Former CIA sniper Kadance Tolle possesses a special set of skills and a rare pedigree. She comes from a family of assassins, and by saving Lyndon Vaile's life she risks being found by them. Despite the danger, Kadance feels compelled to help Lyndon discover who is after him--and his research that seems to prove that the Ebola virus was manmade and is about to be weaponized. With shadowy figures pursuing them and a Mastermind watching their every move, Kadance and Lyndon must scramble to stop an impending bioattack at the State of the Union address. But their warnings fall on deaf ears, and it becomes increasingly clear that there's no one they can trust--except perhaps each other. Strap in for a breakneck story that will have you up all night, hurtling toward the last page as the clock ticks and time runs out.
KEY CHAIN is a play for students in Years 6, 7 or 8 (Level 3). It is designed for a normal-sized English class and for students with varying interests in acting. Since there are 49 roles - none of which are really minor - students who enjoy acting can perform in several scenes and play to their heart's content, whereas students who aren't particularly keen on acting only have one role to master in one single scene. Every scene deals with a key, big keys and small keys, new keys and old keys, keys that lock doors and keys that open hearts, keys that are lost and keys that are found, keys that bring people together and keys that bring people apart. There are monologues, dialogues and scenes with as many as eight or nine performers. The themes are geared to the experiences of students today - such as friendship, bullying, infatuation and rejection - and offer young actresses and actors the opportunity to discover a wide variety of feelings while performing. The plots are believable and understandable, the language is idiomatic and easily accessible for English learners. KEY CHAIN works well when performed for smaller audiences: parents and other classes. But it can also be highly entertaining for a large audience. Performing time: about one hour. Of course, it is also possible to select individual scenes and perform them as simple skits outside the context of the KEY CHAIN. In that case it is still recommendable to create a suitable setting for presenting the skits to an audience. The true joy of performing a foreign-language play is to feel it click, to realize that the people watching the performance don't only "get the picture", they are also delighted to see a story come to life when presented in English by non-native performers. By purchasing the play, one automatically obtains the stage rights.
NEW KEY CHAIN is a play for students in Years 6, 7 or 8 (Level 3/1). It is designed for a normal-sized English class and for students with varying interests in acting. Since there are 49 roles - none of which are really minor - students who enjoy acting can perform in several scenes and play to their heart's content, whereas students who aren't particularly keen on acting only have one role to master in one single scene. Every scene deals with a key, big keys and small keys, new keys and old keys, keys that lock doors and keys that open hearts, keys that are lost and keys that are found, keys that bring people together and keys that bring people apart, as we learn from the two MCs. There are monologues, dialogues and scenes with as many as eight or nine performers. The themes are geared to the experiences of students today - such as friendship, bullying, infatuation and rejection - and offer young actresses and actors the opportunity to discover a wide variety of feelings while performing. The plots are believable and understandable, the language is idiomatic and easily accessible for English learners. NEW KEY CHAIN works well when performed for smaller audiences: parents and other classes. But it can also be highly entertaining for a large audience. Performing time: about one hour. Of course, it is also possible to select individual scenes and perform them as simple skits outside the context of the NEW KEY CHAIN. In that case it is still recommendable to create a suitable setting for presenting the skits to an audience. The true joy of performing a foreign-language play is to feel it click, to realize that the people watching the performance don't only get the picture, they are also delighted to see a story come to life when presented in English by non-native performers. By purchasing the play, you automatically obtain the stage rights.
“A brilliantly conceived and long overdue opening up [or deconstruction] of the Anne Frank story.” —James Clifford, Professor Emeritus, History of Consciousness Department, University of California As millions of people around the world who have read her diary attest, Anne Frank, the most familiar victim of the Holocaust, has a remarkable place in contemporary memory. Anne Frank Unbound looks beyond this young girl’s words at the numerous ways people have engaged her life and writing. Apart from officially sanctioned works and organizations, there exists a prodigious amount of cultural production, which encompasses literature, art, music, film, television, blogs, pedagogy, scholarship, religious ritual, and comedy. Created by both artists and amateurs, these responses to Anne Frank range from veneration to irreverence. Although at times they challenge conventional perceptions of her significance, these works testify to the power of Anne Frank, the writer, and Anne Frank, the cultural phenomenon, as people worldwide forge their own connections with the diary and its author. “This collection of brilliant essays offers fascinating and unexpected insights into the significance of Anne Frank’s iconic Holocaust-era diary from many disciplinary perspectives in the arts and humanities.” —Jan T. Gross, the Norman B. Tomlinson Professor of War and Society, Princeton University “This volume is a major contribution to scholarship regarding Anne Frank's diary and its cultural influence . . . Highly recommended.” —Choice “Engrossing . . . The overall aim is to provide a greater understanding of the general and particular engagement with Anne Frank as a person, a symbol, an icon, an inspiration, and perhaps most polarizing, as one victim, not the victim of the Nazi holocaust.” —Broadside
12-year-old Julia keeps a diary about her life growing up in Juarez, Mexico. Life in Juarez is strange. People say it's the murder capital of the world. Dad’s gone a lot. They can’t play outside because it isn’t safe. Drug cartels rule the streets. Cars and people disappear, leaving behind pet cats. Then Dad disappears and Julia and her brother go live with her aunt in El Paso. What’s happened to her Dad? Julia wonders. Is he going to disappear forever? A coming-of-age story set in today’s Juarez. Sylvia Zéleny is a bilingual author from Sonora, México. Sylvia has published several short-story collections and novels in Spanish. She received her MFA in Creative Writing from The University of Texas at El Paso where she is currently a Visiting Writer. In 2016 she created CasaOctavia, a residence for women and LGBTQ writers from Latinamerica.
“How about bunking the next class and rushing to the cricket field and while you are at it, planting a bomb in the toilet?” Wait, what the hell am I asking you to do with deadlines to catch on!? But allow me to take you down the forgotten memory lanes and remind you of the times when… You had a fit of breathlessness in front of your crush, When FLAMES said marriage, you couldn’t help but blush. Blank calls played Morse codes, Two meant – you missed her loads. You were clumsy as shit, because her presence was sublime, But after your break-up, crying became your favorite pastime. You bunked the classes and said - 'Let the studies rot!' But you never missed Kiran ma'am's class, ‘coz she was pretty hot! ;) Cricket brought you glory, And planting a bomb in school changed your story. Life screwed you over and killed your spirit, But you’re glad that you anyway did it. Told from the eyes of an Indian middle-class teenager, this story will make you wonder what you would have done if you were named Ghanshyam and were born a pessimistic nerd, while your optimistic best friend believed in unicorns and utopia! And to add to your woes, what if you fell in love with the most beautiful girl of your school? Wouldn’t you then wait for a miracle to happen?
Brainstorming is like any other skill: The more you practice, the better you become. But students, teachers, children, and adults continue to struggle with creative thinking, and when it comes to brainstorming ideas as members of a group, they often fail to contribute. Neil Wuttke, who has been a primary schoolteacher for forty-two years, walks you through brainstorming in this guide that shows how calling upon experiences and memories can help you express your thoughts and think for yourself. He explores how to apply brainstorming strategies in a classroom setting with activities that encourage creative thinking. Whether its using the word silver in as many ways you can, naming things that have wheels, or listing chains, the activities are fun and thought provoking. Boost your confidence, rejuvenate your memory, and put some excitement into your life with the insights, lessons, and activities in Basic Brainstorming.
