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text: A Gary Panter extravaganza – an incredibly huge, two-volume set, packaged in a heavy slipcover! The first book features over 1000 different images from Panter – paintings, posters, comics, and more – all from the guy who's become a legend through his underground comix work, and his famous set design for Pee Wee's Playhouse. This book features commentary on Panter's work by Byron Coley, Mike Kelley, Richard Klein, and other – and a very long interview with Gary himself. Then, the second heavy book features a huge amount of rare images from Panter's sketchbooks – early ideas, plans for projects, and lots lots more – presented here for the first time ever! The whole thing weighs a ton, and has over 686 pages, hardcover, with loads of color images. © 1996-2013, Dusty Groove, Inc.


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Awakening in a top-secret Umbrella facility as the T-virus threatens to wipe out the last remnants of humanity, Alice (Milla Jovovich) must battle her way through virtual simulations in order to break out of the complex and save the Earth in this fifth Resident Evil film. While the apocalyptic plague rages above ground, below the surface lies a massive base powered the evil supercomputer, the Red Queen, who will stop at nothing to contain humanity's only biologically-enhanced hope that is Alice. While factions in the Umbrella Corporation strive to help Alice escape, the Red Queen unleashes zombies, monsters, and clones of her ex-comrades to stop her. Only when Alice stumbles across a young girl who's been bred to think that she is her mother does the two-fisted heroine find a new reason to live. Sienna Guillory, Michelle Rodriguez, and Kevin Durand co-star. ~ Jeremy Wheeler, Rovi
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Michelle Rodriguez on Cheating Death in 'Resident Evil: Retribution' and Being Kickass Known for her tough roles, Michelle Rodriguez will be rising from the dead in 'Resident Evil: Retribution' and 'Fast Six.' We got to chat with Rodriguez...


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Occupational Therapy Assistant Department: Occupational Science and Occupational Therapy Program Director: Marianne Christiansen Program Option: A.A.S. The College of St. Catherine founded the first two-year occupational therapy assistant (OTA) program in the country more than 40 years ago and has more experience educating Certified Occupational Therapy Assistants (COTAs) than any other program in the Twin Cities. Our two-year, associate of applied science degree program will help you master occupational therapy skills and develop and refine leadership, interpersonal and communication skills. You will benefit from personal attention in classroom and fieldwork experiences, including the guidance of a fieldwork educator. Each student completes more than 700 hours of directed fieldwork experience in a variety of healthcare and community settings. Students have practical experience opportunities at more than 70 sites in the Twin Cities, plus some out-of-state options. As a COTA, you will make a difference in people's lives. Occupational therapy assistants work in collaboration and cooperation with registered occupational therapists to help people engage in human occupations or "day to day" activities that contribute to their physical, psychological and spiritual health, well-being and overall quality of life. You can interact with individuals and groups, including well populations and those with physical, psycho-social and developmental disabilities; work in a variety of settings, including hospitals, nursing homes, schools, rehabilitation facilities, community centers and patients' homes; and practice your profession in collaboration with other healthcare team members. The College of St. Catherine Occupational Therapy Assistant program is accredited by the Accreditation Council for Occupational Therapy Education (ACOTE) of the American Occupational Therapy Association (AOTA) located at 4720 Montgomery Lane, Bethesda, Md. 20824-1220. ACOTE's number at AOTA is (301) 652-2682. Graduates of the OTA program are able to sit for the national certification examination administered by the National Board for Certification in Occupational Therapy (NBCOT). After successful completion of this exam, you will be a Certified Occupational Therapy Assistant. Many states have some form of regulation in order to practice, and in Minnesota occupational therapy personnel must be licensed with the Minnesota Department of Health (www.health.state.mn.us). Generally, state regulations are based on the results of the NBCOT certification examination. When graduates apply to take the certification examination with the NBCOTO, they are asked to answer questions related to the topic of felony convictions. For further information on these limitations, contact NBCOT at 12 South Summit Avenue, Suite 100, Gaithersburg, MD 20877-4150. The phone number for NBCOT is (301) 990-7979, the fax number is (301) 869-8492, and the Web site is www.nbcot.org. Graduates will also be asked questions about felony convictions as they apply for state licensure. The Minnesota Department of Human Services requires that all students going into a clinical setting have a background check. Background checks are done within the first two weeks of class and the College provides all forms. There is no cost to you. All OTA program students must be certified in Cardiopulmonary Resuscitation (CPR). This must be an American Heart Association certification and must be completed by March 1 of your first year in the OTA Program. No other CPR certifications will be acceptable in meeting this requirement. You can earn your associate of applied science degree in the Occupational Therapy Assistant program in a way that best fits your needs. Full-time students take two years to complete their studies. Students take liberal arts and science and OTA courses concurrently both years, and Level II Fieldwork is completed in the same semester following the appropriate course work in accordance with the curriculum design and the program policies. Part-time students can use the Extended Program option. Students start by taking liberal arts and science courses before beginning OTA courses. OTA students in this option take about three years to complete their studies. See also: Occupational Science, Master of Arts in Occupational Therapy (Graduate catalog). MAJOR REQUIREMENTS OSOT 1020 Role of the OTA OSOT 1030 Human Occupations I OSOT 1040 Clinical Conditions OSOT 1050 Human Occupations II OSOT 1210 Client Support Skills OSOT 1250 Aging OSOT 1270 Level I Fieldwork OSOT 1300 Therapeutic Applications I OSOT 2300 Therapeutic Applications III OSOT 2330 Therapeutic Applications II OSOT 2350 Level II Fieldwork OSOT 2360 Level II Fieldwork OSOT 2400 Practice Models and Professional Issues I OSOT 2410 Practice Models and Professional Issues II OSOT 3250 Group Dynamics and Leadership (register for section designated for OTA students) Supporting courses: BIOL 2000 Summer Science Immersion or BIOL 2400 Anatomy & Physiology I PSYC 2020 Lifespan Developmental Psychology HIMP 1020 Medical Terminology Liberal Arts & Sciences core and CIL requirements: PSYC 1000 General Psychology ECOL 2000 Human Ecology ENGL 1100 Composition I PHIL 2000 Ethical Problems in Healthcare SSCS 1000 Power and Social Change CIL 1500 Transcultural Learning through Community Connections ART elective ENGL elective THEO elective (An additional SSCS elective must be taken if you transfer with only four credits in Anatomy and Physiology.)
URL: http://minerva.stkate.edu/academiccatalog0709.nsf/pages/occupational_therapy_assistant This page was created on 05/02/2007 and last updated on 02/28/2009. Comments, questions and feedback about this site may be addressed to firstname.lastname@example.com.


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Garner, Alan
Alan Garner 1935–
British author of novels for children and young adults.
Garner's powerful novels demonstrate the enduring vitality of the themes of ancient myths. Though he recasts the time frame of the legend, he tries to convey its spirit intact so that "the life of the myth is handed forward." The Owl Service provides perhaps the best-known example of his technique: in it the three teenage protagonists find themselves trapped in an old pattern of passion, jealousy, and revenge, represented by the ominous flower/owl design on a china plate. The symbolism in the novel comes from the Mabinogion, a collection of Welsh tales; the actual details of the plot are modern, Garner's own.
Some reviewers see more to reject than to praise in Garner's work. They point, for example, to the rather undeveloped characters in his stories who sometimes seem to exist merely to advance the plot. Some wonder whether Garner's books are not really written for adult critics. The response to Red Shift, a highly wrought story set in three different centuries and done almost entirely in dialogue, indicated that many readers did indeed think Garner would no longer publish for young adults. To such questions about the ability of young people to understand his work Garner has replied that he "[tries] to write onions," books that can be read at many levels of experience.
The layers of experience belonging to Garner himself seem to encourage him to write "onions." The child of country people in northwest England, Garner was the first of his family to attend grammar school and university, where he studied classical languages. He has felt his break from tradition very keenly; thus the theme of dislocation figures importantly in his work. Yet his linguistic training has made him more sensitive to the dialects his people speak, and has enabled him to give greater depth to his own language. His understanding of the social and natural history of his native Cheshire has only heightened the love of place which comes through vividly in those books he has set there. And his familiarity with myths of all cultures and ages has undoubtedly intensified his fascination with the elusive boundaries of time.
Among Garner's more recent works is the Stone Book quartet, a series told in a blend of modern standard English and the old Cheshire dialect, which follows certain members of a family across generations. Each of the four stories highlights a particular moment in its protagonist's life; each contributes to the appreciation and comprehension of the others, with the same love of land and of the cycle of life through them all. These books show the level of skill Garner has attained in writing modern myths, integrating all parts of his knowledge. He was awarded the Carnegie Medal in 1967 and the Guardian Award in 1968 for The Owl Service. (See also Contemporary Authors, Vols. 73-76, and Something about the Author, Vol. 18.)
[The Weirdstone of Brisingamen is Alan Garner's] first book and his great enthusiasm permeates his writing, making the book rich and sparkling with movement and people. The folk-lore of his native countryside forms a background for a jostling crowd of characters and drama. This is an all-round book where reality and fantasy are intertwined until they are indistinguishable. In his enthusiasm, however, the author conjures forth too many characters and too many names, and while some of the latter are mellifluous and haunting, others are ugly and confusing. The children's long chase and subsequent long drawn out flight tire and perplex the reader. Mr. Garner should, perhaps, have restrained himself a little and deleted some of the repetitive action and a few of the characters. (pp. 363-64)
"'The Weirdstone of Brisingamen'," in The Junior Bookshelf, Vol. 24, No. 6, December, 1960, pp. 363-64.
Naomi Lewis
Elidor is the third long novel by a writer much involved with the meeting of ancient world and new: this, if the least wildly poetic, is also the most skilful of the three. It is ambitiously imagined and worked out with a hard economical tension: the reader is kept—except for some dazzling visionary moments—well on the present-day human side of the arena. It is, you might say, a reanimation of the Roland/Burd-Ellen legend in a modern industrial setting. There are cracks where the fabric of time and place is weak—and a Manchester bomb-site with a ruined church, already on the eve of demolition, is such a one…. The climax, a peak after chapters of mounting terror, is brilliant. The threads of myth make a nice unravelling. (pp. 748-49)
Naomi Lewis, "Other World," in New Statesman (© 1965 The Statesman & Nation Publishing Co. Ltd.), Vol. LXX, No. 1809, November 12, 1965, pp. 748-49.∗
[It] is clear that The Weirdstone of Brisingamen and The Moon of Gomrath have created for the author a reputation which will take a lot of keeping up. It will not be kept up by such hastily germinated hybrids as Elidor in which four Manchester children "break through" into a benighted kingdom in which, it seems, "light" can be restored only through their agency as the chosen. The individual incidents are exciting and stimulating but the balance of...
(The entire section is 638 words.)
Roger Lancelyn Green
[The] technique of the great adventure with spiritual or allegorical undertones breaking through into everyday life has been employed …, with considerable success, by Alan Garner in The Weirdstone of Brisingamen (1960) and The Moon of Gomrath (1963). But here the adventure tends to grow too titanic, the powers to belong to a greater and more heroic world, such as that created by Tolkien in The Lord of the Rings; and exciting though the stories are, they tend to lose that sense of the actual and the credible…. (p. 272)
Roger Lancelyn Green, "New Wonderlands," in his Tellers of Tales (copyright 1946, 1953, 1956, © 1965 by Edmund Ward (Publishers) Ltd; reprinted by permission of Kaye and Ward Ltd), revised edition, Franklin Watts, Inc., 1965 (and reprinted by Kaye and Ward Ltd, 1969), pp. 269-79.∗
(The entire section is 124 words.)
Margery Fisher
Holly from the Bongs is, to put it simply, a nativity play. It was written for the Cheshire village of Goostrey and performed at Christmas 1965 in the stable of the Crown Inn…. The effect of the book as a whole is overwhelmingly sincere and beautiful. You get the impression of a small, interdependent community with the freedom of the fields, of children being themselves and yet being partly translated by the feel of unfamiliar language and heightened emotion…. It is in the text … where Alan Garner has used local place-names freely. Cheshire is a county where mummers' plays still flourish, and he has offered such a play … as the shepherd's "present" to the infant Jesus—a bold stroke which links pagan and Christian stories in an extraordinary beauty of rhyme and prose. There is a delightful immediacy of local history here…. Everything is relaxed, friendly and yet hallowed—there is really no other word—by the depth of traditional feeling.
Margery Fisher, "After Christmas: 'Holly from the Bongs'," in her Growing Point, Vol. 5, No. 8, March, 1967, p. 864.
(The entire section is 176 words.)
Timothy Rogers
[Holly from the Bongs] is one of the most delightful books I have looked at, read, listened to, for a very long time…. [It includes] the full text of the play, in which Alan Garner has skilfully included a Mummers' play based on traditional sources…. How lucky are the children of Goostrey; but how lucky are we also to share in this experience.
Timothy Rogers, "Fiction: 'Holly from the Bongs'," in The School Librarian and School Library Review, Vol. 15, No. 1, March, 1967, p. 106.
Some of [Elidor] is hilarious … some is harrowing, but it rarely rises above the level of formula fantasy. The obvious weaknesses are a certain flatness of style and the lack of definition of character, the stillborn aspect of faerieland: we don't know Elidor or the children intimately enough to care what happens to them, nor to regret, in the case of the children, that they are little touched by the sum of their experience.
"Younger Fiction: 'Elidor'," in Kirkus Service (copyright © 1967 Virginia Kirkus' Service, Inc.), Vol. XXXV, No. 5, March 1, 1967, p. 269.
(The entire section is 172 words.)
Philippa Pearce
Alan Garner's writing is marked by hard thinking and hard, fierce imagining. These have been brought to bear upon a distinctive choice of subject: the meeting-plane of two contiguous worlds. One is the world that most of us agree to describe, however inadequately, as ordinary, everyday, or by some such term. The other is the world of folklore and myth, dream and nightmare and vision. The wall between these two worlds is tough, but of less than tissue-paper thinness. Where the thinness can be worn into a transparency or where the unusual pressure of one world bursts its way into the other, there is the beginning of a Garner story.
In The Weirdstone of Brisingamen and The Moon of Gomrath, which can be considered as consecutive parts of the same story, the two worlds were unequally balanced: the weight of the reader's interest was with the other world, not with the two ordinary, convenient children who broke through into it.
Then came Elidor, realistic-apocalyptic, comic-sublime: the author's art held his two worlds together in exact balance, in a perfection of narrative tension. Here was a splendid achievement. (pp. 291-92)
The fourth and latest book, The Owl Service, brings the worlds together again; but with a difference of method and effect. The story is contained within a remote Welsh valley where the power of that other world lies like some bottomless lake. Into this...
(The entire section is 895 words.)
Margery Fisher
On one level [The Owl Service] is a story of possession, in which accidents take on dual meanings and the Welsh landscape adds its own shut-in, brooding atmosphere. Alison's mother and Roger's father hope to consolidate their recent marriage and see their children making friends here in the valley. So quickly does the author establish these characters, particularly through subtly diversified class idiom, that you can see the stresses which will threaten the holiday hopes…. These stresses might have upset the surface amiability of the four in a week of wet days: the owl plates precipitate personal crisis and, as well, actual, frightening, inexplicable happenings. The real and the supernatural interchange, influence, quicken feeling. Most of all in Alison; for here is a remarkable portrait of a girl in her 'teens who is translated, as it were, from her conventional self into an ancient counterpart whom she cannot escape from or understand. Her refuge seems to lie with Gwyn…. It is the last irony of a subtle book that her safety is achieved finally not by the sensitive, tormented, Welsh boy but by brash, unimaginative Roger. The book shows how people change under stress—shows it in a novelist's manner, with none of the limitations of 'writing for children.' (p. 949)
Enough of the Mabinogion is quoted for the reader to pick up clues and see the rôle of each person involved in this strange re-living of the past, but anyone who...
(The entire section is 568 words.)
Andrew B. Myers
In Alan Garner's story the moon of Gomrath rises over an unmistakably British countryside and over a hidden, ageless underworld of frighteningly evil powers and almost equally fearsome champions of the good…. ["The Moon of Gomrath"] jumps abruptly from one Tolkienish shiver to another, but there is a gripping power to these episodes of creeping horror, reminiscent of those in Charles Williams' adult novels of the occult.
Andrew B. Myers, "New Books for Young Readers: 'The Moon of Gomrath'," in The New York Times Book Review (© 1967 by The New York Times Company; reprinted by permission), October 22, 1967, p. 62.
With his latest novel, The Owl Service, Alan Garner has moved away from the world of children's books and has emerged as a writer unconfined by reference to age-groups; a writer whose imaginative vein is rich enough to reward his readers on several different levels, whether they are old or young. This is a novel of love and of jealousy, that destructive and not often explored ingredient of human nature. The word "love" is never mentioned in the book. The primitive power of jealousy is given a dimension of poetry through the grafting of the story upon the Celtic myth of Blodeuwedd, the flower goddess. The Fourth Branch of The Mabinogion includes the tale of Lleu Llaw Gyffes, the hero or god destined never to marry mortal woman….
...(The entire section is 1222 words.)
Margaret Meek
Around [the children in The Owl Service], growing out of the wild countryside, its heroic ancient legends and its recent grim past, is woven a fantasy as moving as any in the tradition of imaginative literature. For younger readers the plot is a sequence of curious happenings consequent upon the finding in the loft of dinner plates with an owl pattern. A mystery, an historical fable, the interacting of past and present and a grim, tragic element involving the relationship of parents and children evoke in older readers the deepest responses of which they are capable and point to the superficialities of current formula fiction. Mr. Garner's chosen style is a balance of elliptical conversation and poetic imagery. The bones of the narrative are taut as steel wire and contain the suspense to the end. My reservations about the climax and a number of unsorted details are not enough to throw in against my appreciation of the imaginative power…. I think this is a book for young adults, because, on one level, it is about the loss of innocence, which comes to them as both a tragedy and a relief. This book adds a new dimension to 'the adolescent novel'.
Margaret Meek, "Literature: 'The Owl Service'," in The School Librarian and School Library Review, Vol. 15, No. 3, December, 1967, p. 327.
(The entire section is 218 words.)
Eleanor Cameron
Alan Garner's The Owl Service … reveals that he is not a man to rest on the laurels awarded him by those enthusiastic children who read with pleasure The Weirdstone of Brisingamen, The Moon of Gomrath, and Elidor. For The Owl Service … is entirely different from his other three, having in common with them only that it is fantasy and takes off from legend. But because certain of Garner's tendencies as a writer are noticeable in all of his books and because these tendencies play an important part in the final effect of The Owl Service, it is rewarding to go back to the beginning and consider his work as a whole.
Garner is one who, from the start, has found his inspiration in Scandinavian mythology, Celtic legend, and Hebridean and British folklore. Rich is his knowledge of old spells, of the Mabinogion, and such volumes as Murray's The God of the Witches, Robert Graves's The White Goddess, and Watkins's The Old Straight Track…. Old Britain and its ancient powers and presences waiting to be released over the English countryside are what are felt most strongly in the first two books. Garner has a splendid sense of place. When he shows Colin in The Weirdstone searching for the old straight track, and its eventual revelation by moonlight, he is at his best, involved purely in scene and feeling and overtone.
Nevertheless, even given Garner's...
(The entire section is 3022 words.)
Tony Watkins
Alan Garner's four novels find the source of their inspiration in non-classical mythology and all contain elements of fantasy….
For Alan Garner there are no original stories: 'originality now means the personal colouring of existing themes, and some of the richest ever expressed are in the folklore of Britain.' (Note to The Moon of Gomrath.) For example, Elidor combines the story of Childe Roland with, among other things, the Irish myth of the Tuatha Dé Danaan who came from the 'southern isles of the world'. The four treasures of Elidor closely resemble Nuada's sword, Lugh's lance, Dagda's cauldron, and the Stone of Fal which they brought with them to Ireland. But Alan Garner takes these elements of myth and folklore and skilfully transmutes them, in an almost poetic way, into new metaphors of experience. By this process the half-forgotten stories and beliefs acquire a powerful, living reality, making their presence felt in the lives of the children of our complex, mechanistic, industrial society. (p. 45)
[Alan Garner] writes for adolescents…. This attempt to write for the difficult, transitional period between childhood and adulthood means that his novels need to satisfy at various levels: at the simple, narrative level of suspense and what happens next, through the deeper levels of characterisation, to adult concerns of symbol and theme. In this, it seems to me, the later novels have been...
(The entire section is 1020 words.)
Paul Heins
First published nine years ago, [The Weirdstone of Brisingamen: A Tale of Alderly] wears well and continues to reveal new riches…. The tense and often horrifying episodes of the plot are centered around the attempt, finally successful, to restore the weirdstone to Cadellin. As in Elidor, but perhaps not with the same balance, reality and fantasy are played against each other. The feeling for terrain and dwelling, for Gowther's dialect and humor, are earthy and of this world. But the inrush of beings familiar from Germanic and Celtic mythology and folklore add the richness as well as the terror of a bygone world to the everyday surroundings of the children…. However, "beauty and terror" are presented as "opposite sides of the same coin," and the almost unbearably tense events closing the story end on a chord of triumph. (pp. 45-6)
Paul Heins, "Late Winter Booklist: 'The Weirdstone of Brisingamen: A Tale of Alderly'," in The Horn Book Magazine (copyright © 1970 by The Horn Book, Inc., Boston), Vol. XLVI, No. 1, February, 1970, pp. 45-6.
(The entire section is 171 words.)
Frank Eyre
[In The Weirdstone of Brisingamen and The Moon of Gomrath, Garner] made use of much of the material of earlier attempts at creating contemporary sagas and it seemed likely at first that he was planning a sustained series. These stories of the knights bound in sleep until they can be wakened to fight the forces of evil have moments of strength, but are marred by uncertainty in their organisation, roughness in the writing and a general sense of unsureness of touch…. [They] are clearly prentice work and the author abandoned this vein when he moved on to stronger work. He is at his best with the natural surroundings of the stories, which are set at Alderley Edge in Cheshire, and at his worst with the children, who are not fully realised and do not come alive.
The same defect is apparent in Elidor, an otherwise far better book. Four children in one of the poorer districts of Manchester explore a ruined church and suddenly find themselves not transported to, but living a parallel life in the terrifying land of Elidor. The two worlds overlap and the disturbing, at times frightening, fusion of this other world and the everyday world makes this a highly original book…. (pp. 143-44)
Elidor has been a much praised book and I am going against the weight of critical opinion in saying that to me it seems a contrived one. (p. 144)
[The Owl Service is essentially a modern...
(The entire section is 736 words.)
John Rowe Townsend
[Alan Garner's] books, though few, have had an extraordinarily powerful impact; they have been felt and not forgotten. (p. 108)
Because Garner's four novels came out at intervals of two and three years, they show their differences—and the author's development—more clearly than do the works of more prolific writers. Alan Garner has never stood still. His stories have become less complicated but more complex, less crowded but more intricately ramified. Action has become less crude but more significant. The later books are finer. Admittedly, even fineness has its price. The Weirdstone of Brisingamen (1960) was Garner's first book; it is complicated, crowded, full of crude action; and of its kind it still seems to me to be excellent. The author was hard on himself when he described it as 'a fairly bad book'. The Owl Service (1967) is complex and intricate, its action more restrained and much more meaningful. It has not the same brute vitality. But although an overall comparison between two such different books is hardly possible, it seems fair to say that The Owl Service is by far the more notable achievement.
When The Weirdstone of Brisingamen first appeared, it was widely hinted that Garner was indebted to J.R.R. Tolkien. In fact he did not then know Tolkien's work. The great difference between Tolkien and early Garner is that Tolkien creates a world of magic apart from our own while...
(The entire section is 1866 words.)
Marcus Crouch
[The Weirdstone of Brisingamen] was a remarkable first book by a young writer but hardly a successful one. The narrative is confusing and confused, always whipping itself into a further frenzy of activity. The terms of reference are Norse rather than Celtic, and the Norse gods were always a complicated lot. There are some fine moments, mostly marred by a turgid style. Where the book excels is in the use of an actual landscape whose topography plays an essential part in the action and in relating the nightmares of the story to commonplace figures of the everyday world. (p. 126)
This skill in harnessing the modern scene and its inhabitants was more marked in Garner's Elidor (1965) where the magic starts to work in Piccadilly, Manchester. It is not chance that when Roland spins the wheel which operates the index to a street plan it comes to rest at Thursday Street. For Thursday Street has disappeared into a heap of rubble in a slum-clearance scheme. And why is an old street Musician playing his fiddle among these inhospitable ruins? From this confusing scene, strange yet typical of a modern city, the Watson children are shot into 'a magic land and full of song' where Malebron of Elidor holds back the night. The children—it seems improbable—have been sent to 'bring back light to Elidor'. It is never quite clear why. As in the 'Narnia' stories [by C. S. Lewis], the weakness lies in casting such commonplace children as the...
(The entire section is 997 words.)
Aidan Chambers
[Red Shift's] top tune—the main plot and the easiest to follow—tells of an intelligent, oversensitive teenager, Tom (his wit saves him from being an emotionally spotty bore), who lives in a trailer with his disagreeably possessive mother and weak-willed army pa (overworked stock characters in teenage fiction, but given some vitality and individuality here). Tom is in love with a better-balanced, equally intelligent girl, Jan.… The plot begins with Jan preparing to move to London, and Tom toiling in an emotional panic that reaches a volcanic climax when his parents ask if he and Jan have "had any occasion to do anything to make us ashamed of you."
In order to solve their separation the young lovers arrange to meet regularly on Crewe station, a rail junction which for years has been the butt of vaudeville gags. For a while all is sunshine and flowers—romance among the railway engines—until happiness is curdled by Tom's prying mum and finally turned sour when Tom thinks Jan is playing him false. The book ends with the breakup of the relationship. Betrayal, you might say, is what it's all about. "It doesn't matter. Not really now not any more," says the last line on the last page. But, of course, it does matter (to Garner if to no one else), or why bother to write such a difficult thing as a novel about it?
Orchestrated with the top tune are two subplots, one set in an immediately post-Roman time, the...
(The entire section is 1008 words.)
Clara M. Siggins
"Red Shift" is a stranger than strange composite novel blending illusion and reality in a peculiar technique. Three stories are superimposed in a time-spliced, tension-packed package dealing with lovers and lunacy in what well may rival the mystery of a [Samuel] Beckett tour de force.
If a novel is supposed to be news about people, the news is garbled. The plot lines are as jagged as a flash of lightning in the distance and as illuminating. The nomenclature confuses too. The story goes back and forth among three men in three different periods of time. The most easily understood segment of the story is the twentieth-century Tom…. Tom is in love with Jan, who has had an affair with another man before meeting Tom—but this is a true love with as rough a terrain to cross as star-crossed lovers ever crossed.
Another story interwined, and by no means throwing light on Tom-Jan, is a story set in the second century in Britain. This is a bloody, rough, and cruel story, of the warring tribes and Roman Legions…. The third story woven in and out through the other two, and not seemingly part of either one, is set in seventeenth-century England during the civil wars. The only point of connection is that an axe—a votive axe—is a central part in each story…. One can only speculate that the author, an archaeologist and historian, on finding such an axe, let his fanciful imagination play with the infinite possibilities of...
(The entire section is 313 words.)
Michael Benton
Red Shift expresses the significance of place and the insignificance of time…. The significance of place is established through setting the narrative in three different periods in the history of a few square miles of Cheshire countryside around the village of Barthomley, Mow Cop and Crewe: the insignificance of time is suggested by the way the author interweaves the narrative's contemporary strand about the relationship of Tom and Jan, with the story of Thomas and the other villagers from the seventeenth century and that of Macey and his splinter group of Roman soldiers from the Ninth Legion. The shifts from one strand to another are managed skilfully such that while one is kept busy associating characters and relationships, noticing the common thread of violence, responding to the tangible link of the stone axe-head which is handed from one time level into the next, yet the three narrative lines remain sharply distinct. (pp. 5, 7)
The sense of cosmic terror and violence which the writing unleashes when Macey flips and Thomas has his fits, and the uneasiness generated by Tom's constant awareness of the expanding universe are enough to render the most complacent reader's view of reality a precarious one. Moreover, Alan Garner stamps on one's fingers at the end for, predictably perhaps, the three time levels coalesce in the last few pages. Time is collapsed. A sort of artistic red shift has been effected. (pp. 7-8)
...(The entire section is 592 words.)
Expect a lot, and you won't be expecting too much, of The Stone Book by Alan Garner…. It is a miniature masterwork and, like all great miniatures, is staggering in what its limits contain….
[It] re-establishes the boundaries of what can be done in the pre-novel form, and it shows Garner to be totally in command of his art. The prose is assured, precisely right, without flaw; the story itself has an emotional poise that up till now has not been present in Garner's writing.
Pelorus, "Notebook: 'The Stone Book'" (copyright © 1976 Aidan Chambers; reprinted by permission of the author and The Thimble Press, Lockwood Station Road, South Woodchester, Glos. GL5 5EQ, England), in Signal, No. 21, September, 1976, p. 148.
(The entire section is 117 words.)
Lance Salway
The Stone Book is rich with detail of the stonemason's craft and with the eloquent dialect of its Cheshire setting. But, unlike the stone which is its theme, this is a bleak, austere story; one may admire the precise style and even the self-conscious parade of unfamiliar vocabulary, but one remains unmoved by the characters and their preoccupations.
Lance Salway, "Little Boy Found," in The Times Literary Supplement (© Times Newspapers Ltd. (London) 1976; reproduced from The Times Literary Supplement by permission), No. 3890, October 1, 1976, p. 1241.
(The entire section is 83 words.)
Penelope Farmer
[Short] though it may be, this small precise poem of a book [Tom Fobble's Day], is not simple.
In the past I have found Alan Garner too conscious of his own brilliance. Here his cleverness is nearer understanding. The book is about doing and becoming (and not always avoiding danger in the process); about belonging—to people, to landscape, to their shared past; above all about that total loving attention to substance that is not only the beginning of poetry, meditation even, but also the beginning of true making, whether of a building, or as here, of a sledge.
The import of Tom Fobble's Day, as of The Stone Book, is that to see substance properly is to understand beyond it, though its focus being metal and not stone the message is fittingly a more uncompromising, wintry one. We see metal used creatively, smelted to make sledge-runners. We also see it destructive, even, perhaps, of the man who loves it. For this is a world of air-raids, of guns raining shrapnel, of the grandfather's fears for his absent grandson and of his own tales of slaughter in previous wars. Yet the landscape and its past survives.
Penelope Farmer, "Men of Iron," in The Times Literary Supplement (© Times Newspapers Ltd. (London) 1977; reproduced from The Times Literary Supplement by permission), No. 3915, March 25, 1977, p. 360.
(The entire section is 221 words.)
Aidan Chambers
Something has happened to Alan Garner. He is never a predictable writer, and one can never be sure just what he will produce next. But one thing has so far been common to all his work: It has been emotionally overcharged. (With the exception, I hasten to say, of his nativity play, Holly from the Bongs, all too little known, and a gem.)
To put it in crude critical shorthand, Garner's work has so far lacked balance. One always felt the tremble of incipient hysteria: all those dark elemental forces about to break out and swamp one in their destructive power. And usually they did so at some point in each book….
[I've] noticed before that Garner has the knack of confounding his critics…. And he has done it again. Without any doubt, in my view, the most impressive children's book (not adolescent-child's, not even older child's, but children's) to appear in England in 1976 was Alan Garner's The Stone Book…. (p. 479)
[It] is the most balanced book one could wish for: heart and head working harmoniously together through language so beautifully and skillfully employed that even now, after numerous silent readings and several public performances aloud, the book still moves me afresh every time I open it. It possesses profound simplicity; it is the work of a mature man, a mature artist. (pp. 479-80)
In his two previous novels, Garner further and further cut away...
(The entire section is 961 words.)
Margaret Meek
Rarely have I been more moved by a story [The Stone Book] and the telling of it. To hold a class—any age—absolutely spellbound you read the passage where Mary climbs the church steeple to the top where her father, a stonemason, sets the weathercock and she swings round on it. Mary's lesson lies under the landscape she sees from the spire, in the stone quarry. She learns from men moulded by their craft. The language is like the theme, hewn out of the wisdom of use. A quite remarkable book….
Margaret Meek, "Seven to Eleven: 'The Stone Book'," in The School Librarian, Vol. 25, No. 3, September, 1977, p. 241.
(The entire section is 108 words.)
Margery Fisher
Alan Garner's stories, The Stone Book and Tom Fobble's Day, are not poems but they have the overtones, the power to stir and engage the imagination, which we expect from poetry….
The simplicity of Tom Fobble's Day is a matter of uncomplicated syntax and a direct, concrete vocabulary. At the most obvious level this suits a story of one winter day in which a boy whose sledge is Tom Fobbled [a ritual borrowing] and then broken, visits his grandfather, the local "whitesmith and locksmith, and blacksmith too", and achieves a new and far better sledge, the last of the old man's handiwork. (p. 3207)
[The theme of the book is] the continuity of work, family and the land, seen (as in The Stone Book) through the traditional craft of a Cheshire countryman. Time is marked by the alternation of light and dark and by the old man's references (always introduced with the utmost naturalness) to the two wars he has fought in, the Boer War and World War I, contrasted with William's youthful acceptance of World War II as the source of interesting souvenirs after a raid….
The scene of Tom Fobble's Day is set, again with complete naturalness, in the course of narrative or conversation; boy and old man are seen in the darkness of Grandad's basement workshop or against snow and starlight. Dialogue is brief, subtly dialectal, wholly individual. The book is a total, triumphant unity of...
(The entire section is 290 words.)
Peter Fanning
[Despite] the odd suspicion that Mr. Garner is showing off …, there remains the sense of an age gone by, that still lives on in the Garner Quartet.
Granny Reardun forms the lynchpin between its predecessors. Poised between worlds of quarry and forge, it traces a progress from Stone Age to Iron; from stone getters to brick setters, from monoliths to machines. The world is changing and Iron's "aback of everything".
But the view is tinged with retrospective irony. For the young Promethean who tells his grandfather "I'll not cut stone" is surely the grandfather who closes his smithy two generations later in Tom Fobble's Day. Time and tide wait for no man, but nor do they wait upon craft or machine. Block, forge and loom will have their day, but The Stone Book wears out eternity. And though Granny Reardun's weather-cock may top the church, it is an even bet that only the stone of the church endures. Already this trio is echoing with counterchimes and reverberations. We eagerly await the final volume.
Peter Fanning, "Quarry and Forge," in The Times Educational Supplement (© Times Newspapers Ltd. (London) 1977; reproduced from The Times Educational Supplement by permission), No. 3258, November 18, 1977, p. 42.
(The entire section is 198 words.)
Margaret Meek
To distil the message from Alan Garner's quartet of books which, so far, includes The Stone Book, Tom Fobble's Day, and now, Granny Reardun, the reader has to locate himself in the landscape at a point in time. Chronologically Granny Reardun comes before Tom Fobble's Day, but each, in Alan Garner's terms, is its own onion of craft, time, place and family. Time is caught in stone walls and steeples made by Joseph's grandfather, so that when Joseph at the beginning of Granny Reardun lies on a hill and watches a family moving out of its house, which later provides stone for his grandfather to finish a wall, history turns. Joseph's decision to be a smith ushers in a new era.
The synchronic layers and surfaces of Alan Garner's telling defy linear description by their very transparency. By reading the text aloud one catches the movement in time of objects that have symbolic permanence: stone, spires, anvil, forge fire, hills. The speech is quarried from the landscape….
Joseph blows his cornet and the music moves the world. Like the chords of a hymn tune, the harmony of story and narration, character and setting cannot be separated even to be appreciated. The contrast of the view from the top of the steeple with the deep dark of the quarry which made such a powerful statement in The Stone Book has no counterpart in Joseph's tale, but Alan Garner still makes us feel that the...
(The entire section is 285 words.)
Bob Dixon
The creation of other worlds … leads, naturally, to a preoccupation with landscape and terrain…. [This] is a natural development but in the case of Garner it's something more than this. All his work shows a strong, mystical sense of place….
Often, as in Garner and [Ursula K.] le Guin, there's a strong sense of a vague, disembodied but menacing force which is just hovering around waiting to be loosed, a process which might be as accidental as springing a trap. This is very noticeable in Garner. (p. 146)
[Class antagonism and manipulation] is in its most obvious and usual form in Garner's The Owl Service: it's strange that very few people seem to have noticed that this book is riddled with anti-working-class feeling. (p. 147)
What comes out very strongly, especially in Garner's first three books, The Weirdstone of Brisingamen, The Moon of Gomrath and Elidor is the overpowering sense of black evil. Towards the beginning of the second novel, we read that men have 'loosed the evil a second time', in a typical Garner expression. But what's it all for? What do the forces of evil want? What's the matter with them?—There aren't any answers to these questions…. (p. 149)
In Garner's later work, The Owl Service and Red Shift, two elements that were there but not very noticeable in the books already mentioned, come to the fore. In general, taking...
(The entire section is 485 words.)
Tony Watkins
In Red Shift (1973), pattern is all-important. The prose is lean and meaning elusive: the outline of patterns delicately traced (as in the axehead that links the levels of the story) is what remains in the mind after reading the novel, together with many questions and puzzles. Time past and time present mingle, resonate, and finally coalesce. As in the previous books, the past is never lost: it may be overlaid perhaps, but, looking carefully, one can still distinguish the old lines, the old tracks, and here they lead to the sacred places, the centres of energy at which people worship: sacred mound and church stand close by one another in Red Shift.
The forces at work are transmuted and realised in different forms in the three strands of time: in each, a young man and young woman attempt to shape a loving relationship in a world of violent destructiveness. Tom, Thomas, and Macey are aspects of one another: each of them sees beyond the normal bounds of vision and the results are powerfully disturbing. (p. 48)
The meaning is oblique, ambiguous, at times infuriatingly tantalising. It seems to lie partly within the geometry of relationships in the book: between the triangles set up by characters, places, times. It is implied, hinted at, rather than stated. All this makes the novel difficult to write about explicitly. But the same concerns are as in the earlier books—it is as if Alan Garner were...
(The entire section is 288 words.)
Margaret Meek
The order in which the stories of Alan Garner's quartet appear may confuse those who like their genealogies well ordered. But the young should be encouraged to read them as soon as they appear. Like memories, they are reworked in the head after their impact as events. The Stone Book is still for me the foundation of a literary experience of great power. Tom Fobble's Day and Granny Reardun keep the clarity and precision, particularly of time, place and persons…. Garner has made his text as clear as the sky and as hard as frost…. This is archetypal children's literature in our day. (pp. 41-2)
Margaret Meek, "Seven to Eleven: 'Tom Fobble's Day' and 'Granny Reardun'," in The School Librarian, Vol. 26, No. 1, March, 1978, pp. 41-2.
(The entire section is 125 words.)
Ralph Lavender
There are many close encounters in store for the reader of Alan Garner's work, and this is certainly true of [The Aimer Gate]. The language is cut concisely, the style exact and easy like a kind of music….
These books [of the Stone Book quartet] stand somewhat like four movements of Vivaldi's music. And there is music in everyone, an ophicleide or a cornet, and always a song. Although appearing last, The Aimer Gate is third in time and even in classic sonata form, the story of Chorley 1860–1940. But there is far more time than 80 years aback of Chorley. Two of the first ages of men, stone and iron (the later in Granny Reardun), were long ago; and they run through the village as powerfully as the measurement of time and wind at chapel and church. Some may feel that to honour the craft of stonemason and smith, hand-harvesting fields too steep for combines, or figures like old Faddock Allman with both legs blasted off in the Boer-War (a brilliant characterization, this) smells of errant romanticism.
Children will not think so. Their response may be instinctive rather than reflective. For this book, like its three companions, is recognizably children's property. It dwells on the truths of childhood, which are so simple yet have to serve most of us all our lives. One of these filed-down truths of human existence tells of the connectedness of things: the patterns and the motifs Garner gently...
(The entire section is 472 words.)
Edward Blishen
[The books in Alan Garner's quartet] are the longest short books I've ever read; and I mean that in their quite exhilarating concision they cover, and carry the delight of eighty years (from c1860 to c1940) in the life of a family in Alan Garner's own corner of the world, Alderly Edge in Cheshire. A succession of grandads, fathers, youths, Josephs and Roberts and Williams, they work in stone and wood and metal. Work, and the mysteries of work, are of supreme importance.
In the first book, The Stone Book, Mary's father is capping the steeple of the new St Philip's Church…. There's an account of working in stone, of the able magic of it, that's echoed in the last book, Tom Fobble's Day, with an account of working in wood and metal: a grandfather, to whom Mary's father is a grandfather, makes a sledge for William. And William uses this sledge to exceed all previous local records in sledging: and the description of his stunning runs from the top of Lizzie Leah's is an example of the element each book contains, alongside the element which consists of the fine description of working skills: I think of this other ingredient as an exhilaration. Something is always breathlessly and marvellously done. Mary climbs to the very weathercock of the new church and there whirls round, while her world turns with her. Your breath goes as you read…. There are exhilarations in all the books….
And everything, in this...
(The entire section is 544 words.)
Samuel Pickering
In his Stone Book quartet, Alan Garner traces the lives of four generations of a working-class family in Chorley, a Cheshire village. Sentimental primitivism pervades Mr. Garner's books. His characters are by place possessed, and nostalgia for lost occupations and identities weighs heavy….
The Stone Book Quartet is gracefully written and at times wonderfully provocative. Frequently Mr. Garner uses old-fashioned words whose sounds convey their sense. Mystery abounds in the books, and events are frequently hazy. Mr. Garner's symbols are rarely clear, and he forever appeals to the creative imagination. At times his books resemble [William] Hazlitt's distant objects. Placed in shadows beyond the limitations of vision, they appeal to the fancy.
For the reader with a romantic sensibility, the Stone Book quartet offers innumerable variants upon the "poetic nature of reality." For others, the series may seem pretentious.
Samuel Pickering, "Childrens Books: 'The Stone Book', 'Granny Reardun', 'The Aimer Gate', and 'Tom Fobble's Day'," in The New York Times Book Review (© 1979 by The New York Times Company; reprinted by permission), July 22, 1979, p. 19.
(The entire section is 173 words.)
PATRICIA McMAHON
[As William Butler Yeats] saw the gray and grimy streets of Dublin give birth to a "terrible beauty," so Alan Garner shows that the complacent lives in a Manchester suburb can be intertwined with a "terrible beauty" [in Elidor]. With deceptive simplicity, Garner tells of the battle for the good—the light—in the world called Elidor and how that battle can hinge on the tenacious belief of a Manchester child named Roland. (p. 328)
Alan Garner is celebrated for his use of mythology, which he calls "spiritual gelignite" and "distilled and violent truth," phrases which may be analogous to Yeats's "terrible beauty." Garner takes the background for Elidor from several sources. The name Elidor, the four cities of Findias, Falias, Murias and Gorias, and the four symbols of power are taken directly from the Tuatha de Danaan stories in Celtic mythology. The maimed king and Helen's cup echo the legend of the Grail. Certain plot aspects are taken from the ballad of Childe Roland; "'Childe Rowland to the Dark Tower came'" is quoted at the book's beginning.
As interesting as an exploration of these sources may be, it is more important to ask how Garner transformed the material. Equally important: Does the book stand on its own, without assuming a knowledge of the legends? I believe it does.
The author has transformed the legendary tales into a compelling, frightening, and ultimately satisfying...
(The entire section is 333 words.)
Source: Contemporary Literary Criticism, ©1981 Gale Cengage. All Rights Reserved. Full copyright.


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Smartphones dominate the telecommunication industry today. This can be attributed to the numerous functions that these phones are capable of rather than being simple cellular phones. Depending on the operating system, smartphones are capable of doing virtually any task as long as an app is present to execute that certain task. Some people prefer to use their smartphones as handheld consoles. Others prefer to use their smartphones as PDAs. For this reason, some smartphones were made into dedicated devices which are particularly inclined to a certain task. Still, the best smartphones should be capable of doing all of these without so much as slowing down. The iPhone 5 was built to be just like that.
The Apple iPhone 5 – The Good
The iPhone 5 is the latest device released by Apple Inc. It is the latest iPhone model released and features all of the latest technological advancements that Apple can get their hands on. The iPhone 5 comes in three storage sizes: 16GB, 32GB, and 64GB. It has a screen size of 4.0 inches which is a little bit bigger than the ones found in the iPhone 4S. The larger screen size adds another row of applications on the iPhone's home screen.
The iPhone 5 is also the slimmest and lightest iPhone yet. Everything from the design to the material used was changed in order to achieve this feature. The iPhone 5 is capable of handling the fastest internet connection today known as the 4G LTE. It also sports the A6 processor which is clocked at 1GHz with 2 cores present. While it does not sound as flashy as the quad core processor found in other phones, the A6 processor doubles the already incredible speed found in the iPhone 4S making the iPhone 5 the fastest device among the apple products which they have released.
Apple also upgraded the camera from 5 megapixels to 8 megapixels. Apple has also included a turn by turn navigation system when using the GPS. Of course, all of the goodies found in the iPhone 4S, such as Siri, can also be found in the iPhone 5.
The Apple iPhone 5 – The Bad
The release of the iPhone 5 was heavily marketed alongside the release of the Maps app for the iOS. While the iPhone 5 does include a turn by turn navigation system, it fails miserably with the Maps application. Incorrect locations and other buggy features make it virtually unusable. The only other problem with the iPhone 5 is the new connector which Apple dubbed as "lightning". It does indeed transfer data at a very fast rate but this makes the iPhone 5 unusable with the previous version's connectors. Also, the new connector is priced relatively higher compared to the previous connectors.
The Apple iPhone 5 – The Verdict
The iPhone 5 is considered as the king of smartphones because of its specs. It is the most technologically advanced of all the apple products. It was also redesigned to answer to the iPhone 4S's previous shortcomings which make it the ideal phone to have today. The cons of the iPhone 5 are not entirely of the phone itself but more on user preference and applications. These problems do not directly affect the phone itself. Also, the iPhone 5 is one of those phones which do not look too good on paper since it only sports a dual core processor. It can only be fully appreciated once the user gets a hold of the device. Its speed can even be compared to other top tier smartphones and some people are even considering it as the fastest smartphone today. This, alongside all of its other features, makes the iPhone 5 the king of smartphones today.
By the way, if you also own an ipod touch, you're invited to visit http://www.itouchapps.net for game walkthroughs, app reviews, and tips on how to use your ipod touch.


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The WSU Math Corps is a combined academic enrichment and mentoring program that brings middle and high school students from Detroit public schools together, with college students, to learn mathematics from each other, as well as to interact with professional mathematicians in a university setting. To be eligible for the WSU Math Corps and High School Bridge Program (or a high school Teaching Assistantship), students must be: -entering the 7th, 8th, or 9th grade in the Fall 2012 (10th, 11th, or 12th grade for high school Teaching Assistantships) -currently enrolled in a Detroit public school or Charter School in the city of Detroit -committed to the goal of excelling in Mathematics and willing to work hard to achieve that goal -willing and able to exercise behavior appropriate to a University program. This year's program will run from July 9th through August 17th. Middle school students are required to attend Monday through Thursday from 9:30 am - 2:30 pm. High school students are required to attend Monday through Thursday 9:00 am - 3:15 pm applications are available for downloading on the Math corps' website: www.mathcorps.org
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The Teetotallers
Courtesy of Barre Opera House
Saturday, May 4, 8PM at Barre Opera House in Barre. $10-30.
Contact Info:
- 802-476-8188
Seven Days Says:
In a rare appearance as a trio, fiddler Martin Hayes, guitarist John Doyle and flutist Kevin Crawford showcase their renowned talents for Irish traditional music.
Captivating Collaboration
Fiddler Martin Hayes, guitarist John Doyle and flutist Kevin Crawford are considered powerhouses of Irish traditional music. As the trio the Teetotallers, they are what the Irish Echo calls a "dream team made real." They first played together at an impromptu performance at the 2010 Sebastopol Celtic World Music Festival in California, which sparked a musical connection they could not ignore. On stage they bring a mix of talent, skill and imagination driven by Hayes' award-winning style, Crawford's understated mastery and Doyle's fingerpicking and occasional tenor vocals. The resulting songs capture the true essence of the Emerald Isle.


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Key Features | |
Storage Capacity | 8 GB |
Audio Supported Formats | Protected AAC |
Video Supported Formats | H.264, M4V, MP4, MPEG-4, Mov |
Battery Run Time | Up to 30 Hours |
Audio / Video Capabilities | |
MP3 Bit-Rate | 8 kbps - 320 kbps |
Max Video Resolution | 480 x 320 |
Screen Size | 3.5 Inch |
Dimensions | |
Width | 2.4 Inch |
Depth | 0.33 Inch |
Height | 4.3 Inch |
Weight | 4.05 Oz |
connectivity | |
Interfaces | USB 2.0 |
Miscellaneous | |
Additional Features | Equalizer Controls, Upgradable Firmware |
Supported Power Supply | Internal Battery, Rechargeable via USB cable |
Storage Type | Built-in Memory, Hard Drive |
Number Of Songs | 1750 |
Frequency Response | 20-20000 Hz |
The third generation of Apple's iPod Touch is still the king of the hill when it comes to portable, Wi-Fi wielding media players. New additions such as Voice Control, graphics enhancements, improved accessibility, higher capacity, and a faster processor help to refine and already excellent product.
Apple's 8GB Touch doesn't share the same hardware improvements as its higher-capacity kin, and the video cameras found on the iPhone 3GS and iPod Nano remain conspicuously absent. The lack of refinements to its audio quality, hardware design, and video playback leave us feeling just a little uninspired.
Though the updates are subtle, the third-generation iPod Touch still leaves its competitors in the dust.
Average review score based on 2,752 user reviews
of customers recommend this product
The iPod touch 3rd generation is technically a 2nd generation device with an updated operating system. It offers an incredible video iPod, pocket computer, and portable game player all in a single sleek unit with exceptional battery life. The iPod touch offers the same Multi-Touch interface as the iPhone, which allows you to use your fingers to control all aspects of the iPod. The touch has WiFi capability for connecting to the Internet, checking email, and connecting to the iTunes store. Bluetooth technology allows you to connect wirelessly to other devices for seamless integration or enjoy wireless stereo sound by using Bluetooth headphones. The 3rd generation iPod touch also offers Spotlight search, voice controls, and voice memos with the OS 3.1 software, as well as cut, copy, and paste functions and Genius Playlists and Mixes.
The Apple iPOD Touch 3rd generation 32-GB digital media player supports music playback, podcast downloads, video playback, and allows rentals from iTunes stores. The voice command feature in the iPOD Touch enables playback control by calling out the name of the song, album or artist. The Genius playlist feature on this MP3 player allows you to create your own genre-based playlists from the App Store recommendations. You can even go online and check emails via the Safari Web browser preloaded on this digital media player. With Bluetooth stereo (A2DP) enabled, this MP3 Player can easily be paired with any Bluetooth-compatible devices.
The third generation of Apple's iPod Touch is still the king of the hill when it comes to portable, Wi-Fi-wielding media players. New additions such as Voice Control, graphics enhancements, improved accessibility, higher capacity, and a faster processor help to refine an already excellent product.
I decided to upgrade after buying my wife the 1st Gen iPod touch 16GB.
My likes & Dislikes are based on differences I see over my 2 previous iPods (4GB Nano, and 80GB Classic 5th Gen.)
Excellent battery life. Approaches the stated 30 or so hours. This is achieved with Wi-fi turned off and screen lock set to 1 minute. Otherwise battery life is a disappointing hour or so.
Music search is great with the title/ artist selection by alphabetic listing. Just touch the letter. Even though the Classic and Nano have the click wheel (which is great), this is even better when you can point to the first letter. I guess this is why it's called the touch.
A little annoyance I have is that you need to slide-to-unlock to access the main screen after the lock has timed out. Having not read the manual (who does anymore?), I did discover you can double click the select button to access the music controls (functions limited to Reverse/ Forward track and Pause/ Play).
Screen resolution is Great. I heard the 4th Gen has a higher resolution. Plays You Tube clips adequately. Built in speaker is a plus over the 1st Gen.
Wi-Fi access is a good feature. Internet access is convenient, but searching and looking at e-mails on a small screen takes some getting used to.
32GB is less than half of the Classic's 80GB, but is adequate for my 3500+ songs. I've used approx 24GB so I guess it's ok for my needs. The next larger size for the Touch is 64GB, but I couldn't justify the jump in price.
I guess 32GB of flash memory (no moving parts) unlike the Classic's hard drive which I'm always careful with at the gym. The Classic I had to place on the treadmill's front panel to prevent excessive movement. One less thing to worry about with solid state memory.
Final point - all iPod devices need a case. I have a flip type leather case. Having the Audio jack on the bottom of the unit enables you to open the case when the wire is plugged in. They've thought of everything is seems.
Overall I rate this as an Excellent buy!!!
Pank 2.20.2011
Pros: Great media player with lots of features(see below)Can get excellent value from very good condition used models.
Cons: New models are pricey. Must have iTunes if you want to use full features. At times the screen is too small to type if you have med-large size fingers. Unable to do some cool stuff if you don't jail break.
The best media player and so much more. Not only is this a fantastic player, but you also have access to the Apple App Store with tons of free apps. Besides all the great games one of the best apps I found is called iCall. It allows you to make free phone calls with your iPod Touch over Wifi. You can almost do everything with your touch that you can do with the phone.
Do your research. Find a Great Seller. Buying used is OK. Be sure to get a good screen protector and case.
Battery Life: I usually get about every 4-5 hrs of play after a charge. Less with Bluetooth and Wi-Fi enabled.
4/5 - Good
Features: Touch screen interface, music, movies, books, games (apps), surfing the web and more.
5/5 - Excellent
Design: Sleek, smooth, easy to carry/hold
4/5 - Good
Overall Value: Features + Functions
5/5 - Excellent


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The artnet Magazine was the first online art publication. It was run by Walter Robinson from 1996 to 2012.
All articles published until June 2012 will remain available here to our visitors.
Mariko MoriEntropy of Love1998 Courtesy of Deitch Projects Color Photograph on Glass 10ft x 20ft x 0.85 inches five panels, each 4ft wide


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Here Nuffic staff and external experts provide background information on current events and analyse ongoing developments in international higher education.
The 10th misconception
Ad Boeren adds a 10th misconception to the list of myths and misconceptions about internationalisation in higher education, and assesses the differing perspectives that abound about adding an international dimension to higher education.
Knowledge exchange on internationalisation policy in Nuffic course
On 6 and 7 November a new edition of the Nuffic training course on internationalisation policy took place at the Nuffic office in The Hague. This interactive course for participants of Dutch higher education institutions covers the various aspects of the policy making process and the obstacles participants face in their day-to-day work in the field of internationalisation.
Lessons learned on improving the quality and relevance of vocational training through ICT
Four lessons to improve the quality and relevance of vocational training through the use of ICT, based on our experience with a Nuffic supported training programme set up in collaboration with the provincial governments of Santa Cruz and Oruro in Bolivia.
Survey shows: Erasmus programme benefits teachers, students and universities
Participation in the European Lifelong Learning programme is enriching, valuable and inspiring. That can be concluded from the results of a web survey carried out by the Dutch National Agency for the Lifelong Learning programme among participants of the programmes Comenius, Grundtvig, Leonardo da Vinci and Erasmus. In this blog we focus on the results for the Erasmus programme.
Higher education and European cooperation in Croatia
Twenty-two years after Croatia declared independence from Yugoslavia it will join the European Union. On 1 July Croatia will become the 28th member state.
Talent and Attraction: Competing for the best
In 2012 Nuffic published the International student recruitment: policies and developments in selected countries report on strategies and instruments on international student recruitment. 25 countries were analysed and reviewed. An annex to this report has now been published focusing on three Nordic countries: Sweden, Norway and Finland.
Trans-national education harms development cooperation
Currently in the Netherlands, trans-national education (TNE) is not a topic of discussion. If discussed at all, its desirability is only debated from a financial perspective and never from the developmental perspective. This is however highly needed with a view towards potential Dutch TNE activities in developing countries that are currently receiving Dutch governmental support to develop their higher education sectors. The question to be answered is whether pledging support through development cooperation on one hand and intervening through TNE on the other, can go hand in hand.
Where is higher education in the Post-2015 development agenda?
The United Nations recently published the Report of the High-Level Panel of Eminent Persons on the Post-2015 Development Agenda. The contents are the outcome of a global consultation process supported by a great number of expert studies and papers. The report sets out the next crucial phase in the Post-2015 process.
Do we need a 'skills goal' in the global development agendas?
It rained 'skills' reports in 2012
Benchmarking workshop
How do you set up a benchmarking exercise for internationalisation in higher education? This was the main question discussed during an in-company workshop presented by Nuffic staff.
Creating an international learning community
From 11-13 April the third international Integrating Content and Language in Higher Education (ICLHE) conference was held at the University of Maastricht in the Netherlands. The conference reflected the growing research interest in how the integration of discipline-specific content and learning through another language is achieved in practice.
Getting insight into training needs in the South: Comparing NFP TMT and Short Course Programmes
What does an analysis of TMT programme themes, in relation to NFP short course themes, tell us about the actual training needs in partner countries in the South?
Synergy in action: a new Nuffic publication
Coordination of capacity building programmes in higher education and research.
Tailor-made Training: Huge returns on investment
In our previous blog last Wednesday, we unpacked the key characteristics of the Tailor-made training modality. In the present blog we discuss cost effectiveness of the programme and how Nuffic is balancing this against the rising interest in the programme.
Tailor-made Training: A very effective capacity building instrument
Nuffic's Tailor-made Training (TMT) programme is fast, flexible, responsive, relevant, demand-driven and target-oriented. In this blog, we unpack these adjectives of acclamation to illustrate just what it is that distinguishes this modality of capacity building.
2012 - The year of the MOOCs?
As usual a lot can happen in a year, and for 2012 this was not different. One of the developments that was highlighted by the end of the year by an initiative in the UK is the emergence of top universities offering free online courses. Can 2012 be baptised – among others – the year of the MOOCs (massive open online courses)?
Erasmus on budget – will there be funding?
Early this fall it became clear that the Erasmus student mobility grant is underfunded. This is due to earlier shortages in the EU budget and a lower budget for 2012 than the European Commission asked for in the negotiations with the European Parliament and member states. Overall, the European Commission needs € 9 billion euros extra for their 2012 expenditures, of which € 90 million is needed to comply with the agreements made for the Erasmus programme.
What international alumni appreciate about study and life in Holland
Nuffic conducted a study on what Holland Alumni from the countries where a Neso office is located, appreciated about their study and life in the Netherlands. What do the results tell us in relation to the potential to successfully attract and bind international alumni for the Dutch labour market?
The Value of an International Degree: Matching Expectations on Career Prospects to Reality
Nuffic recently conducted a study on the effect of a Dutch degree on the career prospects of alumni from Neso countries. What do the results tell us?
Can benchmarks on education output advise on international cooperation strategies?
Many countries and institutions seek cooperation with growth markets, such as the BRICs. A look at ranks on education output shows that these countries do not always score high. In some circles, this has raised a question: shouldn't we focus more on co-operation with countries that traditionally score high on benchmarks, such as Finland and South Korea?


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(CNN) -- Five people were killed and dozens wounded when two car bombs exploded Friday at a livestock market in Diwaniya, about 140 km south of Baghdad, Iraq, police and health officials said.
URGENT - Iraq-Violence
POSTED: 03:04 PM MST Mar 01, 2013
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Long-Sleeve Crochet Shrug: This versatile sweater gives a light layer of coverage over any number of outfits. It makes sleeveless sundresses office-ready and provides a touch of warmth on cool evenings.
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Aqua 1 AquariumsAqua 1 began it is life in 1980. Established by two brothers, who sold ornamental fish in the Hong Kong streets. This corporation has expanded globally and it's 1 of the principal distributors of aquatic supplies (and also pet and gardening equipment). Distribution operations are discovered in China, the british isles, Australia, New Zealand and Hong Kong. The vast majority of manufacturing occurs in China. Aqua 1 hope to give you a 1 quit shop for all aquatic supplies whether that be to the beginner or skilled enthusiast. Aqua One's Eurostyle aquariums are the leading of their range and one of the greatest selling goods. They're of a comparable style to the nicely known Fluval brand nonetheless, with a taller style which gives a great view of the aquascape and fish display. This is absolutely significant screen viewing inside of a favourite design! The supplied external filter offers flexibility unavailable with integrated filters as nicely as getting much less obtrusive to your view. The fashionable style Eurostyle comes complete with Aqua 1 T5 lighting, heating and Advance external filtration. The glass is 10mm for all sizes and the cabinets will be the regular high Aqua One normal. Model 80 Aquarium dimension is 80cm x 42cm x 64cm high, the volume is 180 litres and the cabinet measures 80cm x 42 x 76cm high. The heater is 200w, lighting 2x24watt T5 and also the Filter is a Advance 750. This is certainly a amazing seeking tank - really well-known and with great reason!! We are positive that you will be thrilled with the style and high quality of this item. An great location to compare and buy Aqua One aquariums, tropical fish tanks, water garden supplies, low cost fish tanks, silk aquarium plants and all related fish keeping supplies is Aquarium House. When you obtain 1 of our Seapets supplied Aqua One aquariums you can be positive of a fantastic deal. Plus, we know you will also need the following :
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Fall fashion trends from the New York, London, Milan, and Paris fashion week runways + street style inspiration too
Straight from the catwalk and into your closet– sleek styles from the runway & the lovely fashion week street style ladies will inspire you to make a chic impact on your wardrobe in more ways than one.
How does that sound?
Curated highlights from our our extensive Fall 2013 Runway Coverage from our …
Published on August 29, 2013


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Backpacks Gregory Backpacks Internal Backpacks
(based on 2 reviews)
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Love this pack!
By Hikes to Waterfalls
from Nashville, TN
About Me Casual Adventurer
Best Uses
Comments about Gregory Deva 60 Pack for Women:
I'm fairly new to backpacking, but I tried on almost every backpack in every outdoor store in town. Turns out I have a super short torso and need an XS in the Gregory Deva 60. Used it on a short day trip (too much pack, but I was excited) and a 2-night weekend trip. Held everything that I needed and I barely felt like I was carrying anything. The prices at Sunny Sports blew everyone out of the water.
Comment on this review
Great pack!
By Kari
from Grand Rapids MI
This is my first pack and I love it. I used it to climb to the highest point in Texas and it was great. I love that the top detaches to make a little 'fanny pack' too.
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text: marijuana farm By Jim Bell October 31, 2011 10:17 AM Share on Facebook Share on Twitter Category: Share on Facebook Share on Twitter More Leave a comment Send to a friend! Print this page Pin it! Reddit This! Share on Tumblr! More From Newstalk 860 Lufkin Students Earn Bragging Rights in Magazine Instagram Unveils New Snapchat-Killer — 'Instagram Direct' The 2014 Golden Globes Nominations! 'American Hustle' and '12 Years a Slave' Lead the Pack Pope Francis Is Time's Person of the Year 2013 Best of the Web ZergNet


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Brian Dukes
The 70th annual Golden Globe Awards airs Sunday, Jan. 13 at 8 p.m. and will be co-hosted by Tina Fey and Amy Poehler.
While I'm excited about these two hilarious ladies as co-hosts, I'm particularly looking forward to the evening because the Golden Globes are the first real predictors of Oscar gold.
That said, I've taken a look at some of the categories and will share my picks, which I reserve the right to retroactively alter. Here we go:
Best Motion Picture (Drama): I think "Lincoln" has to be the film to beat this year, with "Argo" as the potential spoiler. Whichever wins this category also will win for Best Director (Steven Spielberg for "Lincoln" and Ben Affleck for "Argo").
Best Performance by an Actress (Drama): This really boils down to Naomi Watts (for "The Impossible") or Jessica Chastain (for "Zero Dark Thirty").
Best Performance by an Actor (Drama): Daniel Day Lewis has to be the favorite here for his work in "Lincoln." He's simply one of the finest actors of our time.
Best Performance by a Supporting Actress (Drama): Sally Field ("Lincoln") will duke it out with Anne Hathaway ("Les Miserables") here.
Best Performance by a Supporting Actor (Drama): I'd be happy with either Leonardo DiCaprio or Christoph Waltz for their work on "Django Unchained."
Best Motion Picture (Comedy or Musical): Here ya go, "Les Miserables"; I'm pretty sure this category was made for you.
Best Performance by an Actress (Comedy or Musical): Who knows? You've got Judi Dench vs. Meryl Streep vs. Maggie Smith vs. Jennifer Lawrence (who has my vote).
Best Performance by an Actor (Comedy or Musical): This is a toss-up between Jack Black (for "Bernie") and Bradley Cooper, who has been receiving a lot of praise for his role in "Silver Linings Playbook."
Best Animated Feature: My heart wants "Wreck It Ralph" to win, while my brain says "Brave" and my gut says "Frankenweenie."
Best Television Series (Drama): I don't know what "Downton Abbey" is. I just know people won't stop talking about it.
Best Television Series (Comedy or Musical): This has to be "Girls," right?
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Tag Archives: banjo kazooie
Fri, May 03, 2013 | 11:20 BST
Rare composer releases soundtracks on 'pay what you like' basis
Rare composer Grant Kirkhope has released all of his soundtracks – for games spanning Banjo Kazooie and Perfect Dark – on a 'pay what you like' basis.
Wed, Sep 26, 2012 | 21:35 BST
Ex-Rare employees want to develop a spiritual successor to Banjo Kazooie
Ex-Rare employees have banded together to work on the spiritual successor to Banjo Kazooie. It seems the series' composer Grant Kirkhope and artist Steven Hurst are on board for the project as well, and the Unity engine is being considered for development. In order to get the title made, though, you'll need to show the team some support by following the team's Twitter account. We'll let you know if we hear anything else. Thanks, Nintendo Life.
Sat, Apr 11, 2009 | 13:41 BST
Rare releases teaser video for Banjo's Stop 'N Swoop feature
Rare has released a new video on Xbox Live showing off the Stop 'N Swoop feature in Banjo-Kazooie and Banjo-Tooie.
Depending on which of the two games you choose, Stop 'N Swoop will unlock content providing you reach a goal in the other game.
Banjo-Tooie's in the way to Arcade, so this gives a look at what to expect from the feature, which was promised but never implemented in the original games.
The teaser is posted below, and more information is through the link.
Wed, Dec 03, 2008 | 14:50 GMT
Rare patches original Banjo
Rare's patched the original Banjo-Kazooie, the firm's detailed in this blog post, fixing a couple of fairly non-life-threatening issues.
From the post:
- The update addresses issues experienced by people playing in the 1080i and 1080p. Players will be able to enjoy the game in uncompromised 1080 loveliness.
- It also addresses the Bottles Secret Puzzle glitch for all players starting the game afresh.
- Finally, it also sorts out the one or two instances of strange leaderboard entries but as part of that, two of the leaderboards will need to be reset to make everything fair and square again…
More through there. Go and buy it. You may as well.
Mon, Dec 01, 2008 | 19:38 GMT
Original Banjo this Wednesday
Nelson's confirmed that the original Banjo-Kazooie will release this Wednesday on XBLA.
It's yours for 1200 MS Points.
Apparently it's not quite the classic you remember it to be, but hopefully there'll be plenty of you that take the risk.
Thu, Sep 25, 2008 | 19:44 BST
Rare outlines Banjo XBLA pre-order details
Rare popped us a mail this afternoon to clarify how you're going to be able to get the original Banjo-Kazooie through XBLA for free by ordering Banjo Kazooie: Nuts & Bolts.
This time we've rounded up all the details to date on the Nuts & Bolts pre-order scheme with the Banjo-Kazooie XBLA giveaway, because you asked and we love you.
For the blissfully unaware: it's an offer allowing those who pre-order Banjo-Kazooie: Nuts & Bolts (from certain retailers in certain territories – see below) to download the Xbox Live Arcade version of the original Banjo-Kazooie not only for free, but roughly two weeks in advance of its public release date. Which is not just awesome, but awesome in the voice of the surfer dude fish from SpongeBob SquarePants.
You'll get the free B-K download token on or near the time you pick up Nuts & Bolts, and for the period between the launch of the two games (Nuts & Bolts on November 11th/14th in US/Europe, B-K XBLA on November 26th), only N&B pre-order customers will be able to download and play B-K XBLA.
Loads more through there, including participating retailer details by region. Off you go!
Thu, Sep 25, 2008 | 07:18 BST
Banjo XBLA movie posted
After the break. Looks very much like the Xbox Live Arcade version of Banjo Kazooie to us, Achievements and all. Really brought it back watching the first bit, to be honest.
See for yourself.
Tue, Jul 15, 2008 | 07:16 BST
Original Banjo for XBLA, says Kim
Speaking in the ongoing Microsoft E3 press conference, Shane Kim just confirmed that the original Banjo-Kazooie is to be released on XBLA.
The exec didn't give a release date, unfortunately.
More soon.


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Notoriously fun to drive.
Comfort, design, and performance went for a spin together.
Award-earning and head turning. And just a little rubber burning. The 2013 Golf is fully capable of handling whatever life throws at it.
© 2013 Volkswagen Canada.
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