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Unclean Slates: Stories is a collection of seven short stories that comments on the nature of family ties, and how such ties help form a sense of identity. Each story focuses on a separate protagonist, all of whom strive for a new beginning or an escape from some aspect of their current lives. The short story cycle of this collection is held together not by place or characters, but ultimately by the theme of wishing for a new beginning: they share a desire to fix some dissatisfying element of their lives. Mostly from the point of view of blue-collar characters leading mundane middle-class lives, these stories provide commentary on what it means to run from the conditions that make up one's sense of identity. Most of the revelations formed throughout these stories lead to a sense of acceptance of these conditions, and an understanding that family and history make up part of human consciousness. While the specific locations presented in these stories are not necessarily the same, each story seeks to focus on a location that proves to be fundamental to the makeup of the protagonist. The cities and geographic locations themselves are not as important as the specifics: the schools, diners, lakes, and so forth where these characters find themselves contemplating their disillusionment about where their lives have brought them. Facing everything from postpartum depression to simply missing out on a career opportunity, these characters all experience a sense of loss that brings them together in a way that is recognizable to the reader as the collection progresses.

Please note: this work is permanently embargoed in OpenBU. No public access is forecasted for this item. To request private access, please click on the locked Download file link and fill out the appropriate web form. / A thesis of four short stories. / 2999-01-01T00:00:00Z

A thesis submitted in fulfillment of the requirements of the degree of Doctor of Phisophy in the Faculty of Arts, in the Department of African Languages at the University of Zululand, South Africa, 2009. / Like many other nations, around the globe, Zulus are well known for their story telling techniques that is evident in their folktales, praises, riddles, songs and many other art forms of yesteryears. Emanating from such artistry of narrating, the Zulus have also joined forces with the other artists of the modem world in producing narratives of high quality and standard in the light of contemporary prose narratives. Ngcongwane, (1987:36) alludes to this art form as follows: Narrating is an old human activity. All of us do it - just as much as all ofus who are not crippled can walk. Such a statement by Ngcongwane confirms that even Africans are able to narrate stories, be it from a traditional or modem perspective. Sibiya, (2002:1) seems to be concurring with what is said by Ngcongwane when he states that: ... Zulus are renowned for their storytelling abilities that date back to time immemorial. 'Time immemorial' here seems to be confirming exactly what Ngcongwane refers to as 'an old human activity'. This art ofnarration is not only a thing ofthe past, but has been in existence since the ancient era to the present day. The significance of its existence is evidenced in the development and the involvement of the short stories and drama In this chapter we will illustrate the extent of development that has taken place with African writers, specifically the Zulu, being represented by Msimang in his three novels, 'Akuyiwe Emhlahlweni' (1973), 'Buzani KuMkabayi' (1982), and 'Walivuma Icala' (1996).

Cities I've Never Lived In is a collection of stories.

A collection of Short Stories involving the strange, the fantastic, the perverse, and the uncanny experiences of human existence.

The Sky We Buried is a collection of short stories, flash pieces, and fragments investigating queer histories and speculative futures of academic researchers, computer programmers, single mothers, grieving widows, Boy Scout troops, pilots, museum caretakers, Victorian mediums, clones, and rogue AI programs.

This study examined the recall of televised stories for younger (4-6 years) and older (7-9 years) children with and without ADHD under two different viewing conditions (toys present/toys absent). Each child watched two Rugrats television programs, once with toys present and once with toys absent. Immediately after viewing a program, the child completed a free recall of the observed story. Nonreferred childrens recall increased more than ADHD childrens as importance level increased, and older nonreferred children recalled more information overall than older children with ADHD. For the toys condition, children with ADHD had smaller correlations between the story units recalled and the order of these units in the story than did nonreferred children. Children with ADHD demonstrated multiple difficulties in story comprehension. They were less sensitive to thematic importance and they produced less coherent recalls than their nonreferred peers.

Narration, or storytelling, is an important aspect of language. Narrative skills have practical and social importance; for example, children who tell good stories receive attention and approval from their peers. When children accurately recount events surrounding an injury or dispute, vital information is passed to parents and teachers. Additionally, early childhood narrative skills are moderately correlated with reading comprehension in primary grades. Because narration is socially and academically valued, language interventionists often address it. The research literature on narrative intervention has most often included school-aged participants and those with language or learning difficulties. Only a small number of studies have investigated narrative intervention with preschoolers, and the supporting evidence is suggestive rather than conclusive. Outcomes frequently targeted include narrative story grammar (e.g., character, problem, action, consequence) and general language outcomes (e.g., length of story, mean length of communication unit, and total number of words). Results have been generally positive; however, the methodological quality of studies is poor. Therefore, few firm conclusions can be drawn regarding the efficacy of narrative interventions. Because of its potential and popularity, the effect of narrative intervention on a range of populations needs to be examined systematically through high quality research. This study evaluated the effects of a narrative intervention on story retelling and story generation using a multiple baseline design with five target participants. We delivered narrative intervention in a small group arrangement. Materials, activities, and instructor assistance were adjusted systematically within session to facilitate increasingly independent practice of story retells and personal story generations. Results suggest that narrative intervention improved participants' narrative retell and personal generation performance based on Index of Narrative Complexity (INC) scores. All five target participants made substantial gains in narrative retelling, demonstrated improved pre-intervention to post-intervention INC scores for personal generations, and these improvements maintained when assessed following a 2-week break. In addition, we documented growth in general language measures such as number of communication units, mean length of utterance, number of different words, and total number of words.

The purpose of this study was twofold: (a) to compare preschool children's comprehension of a story after either enacting the story or participating in an art project, and (b) to qualitatively describe the children's interactions during the more interactive story enactment instruction. Twenty children from two Head Start classrooms were told the stories as a class, and then participated in either an art project (AP) or story enactment (SE) in small groups. The children in each classroom each heard three stories followed by the AP condition, and three followed by the SE condition. The children's comprehension of the story was tested after the story was initially read, and again after the AP or SE by having the children participate in a joint retelling of the story in which the child was asked to fill in several pieces of information as the examiner told the story. Children's comprehension of the story was significantly better after receiving story enactment instruction than after art project instruction, although significant variability was present. Children's interactions during the story enactment were evaluated using a rubric. Children's participation varied from story to story. Smaller group sizes and repeated enactments were beneficial to most children's participation in the story.