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A Field Guide for Writers

Leiderman, Constance H. Keefer, and T. Berry Brazelton, with the col- laboration of James Caron, Rebecca New, Patrice Miller, Edward Z. Tronick, David Feigal, and Josephine Yaman, Child Care and Culture: Lessons from Africa, 1994. • Barbara Rogoff, The Cultural Nature of Human Development, 2003. • Patricia Marks Greenfi eld, Weav- ing Generations Together: Evolving Creativity in the Maya of Chiapas, 2004. trust. see Attachment, Infant twin studies. see Genetics: Behavioral Genetics; Re- search on Child Development twins. see Multiple Births u universe of the

, ultimately leading me to posit silence itself as an ecotone.” An ecotone is that middle ground between two habitats, the place where water meets shoreline, where savannah turns into forest, a place of both danger and opportunity. Shubert writes, “Those two main branches are an enforced, oppressing silence that censors and endangers its subjects; and a positive, inward, centering silence that allows for creativity and opportunity. Thus silence is an ecotone, not 206 Afterword the opposite of sound, but existing at its edge, occasionally allowing us access to the

said about success- ful academic writing? What correlation is there between writing style, or writing skill, and the number of copies that go out into the world? The fol- lowing generalizations seem to lie behind much of what’s said about the publishing business, yet there’s another side to each. 1. The Art of Slow Writing: Reflections on Time, Craft, and Creativity. New York: St. Mar- tin’s Griffin, 2014. - - - - - - - - - - - - - - - 229this book —  and the next 1. Writing clearly will guarantee that your book will be a success. Clarity is a

universal or is it simply a garbage can? Is it stable or will it be modified without notification to users? These are the questions you must ask of every new tool you find. They are indeed the questions that have motivated my judgments of tools throughout. They guarantee that you will find tools that will be most likely to find reason- able and necessary amounts of the best material with the smallest amount of work. These three lessons— about creativity, nonlinearity, and quality— will be your guides to dealing with the inevitable changes of the tools and

embarrassed, and how great it would be to find a teacher who would help you through that moment of embarrassment in such a sweet way. And I really admire in that detail and in many, many others, the creativity that people use to get through every day.” French is almost always seeking the answer to a basic question: “How do we navigate through a day?” The answer matters, because it gets to the mysterious and genuine core of who we are, what we value, how we do our work, how we honor or betray those who count on us. Spoken words start to uncover meaning. WHOM, WHERE

Council for Exceptional Children, 414, 937 Council of Europe, 763 counsel, legal. See legal representation of children Counter-Reformation, 661 Cox, Penny, 1018 CRAFFT questionnaire, 965, 968 cranial radiation therapy (CRT), 135 crawling, 74, 641, 643–44, 673, 678, 680, 687, 740, 1001 Crayola Kids, 583 creationism. See intelligent design creativity, 67, 216–17, 372, 385, 414, 655–56, 745, 747, 749, 996, 1002–4, 1036 crèches, 153, 155, 440, 1029 cretinism, 319 Creutzfeldt-Jakob disease (CJD), 319 crib death. See sudden infant death syn- drome (SIDS) Cricket, 582

dates from the mid nineteenth century in its native French, and fell into use in English in reference to an intense period of working activity or creativity – a fine example of which came to a head on this date. In July 1741, the composer George Frideric Handel received a new libretto from his friend and collaborator Charles Jennens. A devout Christian, Jennens adapted his lyrics from the King James Bible and the Book of Common Prayer, telling the stor- ies of the prophet Isaiah and the enunciation, crucifixion and resurrection of Jesus. Handel set to work

neurosis along with aspects of the normal mourning process. Klein found an early Oedipus complex and a ruthless, primitive superego in all infants, suggesting that the two genders have diff erent as well as shared psychic trajectories from the start. Her emphasis on the wish by boys as well as girls to give birth underlaid her interest in sublimation and creativity. Finally, she understood that the death drive man- ifests itself as a primal envy of the mother’s creative pow- ers. She believed that the death drive is balanced by the life drive, hate by love, and