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By Deloyrs Welch-Tyson

"The writer designates her major woman characters 'gingersnaps—spicy, and tough, brown and bold—women who refuse to permit their cookies collapse whilst confronted with a challenge.'

All girls have stories that elicit activities that have an effect on their relationships with one another and the boys of their lives. They have interaction and have interaction in an international jam-packed with jealousy, ambition, love, and hate, but every one possesses that internal power to beat adversity and rebound with style." —Booklist

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Extra resources for Gingersnaps

Sample text

The debate over imperial rituals], and in the later years he turned to the cult of religious Taoism in a search for a life without death. Both concerns ruined many able officials, and wasted the energy and wealth of the empire. In foreign relations these years saw Mongol bands sweeping across the Great Wall almost at will, raiding and killing from the northwestern frontier to the Liaotung peninsula. Along the southeast coast the . . [Japanese pirates] caused equal suffering and destruction, and erupted just as often.

This technique is, therefore, evidence not of the author’s failure to maintain a consistent tone, but rather of his constant endeavor to provoke self-reflection on the part of readers by carefully modulated manipulations of their distance from the events described in the text. This is ,in short, a significant feature of the author’s overall design,in both senses of the word. As Robert Scholes has said: When we become aware of design in reading, so that one part of a story reminds us of parts we have read earlier, we are actually involved in a movement counter to our progress from beginning to end.

The chapter contains three compositions by Hsün-tzu in this genre, which was of popu­ lar origin and which has been described as a remote ancestor of the ku-tzu, or drum song,a type of oral literature that flourished during the Ming and C h’ing dynasties and is still performed today. In these three works Hsün-tzu employs this form, borrowed from the popular literature of his day, to ex­ press his despair over the disorder of his own times, to diagnose the causes of this disorder, to trace its historical antecedents, and to prescribe the rem­ edies necessary for its cure.

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