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Jenifer, Muriel and I were led downstairs and through the darkened house. The dining room was just as dark. I knew it was full of students. I could barely make out teenagers in the front row. Soon the whispering started. It was hard to make out what they were saying but as their voices rose in volume I heard “Kill them!” They said this repeatedly, getting louder each time. When they were shouting “Kill them!” the lights were suddenly turned on. All the students jumped up and charged at us. They slammed us against the wall and screamed obscenities and threats at us.
I was born illegitimate, with eye sight problems. I was adopted from a Catholic infant home. Because of the constant early separations that resulted from being bounced back and forth between the infant home, and my home, I developed emotional problems. My insecure, volatile, mother reacted badly to my problems. She often abused me, physically, and verbally. My father, a timid, man, who adored his wife, offered me very little support. By the time I was seven I embarked on a path that would take me from one institution to another, occasionally spending several months at home, which made me worse. The authorities didnt know what went on in the home, but they did know that a visually impaired, run away made them nervous. When I was twelve I was diagnosed as semi autistic. Because of this and my compulsion to run away, I wound up in a very controversial treatment center in Maine. Then at age seventeen my life began to improve. I was enrolled in the Perkins School for the blind in Massachusetts. I fell in love with the school, and wanted to spend a long time there. However, Perkins was seen as a finishing school for me. After two years I reluctantly graduated, and entered the world totally unprepared for what life had to offer. It wasnt until I was in my forties that I followed through on something I had always wondered about. My adoption records were opened, allowing me to learn many things about my birth mother, and family. Together with the few details my adopted father gave me, I was able to make contact with my family.
Jenifer, Muriel and I were led downstairs and through the darkened house. The dining room was just as dark. I knew it was full of students. I could barely make out teenagers in the front row. Soon the whispering started. It was hard to make out what they were saying but as their voices rose in volume I heard “Kill them!” They said this repeatedly, getting louder each time. When they were shouting “Kill them!” the lights were suddenly turned on. All the students jumped up and charged at us. They slammed us against the wall and screamed obscenities and threats at us.
Jenifer, Muriel and I were led downstairs and through the darkened house. The dining room was just as dark. I knew it was full of students. I could barely make out teenagers in the front row. Soon the whispering started. It was hard to make out what they were saying but as their voices rose in volume I heard "Kill them!" They said this repeatedly, getting louder each time. When they were shouting "Kill them!" the lights were suddenly turned on. All the students jumped up and charged at us. They slammed us against the wall and screamed obscenities and threats at us.
Play dates, soccer practice, day care, political correctness, drudgery without facts, television, video games, constant supervision, endless distractions: these and other insidious trends in child rearing and education are now the hallmarks of childhood. As author Anthony Esolen demonstrates in this elegantly written, often wickedly funny book, almost everything we are doing to children now constricts their imaginations, usually to serve the ulterior motives of the constrictors. Ten Ways to Destroy the Imagination of Your Child takes square aim at these accelerating trends, in a bitingly witty style reminiscent of C. S. Lewis, while offering parents—and children—hopeful alternatives. Esolen shows how imagination is snuffed out at practically every turn: in the rearing of children almost exclusively indoors; in the flattening of love to sex education, and sex education to prurience and hygiene; in the loss of traditional childhood games; in the refusal to allow children to organize themselves into teams; in the effacing of the glorious differences between the sexes; in the dismissal of the power of memory, which creates the worst of all possible worlds in school—drudgery without even the merit of imparting facts; in the strict separation of the child’s world from the adult’s; and in the denial of the transcendent, which places a low ceiling on the child’s developing spirit and mind. But Esolen doesn’t stop at pointing out the problem; he offers clear solutions as well. With charming stories from his own boyhood and an assist from the master authors and thinkers of the Western tradition, Ten Ways to Destroy the Imagination of Your Child is a welcome respite from the overwhelming banality of contemporary culture. Interwoven throughout this indispensable guide to child rearing is a rich tapestry of the literature, music, art, and thought that once enriched the lives of American children. Ten Ways to Destroy the Imagination of Your Child confronts contemporary trends in parenting and schooling by reclaiming lost traditions. This practical, insightful book is essential reading for any parent who cares about the paltry thing that childhood has become, and who wants to give a child something beyond the dull drone of today’s culture.
A guide for mining the imagination to find powerful new ways to succeed. We need imagination now more than ever—to find new opportunities, rethink our businesses, and discover paths to growth. Yet too many companies have lost their ability to imagine. What is this mysterious capacity? How does imagination work? And how can organizations keep it alive and harness it in a systematic way? The Imagination Machine answers these questions and more. Drawing on the experience and insights of CEOs across several industries, as well as lessons from neuroscience, computer science, psychology, and philosophy, Martin Reeves of Boston Consulting Group's Henderson Institute and Jack Fuller, an expert in neuroscience, provide a fascinating look into the mechanics of imagination and lay out a process for creating ideas and bringing them to life: The Seduction: How to open yourself up to surprises The Idea: How to generate new ideas The Collision: How to rethink your idea based on real-world feedback The Epidemic: How to spread an evolving idea to others The New Ordinary: How to turn your novel idea into an accepted reality The Encore: How to repeat the process—again and again. Imagination is one of the least understood but most crucial ingredients of success. It's what makes the difference between an incremental change and the kinds of pivots and paradigm shifts that are essential to transformation—especially during a crisis. The Imagination Machine is the guide you need to demystify and operationalize this powerful human capacity, to inject new life into your company, and to head into unknown territory with the right tools at your disposal.
The co-founder and longtime president of Pixar updates and expands his 2014 New York Times bestseller on creative leadership, reflecting on the management principles that built Pixar’s singularly successful culture, and on all he learned during the past nine years that allowed Pixar to retain its creative culture while continuing to evolve. “Might be the most thoughtful management book ever.”—Fast Company For nearly thirty years, Pixar has dominated the world of animation, producing such beloved films as the Toy Story trilogy, Finding Nemo, The Incredibles, Up, and WALL-E, which have gone on to set box-office records and garner eighteen Academy Awards. The joyous storytelling, the inventive plots, the emotional authenticity: In some ways, Pixar movies are an object lesson in what creativity really is. Here, Catmull reveals the ideals and techniques that have made Pixar so widely admired—and so profitable. As a young man, Ed Catmull had a dream: to make the first computer-animated movie. He nurtured that dream as a Ph.D. student, and then forged a partnership with George Lucas that led, indirectly, to his founding Pixar with Steve Jobs and John Lasseter in 1986. Nine years later, Toy Story was released, changing animation forever. The essential ingredient in that movie’s success—and in the twenty-five movies that followed—was the unique environment that Catmull and his colleagues built at Pixar, based on philosophies that protect the creative process and defy convention, such as: • Give a good idea to a mediocre team and they will screw it up. But give a mediocre idea to a great team and they will either fix it or come up with something better. • It’s not the manager’s job to prevent risks. It’s the manager’s job to make it safe for others to take them. • The cost of preventing errors is often far greater than the cost of fixing them. • A company’s communication structure should not mirror its organizational structure. Everybody should be able to talk to anybody. Creativity, Inc. has been significantly expanded to illuminate the continuing development of the unique culture at Pixar. It features a new introduction, two entirely new chapters, four new chapter postscripts, and changes and updates throughout. Pursuing excellence isn’t a one-off assignment but an ongoing, day-in, day-out, full-time job. And Creativity, Inc. explores how it is done.
"John Paul Lederach's work in the field of conciliation and mediation is internationally recognized. He has provided consultation, training and direct mediation in a range of situations from the Miskito/Sandinista conflict in Nicaragua to Somalia, Northern Ireland, Tajikistan, and the Philippines. His influential 1997 book Building Peace has become a classic in the discipline. In this book, Lederach poses the question, "How do we transcend the cycles of violence that bewitch our human community while still living in them?" Peacebuilding, in his view, is both a learned skill and an art. Finding this art, he says, requires a worldview shift. Conflict professionals must envision their work as a creative act-an exercise of what Lederach terms the "moral imagination." This imagination must, however, emerge from and speak to the hard realities of human affairs. The peacebuilder must have one foot in what is and one foot beyond what exists. The book is organized around four guiding stories that point to the moral imagination but are incomplete. Lederach seeks to understand what happened in these individual cases and how they are relevant to large-scale change. His purpose is not to propose a grand new theory. Instead he wishes to stay close to the "messiness" of real processes and change, and to recognize the serendipitous nature of the discoveries and insights that emerge along the way. overwhelmed the equally important creative process. Like most professional peacemakers, Lederach sees his work as a religious vocation. Lederach meditates on his own calling and on the spirituality that moves ordinary people to reject violence and seek reconciliation. Drawing on his twenty-five years of experience in the field he explores the evolution of his understanding of peacebuilding and points the way toward the future of the art." http://www.loc.gov/catdir/enhancements/fy0616/2004011794-d.html.
A former college president offers a framework for sustainability on campus, describing initiatives that range from renewable energy to a revamped curriculum to sustainable investment. Colleges and universities offer our best hope for raising awareness about the climate crisis and the other environmental threats. But most college and university administrations need guidance on the path to sustainability. In The Nine Elements of a Sustainable Campus, Mitchell Thomashow, a former college president, provides just that. Drawing on his experiences at Unity College in Maine, he identifies nine elements for a sustainability agenda: energy, food, and materials (aspects of infrastructure); governance, investment, and wellness (aspects of community); and curriculum, interpretation, and aesthetics (aspects of learning). He then describes how Unity put these elements into practice. Connecting his experiences to broader concerns, Thomashow links the campus to the planet, reminding us that local efforts, taken together, can have a global impact.
In this inspirational and unflinchingly honest memoir, acclaimed author Reyna Grande describes her childhood torn between the United States and Mexico, and shines a light on the experiences, fears, and hopes of those who choose to make the harrowing journey across the border. Reyna Grande vividly brings to life her tumultuous early years in this “compelling...unvarnished, resonant” (BookPage) story of a childhood spent torn between two parents and two countries. As her parents make the dangerous trek across the Mexican border to “El Otro Lado” (The Other Side) in pursuit of the American dream, Reyna and her siblings are forced into the already overburdened household of their stern grandmother. When their mother at last returns, Reyna prepares for her own journey to “El Otro Lado” to live with the man who has haunted her imagination for years, her long-absent father. Funny, heartbreaking, and lyrical, The Distance Between Us poignantly captures the confusion and contradictions of childhood, reminding us that the joys and sorrows we experience are imprinted on the heart forever, calling out to us of those places we first called home. Also available in Spanish as La distancia entre nosotros.