artfully evoke intense
images of the curious and dynamic mind and personality of his character, through
Christopher's own special perceptions. There are many cases in good literature in
which an author's character is so vivid that the writer disappears. The character takes
over and begins directing the author in how to proceed. To some, when this happens, it
is thought to be the pinnacle of the novel form--an almost spiritual realm where only
the best authors dwell. Christopher appears to be one of those creations, and Haddon
seems to be one of those writers. Readers will now no doubt learn how Christopher,
the curious boy genius, will fare in the world that other, less gifted creatures, tend to think of as the real world. <br /><br />

<strong>Chapter 173 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

This chapter is pure symbolism, representing what is happening in Christopher's
world. Things are not always what you are told they are. They are what you perceive. <br /><br />

<strong>Chapter 179 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

The hero, who has led a life so sheltered that the farthest he's ever been on his own is down to the corner store, is now on his own, armed with the knowledge gained by
playing with his electric train and on his way to London. Suddenly, of necessity, he is
being forced out of his individual world into the one inhabited by so many others. He
is adapting and succeeding, too. The boy who just a few chapters ago could barely
screw up the courage to quiz his neighbors about Wellington can now accost total
strangers to ask directions to the train station. When he gets lost, he can use his special ability to visualize spatial problems to develop a successful search grid. The smart money, it would seem, is on Christopher reaching London and his mother without
much outside help, except perhaps his father's bankcard. The question remains,
however, what sort of reception awaits him there? <br /><br />

<strong>Chapter 181 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

This chapter does not move the plot along but sets the stage for Christopher's
adventures in the train station. It is also, perhaps, one of the most instructive chapters into the workings of an autistic mind, as perceived by author Haddon. <br /><br />

<strong>Chapter 191 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

Christopher's explanation in the previous chapter of how he sees everything is played
out on a real-life stage in the train station. The thing that is most remarkable here
about Christopher's behavior is that he is growing bolder and bolder with each
encounter, and he begins to take more and more control over his own life. He is also
leaving a colorful trail of tales that will no doubt amaze his father and others who are by now probably in hot pursuit. <br /><br />

<strong>Chapter 193 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

Christopher is on a train by himself, a huge accomplishment. Trains are things that
travel through space in time. What could be more logical and practical, from
Christopher's perspective, than a scientific discourse on time? His discourse is
especially appropriate, concluding that there is no real answer. Again, the nature of
mystery is broached. To some questions, there is no solution. <br /><br />

<strong>Chapter 197 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

The adventure on the train is proving to be a great growth experience for Christopher.
Although he has been sheltered and protected all of his life, he is readily
demonstrating his ability to encounter new situations and adapt to change. In this
chapter, out of public necessity, he overcomes his phobia about yucky toilets, albeit to a small degree, that previously Siobhan to get permission for him to use the staff
bathroom at school. He's also doing a bang-up job of evading those who would
interfere with his plans to go live with his mother. <br /><br />

<strong>Chapter 199 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

This chapter is fairly didactic and seems to be purporting an agenda. Whether this is
an expression of Haddon's voice or more character development of Christopher is not
clear. The discussion of adaptation fits with the story line, as Christopher adapts to a world outside of his mind, and to some extent mutation does as well, considering
Christopher's condition. It is curious, however, that this brainy young man spouts a
rather archaic notion of evolution, omitting recent developments in evolutionary
theory regarding the inherent organizational dynamic demonstrated in chaos theory
and illustrated by fractal geometry. </div><br />

<div class="JBMCode">  <strong>Chapter 223 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

Chapter 223 serves to underscore the extent of Christopher's stress. The most poignant
comment is, "I thought I was going to die." <br /><br />

<strong>Chapter 227 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

Christopher slowly brings internal order to the external chaos in which he finds
himself. He breaks the frightening train sounds down into manageable components
with rhythmic mantras and then orders the arrival, boarding and leaving sequence into
an understandable pattern. This process isn't exactly new to his character, but certainly this is the most intense and severe example readers have seen so far. With this exercise, Christopher gains a great deal of self-confidence and bolsters his courage for further adventures. While down by the train tracks, for example, he is aware that the train is bearing down on him and threatening his life, but he chooses to continue his efforts to rescue Toby. Perhaps this is not the wisest thing he's done, but it is certainly courageous.<br /><br />

The interchanges and conflicts that occur at Mother's new flat are pretty much what
might be expected. Clearly, the novel is beginning to wind down to a close, as all of
the characters begin to come together in time and space. It is clear by the chapter's end that all is not going to be a bowl of cherries in Christopher's new situation. When
Christopher first hears his mother coming home, she is already in an argument with
Mr. Shears. That already strained relationship is about to be sorely tested by the
addition of Christopher to the domestic mix.<br /><br />

<strong>Chapter 229 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

Rage has reared its ugly head throughout this novel. Christopher expresses it when he
is touched. His father kills Wellington in a fit of pique. Mother becomes livid when
she learns of her husband's deception. Mr. Shears becomes outraged when Father
intrudes into his home. Christopher's dream, however, may be the ultimate expression
of everyone's rage: everybody who is not like me dies.<br /><br />

<strong>Chapter 233 <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> — Analysis</strong> <br /><br />

After a somewhat plodding but entertaining trip, <a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.benjaminmadeira.com/2014/09/audio-mark-haddon.html" style="text-decoration: none;" target="_blank" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2" target="_blank"> <strong>The Curious Incident of the Dog in the Night-Time</strong></font></a> winds up quickly and perhaps a little too neatly in this concluding chapter. Within the span of a single chapter, Mother loses her job in England but gets another one in Swindon. Christopher fears his father one moment and begins reconciliation with him the next. He can't take his A-level exams, but then he does and aces them. His rat dies, but he gets a new dog. Everybody lives happily--sort of--ever after, at least in Christopher's head. </div><br />

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<div class="JBMCode"> <a alt="The Curious Incident of the Dog in the Night-Time" name="pdf" style="text-decoration: none;" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2"> A novel by ✔ Mark Haddon: </font></a> : Topics for Discussion "<a alt="The Curious Incident of the Dog in the Night-Time" href="http://www.rtlibrary.org/curiousincident.pdf" style="text-decoration: none;" target="_blank" title="The Curious Incident of the Dog in the Night-Time"><font color="#301ce2">The Curious Incident of the Dog in the Night-Time</font></a>" <br /><br />

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<div style="text-align: center"><font color="#00FFFF"><span style="font-size: 17pt; line-height:10pt"> [ <a class="explicacion"> Audiobook, mp3. Audio for study purposes. <span> Audio for study purposes only </span></a> ] </span> </font> </div> <br />
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<div style="text-align: center"><span style="color: #301ce2"><span style="font-size: 14pt; line-height:15pt"> <a alt="BenjaminMadeira - Videos, Documentales, Literatura, Idiomas, Fotografia, Musica, Online" href="http://www.benjaminmadeira.com/feeds/posts/default/-/university-studies?max-results=100" style="text-decoration: none;" target="_blank"><font color="#301ce2"> RT: Literary Analysis #MarkHaddon ✔ Book — "The Curious Incident of the Dog in the Night-Time" #Novel #MurderMysteryNovel #ChristopherBoone #Asperger #Autism </font></a> #DogInTheNightTime #Literature #BritishLiterature #Books </span></span></div><br/>

<div style="text-align: center"><span style="color: darkgreen"><span style="font-size: 22pt; line-height:20pt"> <a alt="BenjaminMadeira - Videos, Documentales, Literatura, Idiomas, Fotografia, Musica, Online" href="http://www.benjaminmadeira.com/feeds/posts/default/-/study-notes?max-results=100" style="text-decoration: none;" target="_blank"><font color="#00FFFF"> <strong>When your books and teachers don't make sense </strong> </font></a> </span></span></div>