Freeman S Fables

This collection of stories is for all ages, encompassing various times and places. The author has set in place a challenge to see if you know who, from within the stories, is actually the creator and storyteller. The reader is then encouraged to email the answer to the author. Come, let me weave for you a web of wisdom, morals, fables, and other sundry, cautionary tales, where every character has their own story within this veritable jackanory. Within is testament of tales; short tales, tall tales and those somewhere in-between, weaved with the wisdom diffused from petty crimes, witty rhymes, folklore and dreams, into a rhapsody of writing for the reader to relish. The characters tell tales that all ages will understand, about attitudes, behaviours and love for your neighbours; what’s wrong and right and will give you insight into messages passed down since the inception of time, as well as those that are hidden between the lines. This menagerie of morals are infused with light-hearted anecdotes, quips and quick witted wits, being easy on the eye and can be read in quiet, or aloud, with the most eloquent of lips. And all I ask, dear reader, if you are able, Is to tell me who is the overall teller of these tales and fables? If you think you know who is the teller of these tales, Tell me, please, dear reader via email.

A chatty crow, a newly ambitious dog, and a pair of unlikely animal friends are the stars of these three tales that combine humor with gentle lessons in humility, responsibility, and loyalty.

Africa: fact, fiction or fable takes a look at the unique things, places, people and even animals in Africa. This truly interesting and factual book in encyclopedic format will appeal to both the general and academic market.

This work explains the origins of the familiar and the unfamiliar in everyday speech and literature, including the colloquial and the proverbial. It embraces archaeology, history, religion, the arts, science, mythology and characters from fiction.

Edwin H. Friedman has woven 24 illustrative tales that offer fresh perspectives on familiar human foibles and reflect the author's humor, pathos, and understanding. Friedman takes on resistance and other "demons" to show that neither insight, nor encouragement, nor intimidation can in themselves motivate an unmotivated person to change. These tales playfully demonstrate that new ideas, new questions, and imagination, more than accepted wisdom, provide each of us with the keys to overcoming stubborn emotional barriers and facilitating real change both in ourselves and others. Thought-provoking discussion questions for each fable are included. See also the downloadable audiobook, Friedman's Fables: Favorites Read by the Author, featuring 15 of the tales narrated in Dr. Friedman's inimitable style.

An analysis of how nineteenth-century women regional writers represent political economic thought Readers of late nineteenth-century female American authors are familiar with plots, characters, and households that make a virtue of economizing. Scholars often interpret these scenarios in terms of a mythos of parsimony, frequently accompanied by a sort of elegiac republicanism whereby self-sufficiency and autonomy are put to the service of the greater good—a counterworld to the actual economic conditions of the period. In Kitchen Economics: Women’s Regionalist Fiction and Political Economy, Thomas Strychacz takes a new approach to the question of how female regionalist fictions represent “the economic” by situating them within traditions of classical political economic thought. Offering case studies of key works by Sarah Orne Jewett, Mary Wilkins Freeman, Harriet Beecher Stowe, Rose Terry Cooke, and Alice Dunbar-Nelson, this study focuses on three complex cultural fables—the island commonwealth, stadialism (or stage theory), and feeding the body politic—which found formal expression in political economic thought, made their way into endless public debates about the economic turmoil of the late nineteenth century, and informed female authors. These works represent counterparts, not counterworlds, to modernity; and their characteristic stance is captured in the complex trope of feminaeconomica. This approach ultimately leads us to reconsider what we mean by the term “economic,” for the emphasis of contemporary neoclassical economics on economic agents given over to infinite wants and complete self-interest has caused the “sufficiency” and “common good” models of female regionalist authors to be misinterpreted and misvalued. These fictions are nowhere more pertinent to modernity than in their alliance with today’s important alternative economic discourses.