The Borrowers Afloat
The Borrowers Afloat is a children's fantasy novel by Mary Norton, published in 1959 by Dent in the UK and Harcourt in the US. It was the third of five books in a series, called The Borrowers, inaugurated by The Borrowers in 1952. In this third of the Borrowers series, the Clock family begins living in the house of a human boy named Tom; the borrowers find that they will starve because his uncle are moving away. They need to leave but Tom's pet weasel or ferret is outside the door. Luckily, the animal still has the bell that Tom put on it, but they know they cannot outrun such a swift animal. Just when things are looking grim, Spiller returns via a secret passage: he has come through the drains underneath the house. Spiller says that he has not told the rest of the borrowers about the drains because they never asked. While deciding where to go, Spiller tells them that they might go to Little Fordham, a replica village; the place has been a bit of a legend with all Borrowers: a whole village made for Borrower size residents with plenty of food from the visiting big people.
Spiller lets them stay in one of his hide out places, a tea kettle, while he goes and investigates the matter for them. During the waiting period, the rain causes the kettle to be put adrift downstream; the Clocks decide that their best chances are to hope that Spiller will realize what has happened and find them. For the most part there aren't many frightening adventures, but they lose the kettle some time after it gets stuck in some trash, but while still on the river, Mild Eye, the gypsy who nearly caught them before, discovers them. The Clock family is trapped; the Return of the Borrowers: The 1993 sequel to The Borrowers, this BBC TV series starred Ian Holm, Penelope Wilton and Rebecca Callard. The series was adapted from the third and fourth Borrowers novels, The Borrowers Afield and its sequel The Borrowers Aloft
J. M. Dent
Joseph Malaby Dent was a British book publisher who produced the Everyman's Library series. Dent was born in Darlington in. After a short and unsuccessful stint as an apprentice printer he took up bookbinding. At the age of fifteen he gave a talk on James Boswell's Life of Johnson which would be the first book printed in the Everyman's Library. Around 1896 he began publishing high-quality limited editions of literary classics under the Temple Classics imprint. In 1888 he founded the publishing firm of Company. Between 1889 and 1894 Dent published the works of Charles Lamb, Oliver Goldsmith, Jane Austen, Chaucer and like authors. Printed in small runs on handmade paper, these early editions enjoyed modest commercial success. Dent established the successful Temple Shakespeare series in 1894. In 1904, Dent began to plan Everyman's Library, a series of one thousand classics to be published in an attractive format and sold at one shilling. To meet demand, Dent built the Temple Press in Letchworth founded as the first Garden City.
The publication of the Everyman Library began in 1906 and 152 titles were issued by the end of the first year. However, it was soon confronted by a double blow: the Copyright Act 1911 which extended protection to fifty years after the author's death thus reducing the availability of Victorian texts, World War I which brought with it inflation and shortages of supplies. In A Sinking Island, Hugh Kenner wrote: "Destiny beckoned J. M. Dent toward the kingdom of books, without learning to spell he became an influential bookman, he was small, tight-fisted, apt to weep under pressure, a performance that could disconcert authors and employees. When his temper had risen like a flame he'd scream, his paroxysms were famous. For editing the Library he paid Ernest Rhys three guineas a volume—what senior office-boys might earn in two weeks. Dent's ungovernable passion was for bringing Books to the People, he remembered. Yes, you could make the world better, he thought cheap books might prevent wars."Although not a new idea, what set Everyman's apart from earlier series was its scope.
He was able to build a new offices in Covent Garden with the profits. Despite having an impressive range of literature, Dent prevented classics of dubious morals, such as Moll Flanders, from being printed; the First World War slowed the production of books and Dent did not live to see the one thousand volume mark reached in 1956. Among the impressive volumes that came from Dent was The Pilgrim's Regress, the spiritual autobiography of C. S. Lewis, published in 1933. J. M. Dent, his sons Hugh and Jack, Jack's son F. J. Martin Dent, constituted the board of directors in the 1920s. Hugh Dent functioned as an editor for Everyman's Library. After J. M. Dent's death, W. G. Taylor, the secretary of the firm since 1916, joined the board. Hugh R. Dent served as the chairman from 1926 to 1938, followed by Taylor from 1938 to 1963. Taylor was managing director from 1934 to 1955. F. J. Martin Dent followed Taylor as managing chairman. Weidenfeld & Nicolson purchased J. M. Dent & Sons in January 1988, it now forms an imprint of the Orion Publishing Group.
The registered companies of J. M. Dent & Sons and Everyman's Library were retained by the Dent family and are now an investment company, Malaby Holdings Ltd, Malaby Martin Ltd, a niche development company. A new sister company Malaby Biogas Ltd was created in 2009 as a pioneering renewable energy and sustainable development business. J. M. and Hugh R. Dent, The House of Dent 1888-1938: being the memoirs of J. M. Dent with additional chapters covering the last 16 years by Hugh R Dent, London: J. M. Dent, 1938. Ernest Rhys, Everyman Remembers, London: J. M. Dent and Sons Limited, 1931. Works by or about J. M. Dent in libraries Works published by Dent, at Internet Archive J. M. Dent & Sons Records, 1834-1986, unc.edu. "Archival material held in the Wilson Library at the University of North Carolina at Chapel Hill"
Fantasy is a genre of speculative fiction set in a fictional universe inspired by real world myth and folklore. Its roots are in oral traditions, which became literature and drama. From the twentieth century it has expanded further into various media, including film, graphic novels and video games. Fantasy is distinguished from the genres of science fiction and horror by the absence of scientific or macabre themes though these genres overlap. In popular culture, the fantasy genre is predominantly of the medievalist form. In its broadest sense, fantasy consists of works by many writers, artists and musicians from ancient myths and legends to many recent and popular works. Most fantasy uses other supernatural elements as a main plot element, theme, or setting. Magic and magical creatures are common in many of these worlds. An identifying trait of fantasy is the author's reliance on imagination to create narrative elements that do not have to rely on history or nature to be coherent; this differs from realistic fiction in that realistic fiction has to attend to the history and natural laws of reality, where fantasy does not.
An author applies his or her imagination to come up with characters and settings that are impossible in reality. Many fantasy authors use real-world mythology as inspiration. For instance, a narrative that takes place in an imagined town in the northeastern United States could be considered realistic fiction as long as the plot and characters are consistent with the history of a region and the natural characteristics that someone, to the northeastern United States expects. Fantasy has been compared to science fiction and horror because they are the major categories of speculative fiction. Fantasy is distinguished from science fiction by the plausibility of the narrative elements. A science fiction narrative is unlikely, though possible through logical scientific or technological extrapolation, where fantasy narratives do not need to be scientifically possible. Authors have to rely on the readers' suspension of disbelief, an acceptance of the unbelievable or impossible for the sake of enjoyment, in order to write effective fantasies.
Despite both genres' heavy reliance on the supernatural and horror are distinguishable. Horror evokes fear through the protagonists' weaknesses or inability to deal with the antagonists. Elements of the supernatural and the fantastic were a part of literature from its beginning. Fantasy elements occur throughout the ancient Akkadian Epic of Gilgamesh; the ancient Babylonian creation epic, the Enûma Eliš, in which the god Marduk slays the goddess Tiamat, contains the theme of a cosmic battle between good and evil, characteristic of the modern fantasy genre. Genres of romantic and fantasy literature existed in ancient Egypt; the Tales of the Court of King Khufu, preserved in the Westcar Papyrus and was written in the middle of the second half of the eighteenth century BC, preserves a mixture of stories with elements of historical fiction and satire. Egyptian funerary texts preserve mythological tales, the most significant of which are the myths of Osiris and his son Horus. Folk tales with fantastic elements intended for adults were a major genre of ancient Greek literature.
The comedies of Aristophanes are filled with fantastic elements his play The Birds, in which an Athenian man builds a city in the clouds with the birds and challenges Zeus's authority. Ovid's Metamorphoses and Apuleius's The Golden Ass are both works that influenced the development of the fantasy genre by taking mythic elements and weaving them into personal accounts. Both works involve complex narratives in which humans beings are transformed into animals or inanimate objects. Platonic teachings and early Christian theology are major influences on the modern fantasy genre. Plato used allegories to convey many of his teachings, early Christian writers interpreted both the Old and New Testaments as employing parables to relay spiritual truths; this ability to find meaning in a story, not true became the foundation that allowed the modern fantasy genre to develop. The most well known fiction from the Islamic world was The Book of One Thousand and One Nights, a compilation of many ancient and medieval folk tales.
Various characters from this epic have become cultural icons in Western culture, such as Aladdin and Ali Baba. Hindu mythology was an evolution of the earlier Vedic mythology and had many more fantastical stories and characters in the Indian epics; the Panchatantra, for example, used various animal fables and magical tales to illustrate the central Indian principles of political science. Chinese traditions have been influential in the vein of fantasy known as Chinoiserie, including such writers as Ernest Bramah and Barry Hughart. Beowulf is among the best known of the Nordic tales in the English speaking world, has had deep influence on the fantasy genre. Norse mythology, as found in the Elder Edda and the Younger Edda, includes such figures as Odin and his fellow Aesir, dwarves, elves and giants; these elements have been directly imported into various fantasy works. The separate folklore of Ireland and Scotland has sometimes been us
St Nectan's Church, Hartland
The Church of St Nectan is the parish church of Hartland, England. Sometimes referred to as the "Cathedral of North Devon", it is located in the hamlet of Stoke, about 1.5 miles west of the town of Hartland. It is dedicated to Saint Nectan. Saint Nectan was one of many Celtic hermits and missionaries associated with early Christian sites in south-west Britain, South Wales and Ireland in the fifth and sixth centuries. A well 100 metres from the church is the reputed site of his hermitage; the history of the area is obscure. Traditionally the church was founded in thanksgiving for the preservation of her husband's life in a storm at sea. Nothing is known of the earliest building nor whether it was rebuilt or enlarged when the collegiate church was replaced by a house of Augustinian regulars at Hartland Abbey in the twelfth century; the current building, believed to date from 1360, replaced the earlier church on the site, of which only the font still remains and is thought to date from 1170. The 128 ft tower, rising in four stages, claimed to be the highest in Devon, has for centuries been a landmark to sailors at sea.
It was built about sixty years after the rest of the church and it contains a peal of six bells, last rehung in 1952, weighing 3 tons. The arch of the tower, open today, once housed a musicians' gallery where the'church orchestra' of fiddles, double bass and clarinet played for services; the magnificent rood screen, dating from 1450, is a massive structure of eleven bays, 45 ft 6 in long, 12 ft 6 in high and 5 ft 10 in wide at the top. Earlier times saw both seating on top of the screen. Other features of great interest include the old wagon roofs; the monuments include an elaborate medieval tomb-chest, a small brass of 1610 and a metal-inlaid lid of a churchyard tomb of 1618. The church contains a set of five windows by the glass painters Caroline Townshend and Joan Howson which depict the history of the parish. A further window by Townshend & Howson is installed at St John's Chapel of Ease in Hartland Square; the main east window and the tower window are by Christopher Webb. There are at least two windows by Alfred Beer - east chancel chapel.
The whole building is fitted out with a fine if plain set of pews dating from the 16th-century. The graveyard of St. Nectan's is the burial place of Mary Norton, a children's writer, whose most famous work is The Borrowers. 2018 - The Reverend Jane Skinner Team Rector Sunday: 1st: 11:00 United Service 2nd: 11:00 Sung Eucharist 3rd: 10:00 Breakfast Church - all-age worship at the Methodist Church 4th: 11:00 Sung Eucharist 5th: 11:00 Team Service at varying locationsWeekdays: 08:00 Morning Prayer 11:00 Holy Communion North Devon Coast AONB Warmington, B. H. Guide to the Church of St. Nectan Manley, T. Hartland Times Hartland Coast Mission Community "North Devon Coast Areas of Outstanding Natural Beauty"
This is a true story. The Borrowers is a children's fantasy novel by the English author Mary Norton, published by Dent in 1952, it features a family of tiny people who live secretly in the walls and floors of an English house and "borrow" from the big people in order to survive. The Borrowers refers to the series of five novels including The Borrowers and four sequels that feature the same family after they leave "their" house; the Borrowers won the 1952 Carnegie Medal from the Library Association, recognising the year's outstanding children's book by a British author. In the 70th anniversary celebration of the medal in 2007 it was named one of the top ten Medal-winning works, selected by a panel to compose the ballot for a public election of the all-time favourite. Harcourt and Company published it in the U. S. in 1953 with illustrations by Beth and Joe Krush. It was published in four parts, with illustrations by Erik Blegvad, during the summer of 1953 in Woman's Day magazine. There have been several adaptations of The Borrowers in film.
All five Borrowers novels feature the Clock family. In the first book they live in a house based on The Cedars where Norton was raised; the sequels are titled alliteratively and alphabetically: The Borrowers Afield, The Borrowers Afloat, The Borrowers Aloft, The Borrowers Avenged. All were published by J. M. Dent in hardcover editions. Puffin Books published a 700-page trade paperback omnibus edition in 1983, The Complete Borrowers Stories with a short introduction by Norton; the primary cause of trouble and source of plot is the interaction between the minuscule Borrowers and the "human beans", whether the human motives are kind or selfish. The main character is teenage Arrietty, who begins relationships with Big People that have chaotic effects on the lives of herself and her family, causing her parents to react with fear and worry; as a result of Arrietty's curiosity and friendships with Big People, her family are forced to move their home several times from one place to another, making their lives more adventurous than the average Borrower would prefer.
After escaping from their home under the kitchen floorboards of an old English manor they settle down in the home of a caretaker on the grounds of an old church. Along the way, they meet more characters: other Borrowers, including a young man around Arrietty's age who lives outdoors and whose only memory of his family is the descriptive phrase, "Dreadful Spiller", which he uses as a name, the Harpsichord family who are relatives of the Clock family, Peregrine Overmantel; the short, separate book Poor Stainless was revised as a novelette and re-published posthumously with a short author's note in 1994. The narrative, told by Homily to Arrietty, occurs before the first of the full-length Borrower novels, concerns a small adventure Stainless has when he gets lost; the story begins with a frame story of young Kate sewing a quilt with her aunt Mrs May. As they stitch the quilt, Kate complains that some of her sewing supplies have gone missing, leading her to wonder where all the small household items that disappear end up.
Mrs May tells Kate about the Borrowers: miniature human-like creatures who live unseen in houses and "borrow" such items from the "human beans" that live there. She goes on to tell the story of how her younger brother once befriended a young Borrower named Arrietty. Arrietty Clock lives with her parents Homily under the floor beneath a grandfather clock. One day Pod comes home shaken from a borrowing expedition. After Arrietty goes to bed, Pod tells Homily that he has been seen by a human boy, sent from India to live with his great-aunt while recovering from an illness. Remembering the fate of their niece Eggletina, who disappeared after the "human beans" brought a cat into the house and Homily decide to tell Arrietty. In the course of the ensuing conversation, Homily realizes that Arrietty ought to be allowed to go borrowing with Pod. Several days Pod invites Arrietty to accompany him on a borrowing trip. Since Arrietty has only seen the outdoors through a grating, she is allowed to explore the garden, where she meets the Boy.
After some trepidation on both their parts and the Boy strike a bargain: the Boy, bilingual and slow to learn English, will bring the literate Arrietty books if she will read to him. At one point, Arrietty tells the Boy that the world cannot have enough resources to sustain many humans, he tells her that there are millions of people in India alone. Arrietty becomes upset when she realizes she cannot know that there are any Borrowers other than her own family; the Boy offers to take a letter to a badger sett two fields away where her Uncle Hendreary, Aunt Lupy, their children are supposed to have emigrated. Meanwhile, Arrietty has learned from Pod and Homily that they get a "feeling" when big people approach, she is concerned that she didn't have a feeling when the Boy approached, so she practices by going to a certain passage below the kitchen, more trafficked by humans than the rest of the house. There she overhears the gardener Crampfurl discussing the Boy. Mrs Driver dislikes children in general and believes the Boy is up to no good when Crampfurl suspects that the Boy is keeping a pe
British literature is literature from the United Kingdom of Great Britain and Northern Ireland, Isle of Man, Channel Islands. This article covers British literature in the English language. Anglo-Saxon literature is included, there is some discussion of Latin and Anglo-Norman literature, where literature in these languages relate to the early development of the English language and literature. There is some brief discussion of major figures who wrote in Scots, but the main discussion is in the various Scottish literature articles; the article Literature in the other languages of Britain focuses on the literatures written in the other languages that are, have been, used in Britain. There are articles on these various literatures: Latin literature in Britain, Anglo-Norman, Guernésiais, Jèrriais, Manx, Scottish Gaelic, etc. Irish writers have played an important part in the development of literature in England and Scotland, but though the whole of Ireland was politically part of the United Kingdom between January 1801 and December 1922, it can be controversial to describe Irish literature as British.
For some this includes works by authors from Northern Ireland. The nature of British identity has changed over time; the island that contains England and Wales has been known as Britain from the time of the Roman Pliny the Elder. English as the national language had its beginnings with the Anglo-Saxon invasion of c.450 A. D. Prior to this the inhabitants spoke various Celtic languages; the various constituent parts of the present United Kingdom joined at different times. Wales was annexed by the Kingdom of England under the Acts of Union of 1536 and 1542. However, it was not until 1707 with a treaty between England and Scotland, that the Kingdom of Great Britain came into existence; this merged in January 1801 with the Kingdom of Ireland to form the United Kingdom of Great Britain and Ireland. Until recent times Celtic languages continued to be spoken in Scotland, Wales and Ireland, still survive in parts of Wales Subsequently, the impact of Irish nationalism led to the partition of the island of Ireland in 1921, which means that literature of the Republic of Ireland is not British, although literature from Northern Ireland is both Irish and British.
Works written in the English language by Welsh writers if their subject matter relates to Wales, has been recognised as a distinctive entity since the twentieth-century. The need for a separate identity for this kind of writing arose because of the parallel development of modern Welsh-language literature; because Britain was a colonial power the use of English spread through the world, from the nineteenth-century in the United States, in other former colonies, major writers in English, including Nobel laureates, began to appear beyond the boundaries of Britain and Ireland. Latin literature ecclesiastical, continued to be written in the centuries following the withdrawal of the Roman Empire at the beginning of the fifth-century, including Chronicles by Bede, Historia ecclesiastica gentis Anglorum, Gildas, De Excidio et Conquestu Britanniae. Various Celtic languages were spoken by many of British people at this time and among the most important written works that have survived are Y Gododdin and the Mabinogion.
From the 8th to the 15th centuries and Norse settlers and their descendants colonised parts of what is now modern Scotland. Some Old Norse poetry survives relating to this period, including the Orkneyinga saga an historical narrative of the history of the Orkney Islands, from their capture by the Norwegian king in the ninth century onwards until about 1200. Old English literature, or Anglo-Saxon literature, encompasses the surviving literature written in Old English in Anglo-Saxon England, in the period after the settlement of the Saxons and other Germanic tribes in England c. 450, after the withdrawal of the Romans, "ending soon after the Norman Conquest" in 1066. 1100–50. These works include genres such as epic poetry, sermons, Bible translations, legal works, chronicles and others. In all there are about 400 surviving manuscripts from the period. Oral tradition was strong in early English culture and most literary works were written to be performed. Epic poems were thus popular, some, including Beowulf, have survived to the present day.
Beowulf, is the most famous work in Old English and has achieved national epic status in England, despite being set in Scandinavia. Nearly all Anglo-Saxon authors are anonymous: twelve are known by name from Medieval sources, but only four of those are known by their vernacular works with any certainty: Cædmon, Alfred the Great, Cynewulf. Cædmon is the earliest English poet. Cædmon's only known surviving work is Cædmon's Hymn, which dates from the late 7th century. Chronicles contained a range of historical and literary accounts, a notable example is the Anglo-Saxon Chronicle; the poem Battle of Maldon deals with history. This is the name given to a work, of uncertain date, celebrating the real Battle of Maldon of 991, at which the Anglo-Saxons failed to prevent a Viking invasion. Classical antiquity was not forgotten in Anglo-Saxon England and several Old English poems are adaptations of late classical philosophical texts; the longest is King Alfred's translation of Boethius' Consolation of Philosophy.
The linguistic diversity of the islands in the medieval period contributed to a rich variety of artistic production, made British literature distinctive and innovative. Works were still written in Latin and include Gerald of Wales's late-12th-century book on his beloved Wales, It
Walter Elias Disney was an American entrepreneur, voice actor and film producer. A pioneer of the American animation industry, he introduced several developments in the production of cartoons; as a film producer, Disney holds the record for most Academy Awards earned by an individual, having won 22 Oscars from 59 nominations. He was presented with two Golden Globe Special Achievement Awards and an Emmy Award, among other honors. Several of his films are included in the National Film Registry by the Library of Congress. Born in Chicago in 1901, Disney developed an early interest in drawing, he took art classes as a boy and got a job as a commercial illustrator at the age of 18. He moved to California in the early 1920s and set up the Disney Brothers Studio with his brother Roy. With Ub Iwerks, Walt developed the character Mickey Mouse in 1928, his first popular success; as the studio grew, Disney became more adventurous, introducing synchronized sound, full-color three-strip Technicolor, feature-length cartoons and technical developments in cameras.
The results, seen in features such as Snow White and the Seven Dwarfs, Fantasia and Bambi, furthered the development of animated film. New animated and live-action films followed after World War II, including the critically successful Cinderella and Mary Poppins, the latter of which received five Academy Awards. In the 1950s, Disney expanded into the amusement park industry, in 1955 he opened Disneyland. To fund the project he diversified into television programs, such as Walt Disney's Disneyland and The Mickey Mouse Club. In 1965, he began development of another theme park, Disney World, the heart of, to be a new type of city, the "Experimental Prototype Community of Tomorrow". Disney was a heavy smoker throughout his life, died of lung cancer in December 1966 before either the park or the EPCOT project were completed. Disney was a shy, self-deprecating and insecure man in private but adopted a warm and outgoing public persona, he had high expectations of those with whom he worked. Although there have been accusations that he was racist or anti-Semitic, they have been contradicted by many who knew him.
His reputation changed in the years after his death, from a purveyor of homely patriotic values to a representative of American imperialism. He remains an important figure in the history of animation and in the cultural history of the United States, where he is considered a national cultural icon, his film work continues to be adapted. Walt Disney was born on December 5, 1901, in Chicago's Hermosa neighborhood, he was the fourth son of Elias Disney—born in the Province of Canada, to Irish parents—and Flora, an American of German and English descent. Aside from Disney and Flora's sons were Herbert and Roy. In 1906, when Disney was four, the family moved to a farm in Marceline, where his uncle Robert had just purchased land. In Marceline, Disney developed his interest in drawing when he was paid to draw the horse of a retired neighborhood doctor. Elias was a subscriber to the Appeal to Reason newspaper, Disney practiced drawing by copying the front-page cartoons of Ryan Walker. Disney began to develop an ability to work with watercolors and crayons.
He lived near the Atchison and Santa Fe Railway line and became enamored with trains. He and his younger sister Ruth started school at the same time at the Park School in Marceline in late 1909. In 1911, the Disneys moved to Missouri. There, Disney attended the Benton Grammar School, where he met fellow-student Walter Pfeiffer, who came from a family of theatre fans and introduced Disney to the world of vaudeville and motion pictures. Before long, he was spending more time at the Pfeiffers' house than at home. Elias had purchased a newspaper delivery route for Kansas City Times. Disney and his brother Roy woke up at 4:30 every morning to deliver the Times before school and repeated the round for the evening Star after school; the schedule was exhausting, Disney received poor grades after falling asleep in class, but he continued his paper route for more than six years. He attended Saturday courses at the Kansas City Art Institute and took a correspondence course in cartooning. In 1917, Elias bought stock in a Chicago jelly producer, the O-Zell Company, moved back to the city with his family.
Disney enrolled at McKinley High School and became the cartoonist of the school newspaper, drawing patriotic pictures about World War I. In mid-1918, Disney attempted to join the United States Army to fight against the Germans, but he was rejected for being too young. After forging the date of birth on his birth certificate, he joined the Red Cross in September 1918 as an ambulance driver, he was arrived in November, after the armistice. He drew cartoons on the side of his ambulance for decoration and had some of his work published in the army newspaper Stars and Stripes. Disney returned to Kansas City in October 1919, where he worked as an apprentice artist at the Pesmen-Rubin Commercial Art Studio. There, he drew commercial illustrations for advertising, theater programs and ca