document_title: Fee-fi-fo-fum

question_text: where did fe fi fo fum come from

question_tokens: where did fe fi fo fum come from

text: Fee-fi-fo-fum

text: "Fee-fi-fo-fum" is the first line of a historical quatrain (or sometimes couplet) famous for its use in the classic English fairy tale "Jack and the Beanstalk". The poem, as given in Joseph Jacobs' 1890 rendition, is as follows:

text:
Fee-fi-fo-fum,
I smell the blood of an Englishman,
Be he alive, or be he dead
I'll grind his bones to make my bread.[1]

text: Though the rhyme is tetrametric, it follows no consistent metrical foot; however, the respective verses correspond roughly to monosyllabic tetrameter, dactylic tetrameter, trochaic tetrameter, and iambic tetrameter. The poem has historically made use of assonant half rhyme.

text: Origin[edit]

text: The rhyme may have originated with the ballad Childe Rowland.

text: It appears in the pamphlet Haue with You to Saffron-Walden (published in 1596) written by Thomas Nashe (who mentions that the rhyme was already old and its origins obscure):[2]

text:
Fy, Fa and fum,
I smell the blood of an Englishman

text: In William Shakespeare's play King Lear (c. 1605),[2] the character Edgar exclaims:

text:
Fie, foh, and fum,
I smell the blood of a British man.

text: The verse in King Lear makes use of the archaic word "fie", used to express disapproval.[3] This word is used repeatedly in Shakespeare's works: King Lear shouts, "Fie, fie, fie! pah, pah!", and in Antony and Cleopatra, Mark Antony's exclaims, "O fie, fie, fie!"

text: The earliest known printed version of the Jack the Giant-Killer tale appears in The history of Jack and the Giants (Newcastle, 1711) and this,[2][4] and later versions (found in chapbooks), include renditions of the poem, recited by the giant Thunderdell:

text:
Fee, fau, fum,
I smell the blood of an English man,
Be alive, or be he dead,
I'll grind his bones to make my bread.[1]

Fe, Fi, Fo, Fum.
I smell the blood of an Englishman,
Be he living, or be he dead,
I’ll grind his bones to mix my bread.[5]

text: Charles Mackay proposes in The Gaelic Etymology of the Languages of Western Europe that the seemingly meaningless string of syllables "Fa fe fi fo fum" is actually a coherent phrase of ancient Gaelic, and that the complete quatrain covertly expresses the Celts' cultural detestation of the invading Angles and Saxons:

text:
Fa from faich (fa!)  "behold!" or "see!"
Fe from Fiadh (fee-a) "food";
Fi from fiú "good to eat"
Fo from fogh (fó) "sufficient" and
Fum from feum "hunger".

tag: ul

text: Thus "Fa fe fi fo fum!" becomes "Behold food, good to eat, sufficient for my hunger!"[6]

text: Ironically, after the Napoleonic Wars it could be said that the British soldier alive or dead gave British children their homes and bread.  The battlefields were swept of corpses by UK businessmen whom shipped tons of bones through the port of Hull to Yorkshire where steam mills setup to grind them sent the powdered calcium through Doncaster and other markets where it was sold to farmers as fertiliser for their fields.  [7]


document_title: Twist and Shout

question_text: who sang lead vocals on twist and shout

question_tokens: who sang lead vocals on twist and shout

root

text: Twist and Shout

text: The Top Notes[edit]

text: In 1961, one year after Phil Spector became a staff producer at Atlantic Records, he was asked to produce a single by an up-and-coming vocal group, The Top Notes. This was before Spector perfected his "Wall of Sound" technique, and the recording, at the Atlantic Studios on February 23, 1961, arranged by Teddy Randazzo with musicians including saxophonist King Curtis, guitarist John Pizzarelli, and drummer Panama Francis, with backing vocals by the Cookies,[1] lacked much of the energy the Top Notes exhibited in their live performances.[2]

tag: p

text: The Top Notes included singers Howard "Howie" Guyton (also known as Guy Howard), a cousin of Dave "Baby" Cortez; and Derek Martin, also known as Derek Ray.[3] Guyton provided the lead vocals on "Twist and Shout".[4] Guyton, Martin and Cortez had previously all been members of vocal groups the Pearls (also known as the Five Pearls) in their home city of Detroit, and then of the Sheiks in New York;[3] and Guyton and Martin later recorded as members of Jimmy Ricks & the Raves. Derek Martin later recorded a succession of singles, mostly on the Roulette label, in the 1960s and early 1970s, including a version of Otis Blackwell's "Daddy Rollin' Stone", before moving to live in France where he has continued to perform.[5][6][7] Guyton later sang in a touring version of the Platters, and died of a heart attack in 1977, aged 39, while touring in Argentina.[8][9]

text: Songwriter Bert Berns felt Spector had ruined the song, and went out to show Spector how it should be done.[10]

text: The Isley Brothers[edit]

text:
"Twist and Shout"

A-side label of the US single

Single by The Isley Brothers

B-side
"Spanish Twist"

Released
June 16, 1962

Format
7-inch single

Recorded
New York City, 1962

Genre
Rock and roll, R&B

Length
2:27

Label
Wand (653)

Songwriter(s)
Phil Medley, Bert Russell

Producer(s)
Bert Russell

The Isley Brothers singles chronology

"Shout"
(1962)
"Twist and Shout"
(1962)
"Twistin' With Linda"
(1962)

tag: table

text: When the Isley Brothers decided to record the song in 1962, Bert Berns (who also used the name Bert Russell) opted to produce, and thus demonstrate to Spector what he had intended to be the "sound" of the record.[10] The resulting recording captured the verve of an Isley Brothers performance, and became the trio's first record to reach a Top 20 position in the Billboard Hot 100 singles chart.

text: The Isley Brothers' version, with Ronald Isley on lead vocals, was the first major hit recording of the song, peaking at No. 17 on the U.S. pop top 40 charts, and No. 2 on the US R&B charts. The song quickly became a frequently covered R&B tune in the early 1960s. According to Ronald, the song was supposed to be the B-side to the Burt Bacharach standard, "Make It Easy on Yourself", which had been a hit for Jerry Butler. When the Isleys recorded "Twist and Shout", the brothers did not think the song would do well, as they had not had a hit in the three years since "Shout" established them. To their surprise, it became their first Top 40 hit on both the pop and R&B charts, and for a time established the group's reputation for producing fast-paced songs during their earlier career.

text: Personnel[edit]

text:
Ronald Isley – lead vocals
O'Kelly Isley Jr. – backing vocals
Rudolph Isley – backing vocals
King Curtis – saxophone
Eric Gale – guitar
Trade Martin – guitar
Cornell Dupree – guitar
Paul Griffin – piano
Chuck Rainey – bass
Gary Chester – drums
Production by Bert Russell

text: The Beatles' version[edit]

text:
"Twist and Shout"

Song by the Beatles

from the album Please Please Me

Released
March 22, 1963

Format
LP record

Recorded
February 11, 1963

Studio
EMI, London

Genre
Rock and roll

Length
2:32

Label
Parlophone

Songwriter(s)
Phil Medley, Bert Russell

Producer(s)
George Martin

text: Released on the Beatles' first UK album, Please Please Me (1963), the complete recording of which on February 11, 1963, was their first album session and is notable for 10 songs recorded in a mere 13 hours. "Twist and Shout", with John Lennon on lead vocals, was the last song recorded; producer George Martin knew Lennon's voice would suffer from the performance, so he left it until last, with only 15 minutes of scheduled recording time remaining.

text: Lennon was suffering from a cold, and was drinking milk and sucking on cough drops to soothe his throat. His coughing is audible on the album, as is the cold's effect on his voice. Even so, he produced a memorable vocal performance: a raucous, dynamic rocker. He later said his voice was not the same for a long time afterward, and that "every time [he] swallowed, it felt like sandpaper".[11]

text: A second take was attempted, but Lennon had nothing left and it was abandoned.[12] George Martin said, "I did try a second take ... but John's voice had gone."[13]

text: Released as a single in the US on March 2, 1964, with "There's a Place" as its B-side,[14] by Chicago-based Vee-Jay Records on the Tollie label, it reached number 2 on April 4, 1964, during the week that the top five places on the chart were all Beatles singles (in the Cashbox singles chart for the same week, "Twist and Shout" was No. 1). In the United States, "Twist and Shout" was the only million-selling Beatles single that was a cover record, and the only Beatles cover single to reach the Top 10 on a national record chart. The song failed to hit #1 because the Beatles had another song occupying the top spot, "Can't Buy Me Love".

text: In the UK, "Twist and Shout" was released by Parlophone on an EP with three other tracks, "Do You Want to Know a Secret", "A Taste of Honey", and "There's a Place", from the Please Please Me (1963) album. Both the EP and album reached No. 1 (see Twist and Shout (EP)). In Canada, it became the title track to the second album of Beatles material to be issued by Capitol Records of Canada, on February 3, 1964.

text: It is regarded as one of the finest examples of British rock and roll for its vocal performance.[15] The song was used as a rousing closing number on Sunday Night at the London Palladium in October 1963 and at The Royal Variety Show in November 1963, the former signalling the start of "Beatlemania"; the latter was included on the Anthology 1 compilation album in 1995. In addition, the group performed it on one of their Ed Sullivan Show appearances in February 1964.

text: The Beatles continued to play the song live until the end of their August 1965 tour of North America. Additionally, they recorded "Twist and Shout" on nine occasions for BBC television and radio broadcasts, the earliest of which was for the Talent Spot radio show on November 27, 1962. The intro sounds very similar to "La Bamba" by Ritchie Valens, and the famous vocal buildup resembles that in "Do You Love Me" by the Contours.

text: 1986 recharting[edit]

text: The song enjoyed a resurgence of popularity in 1986 after Matthew Broderick lip-synced to the Beatles' version of it in the film Ferris Bueller's Day Off. Coincidentally, the Rodney Dangerfield film Back to School (released two days after Ferris) also featured the song, this one sung by Dangerfield himself and patterned after the Beatles' arrangement. The use in the two films helped propel the single up the Billboard Hot 100, where it peaked at No. 23 late that summer, giving the group their second chart single of the 1980s (the other being "The Beatles Movie Medley" in 1982).[16] The song's seven-week run in the U.S. Top 40 in 1986, combined with its original 16-week run in 1964, makes "Twist and Shout" the longest-running Top 40 hit for the Beatles, at 23 weeks. Its overall chart longevity, combined with its original four-week run at #2, statistically makes it the Beatles' second most successful single in the U.S. next to "Hey Jude".

text: 2010 UK chart entry[edit]

text: In November 2010, 47 years after its recording, the Beatles' version of "Twist and Shout" made a debut on the UK Singles Chart. The highest charting Beatles track in the aftermath of their new availability on iTunes, it entered the charts at #48 in the first of a two-week run.

text: Personnel[edit]

text:
John Lennon – lead vocals, rhythm guitar
Paul McCartney – bass, backing vocals
George Harrison – lead guitar, backing vocals
Ringo Starr – drums

text: Engineered by Norman Smith[17][better source needed]

text: Charts and certifications[edit]

text: Charts[edit]

text:
Chart (1964)
Peak
position

Australian Kent Music Report[18]
5

Netherlands (Single Top 100)[19]
9

Norway (VG-lista)[20]
7

US Billboard Hot 100[21]
2

US Cash Box Top 100[22]
1

West German Media Control Singles Chart[23]
10

Chart (1986)
Peak
position

US Billboard Hot 100[21]
23

Chart (2010)
Peak
position

UK Singles (Official Charts Company)[24]
48

text: Certifications[edit]

text:
Region
Certification
Certified units/Sales

United States (RIAA)[25]
Platinum
1,000,000^

*sales figures based on certification alone
^shipments figures based on certification alone

text: The Who's version[edit]

text:
"Twist & Shout"

Single by The Who

from the album The Isle of Wight Festival and Who's Last

B-side
"I Can't Explain"

Released
1970 and November 1984

Format
7"

Recorded
December 17, 1982
Maple Leaf Gardens, Toronto, Canada

Genre
Rock

Label
MCA Records

Songwriter(s)
Phil Medley and Bertrand Russell Berns

Producer(s)
David "Cyrano" Langston

The Who singles chronology

"It's Hard"
(1982)
"Twist & Shout"
(1970)
"Real Good Looking Boy"
(2004)

"It's Hard"
(1982)
"Twist and Shout (live)"
(1984)
"Real Good Looking Boy"
(2004)

text: English rock band the Who covered the song live during their career, with Roger Daltrey singing lead vocals on the first version which is on the Isle of Wight Festival in 1970, and on their 1982 Farewell Tour,[26] with their bassist John Entwistle singing the lead vocals. The 1982 version can be heard on the live album Who's Last (recorded at the Richfield Coliseum on December 14, 1982 and released in November 1984), Live From Toronto (recorded at the Maple Leaf Gardens in Toronto on December 17, 1982 and released in 2006), as well as on the 1994 compilation Thirty Years of Maximum R&B (recorded at the Maple Leaf Gardens in Toronto on December 16, 1982, misdated in the liner notes for the concert at Toronto's CNE stadium on October 9, 1982).

text: Brian Poole and the Tremeloes' version[edit]

text: In 1962 the Decca label signed Brian Poole and the Tremeloes, a British group from Dagenham, East London, in preference to the Beatles. Both groups auditioned on the same day, and it has become legend that the Beatles were rejected by the label. Ironically, Brian Poole and the Tremeloes had no chart success until the beat boom in British rock surfaced, following the success of the Beatles. This triggered the frenzied signing of most of the popular Liverpool rock groups of that period by the major record labels, and their distinctive "sound" became known as Merseybeat. Brian Poole and the Tremeloes imitated this style, and covered "Twist and Shout" four months after the Beatles had released their version, and achieved the number four position in the UK Singles Chart.[27]

text: Other cover versions[edit]

text:
In 1964, Alvin and the Chipmunks covered the song for their album The Chipmunks Sing the Beatles Hits.[28]
In 1966, Buck Owens performed the song on his famous "Carnegie Hall Concert" album.[29]
In 1967, the song was also covered by the Mamas & the Papas in the style of a ballad on their album Deliver.
In 1988, Salt-n-Pepa recorded a cover version on their album A Salt with a Deadly Pepa. It was released as a single in the UK, and reached No. 4.[30]
In 1993, Chaka Demus & Pliers recorded a reggae version featuring Jack Radics, which went to No. 1 on the UK Singles Chart on 2 January 1994.[27]
In 2001, The Orchestra (a band made up mainly of former members of Electric Light Orchestra), recorded a minor-key version of the song for their album No Rewind.


document_title: Hatchet (novel)

question_text: where was brian going in the book hatchet

text: Hatchet (novel)

text: Plot

text: Brian Robeson is a thirteen-year-old son of divorced parents. As he travels from Hampton, New York on a Cessna 406 bush plane to visit his father in the oil fields in Northern Canada for the summer, the pilot suffers a massive heart attack and dies. Brian tries to land the plane, but ends up crash-landing into a lake in the forest. He must learn to survive on his own with nothing but his hatchet—a gift his mother gave him shortly before his plane departed.[2]

text: Throughout the summer, Brian learns how to survive in the vast wilderness with only his hatchet. He discovers how to make fire with the hatchet and eats whatever food he can find, such as rabbits, birds, turtle eggs, fish, berries, and fruit. He deals with various threats of nature, including mosquitos, quail, a porcupine, bear, skunk, moose, wolves, and even a tornado. Over time, Brian develops his survival skills and becomes a fine woodsman. He crafts a bow, arrows, and a fishing spear to aid in his hunting. He also fashions a shelter out of the underside of a rock overhang. During his time alone, Brian struggles with memories of home and the bittersweet memory of his mother, whom Brian had caught cheating on his father prior to their divorce.[2]

text: When a sudden tornado hits the area, it draws the tail of the plane toward the shore of the lake. This triggered his thoughts that there may be a survival pack of some sorts on the plane. Brian makes a raft from a few broken off tree tops to get to the plane. When Brian is cutting his way into the tail of the plane, he drops his hatchet in the lake and dives in to get it. Once inside the plane, Brian finds a survival pack that includes additional food, an emergency transmitter, and a .22 rifle. Back on shore, Brian activates the transmitter, but not knowing how to use it, he thinks it is broken and throws it aside. However, his distress call is heard by a passing airplane, and he is rescued. Brian spends the remainder of the summer with his father but does not disclose his mother's affair.[2]

text: Legacy

text: A film adaptation titled A Cry in the Wild was released in 1990.[3]

text: Paulsen continued the story of Brian Robeson with four more novels, beginning with The River in 1991.

text: Awards and nominations

text: Hatchet was a recipient of the 1988 Newbery Honor.[4]

text: Bibliography

text: Paulsen, Gary (1999). Hatchet. Simon & Schuster. ISBN 9781416936473.

text: Notes

text: Children and Young Adult Literature portal

text: Salvner, Gary M. (2011). "Lessons and Lives: Why Young Adult Literature Matters". The ALAN Review. 28 (3): 9.  |access-date= requires |url= (help)

text: Sturm, Brian W. (Winter 2009). "The Structure of Power in Young Adult Problem Novels". Young Adult Library Services. 7 (2): 39–47.  |access-date= requires |url= (help)

text: Unwin, Cynthia G. (1999). "Survival as a Bridge to Resistant Readers: Applications of Gary Paulsen's Hatchet to an Integrated Curriculum". The ALAN Review. 26 (3): 9–12.  |access-date= requires |url= (help)


document_title: Irrigation in India

question_text: which state has largest net irrigated area in india

text: Irrigation in India

text: History[edit]

text: Ancient India[edit]

text: The earliest mentions of irrigation are found in Rigveda chapters 1.55, 1.85, 1.105, 7.9, 8.69 and 10.101.[5] The Veda mentions only well-style irrigation,[6] where kupa and avata wells once dug are stated to be always full of water, from which varatra (rope strap) and cakra (wheel) pull kosa (pails) of water. This water was, state the Vedas, led into surmi susira (broad channels) and from there into khanitrima (diverting channels) into fields.[5]

text: Later, the 4th-century BCE Indian scholar Pāṇini, mentions tapping several rivers for irrigation.[5][7] The mentioned rivers include Sindhu, Suvastu, Varnu, Sarayu, Vipas and Chandrabhaga.[5] Buddhist texts from the 3rd century BCE also mention irrigation of crops.[6] Texts from the Maurya Empire era (3rd century BCE) mention that the state raised revenue from charging farmers for irrigation services from rivers.[5][8]

text: Patanjali, in Yogasutra of about the 4th century CE, explains a technique of yoga by comparing it to "the way a farmer diverts a stream from an irrigation canal for irrigation".[9][10] In Tamil Nadu, the Grand Anicut (canal) across the Kaveri river was implemented in the 3rd century CE, and the basic design is still used today.[8]

text: Islamic era[edit]

text: Waterworks were undertaken during the Delhi Sultanate and the Mughal Empire era from the 12th to 18th centuries. However, these were primarily to supply water to the palaces and parks of the sultans and other officials.[11]

text: Colonial era[edit]

text: In 1800, some 800,000 hectares was irrigated in India.[8] The British Raj by 1940 built significant number of canals and irrigation systems in Uttar Pradesh, Bihar,[12] Punjab, Assam and Orissa.[13][14][15]  The Ganges Canal reached 350 miles from Haridwar to Kanpur in Uttar Pradesh. In Assam, a jungle in 1840, by 1900 had 4,000,000 acres under cultivation, especially in tea plantations.  In all, the amount of irrigated land multiplied by a factor of eight.  Historian David Gilmour states British colonial government had built irrigation network with Ganges canal and that, "by the end of the century the new network of canals in the Punjab" were in place.[16]

text: Much of the increase in irrigation during British colonial era was targeted at dedicated poppy and opium farms in India, for exports to China.[17][18][19] Poppy cultivation by the British Raj required reliable, dedicated irrigation system.[20] Large portions of the eastern and northern regions of India, namely United Provinces, Northwestern Provinces, Oudh, Behar, Bengal and Rewa were irrigated to ensure reliable supply of poppy and opium for China.[21] By 1850, the Asian opium trade created nearly 1,000 square kilometers of poppy farms in India in its fertile Ganges plains, which increased to over 500,000 acres by 1900.[21] This diversion of food crop land to cash crop use, state scholars, led to massive famines over the 1850 to 1905 period.[22][23]

text: Major irrigation canals were built after millions of people died each in a series of major famines in the 19th century in British India.[8][23] In 1900, British India (including Bangladesh and Pakistan) had about 13 million ha under irrigation. In 1901 the Viceroy, Lord Curzon, appointed a Commission chaired by Sir Colin Scott-Moncrieff to draw up a comprehensive irrigation plan for India. In 1903 the Commission's report recommended irrigation of an additional 2.6 million hectares.[24][25] By 1947, the irrigated area had increased to about 22 million ha.[8] In Northwestern British India region alone, with the colonial government's effort, 2.2 million hectares of previously barren land was irrigated by 1940s, most of which is now part of Pakistan.[26] Arthur Cotton led some irrigation canal projects in the Deccan peninsula, and landmarks are named after him in Andhra Pradesh and Tamil Nadu. However, much of the added irrigation capacity during the colonial era was provided by groundwater wells and tanks, operated manually.[27]

text: Irrigation trends since 1947[edit]

text: India's irrigation covered crop area was about 22.6 million hectares in 1951, and it increased to a potential of 90 mha at the end of 1995, inclusive of canals and groundwater wells.[29] However, the potential irrigation relies of reliable supply of electricity for water pumps and maintenance, and the net irrigated land has been considerably short. According to 2001/2002 Agriculture census, only 58.1 million hectares of land was actually irrigated in India.[30] The total arable land in India is 160 million hectares (395 million acres). According to the World Bank, only about 35% of total agricultural land in India was reliably irrigated in 2010.[2]

text: The ultimate sustainable irrigation potential of India has been estimated in a 1991 United Nations' FAO report to be 139.5 million hectares, comprising 58.5 mha from major and medium river-fed irrigation canal schemes, 15 mha from minor irrigation canal schemes, and 66 mha from groundwater well fed irrigation.[29]

text: India's irrigation is mostly groundwater well based. At 39 million hectares (67% of its total irrigation), India has the world's largest groundwater well equipped irrigation system (China with 19 mha is second, USA with 17 mha is third).[1]

text: India has spent ₹ 16,590 crore on irrigation development between 1950 and 1985. Between 2000-2005 and 2005-2010, India proposed to invest a sum of ₹ 1,03,315 crore and 2,10,326 crore on irrigation and flood control in India.[31]

text: Statewise irrigation types, capacity and actual[edit]

text:
State

Total crop area (million hectares)

Groundwater irrigationcrop area(million hectares)

Canal irrigation crop area (million hectares)

Total crop areaactually irrigated (million hectares)

Andhra Pradesh

14.3

2.5

2.7

4.9

Arunachal Pradesh

0.4

0.07

0.05

Assam

3.0

0.13

0.1

0.22

Bihar

6.4

2.2

1.3

3.5

Chhattisgarh

5.1

0.17

0.74

0.85

Goa

0.1

0.1

0.1

Gujarat

9.9

3.1

0.5

3.2

Haryana

3.6

1.99

1.32

3.26

Himachal Pradesh

1.0

0.02

0.09

0.11

Jammu & Kashmir

0.9

0.02

0.38

0.37

Jharkhand

3.2

0.11

0.13

0.24

Karnataka

12.2

1.43

1.33

2.38

Kerala

1.5

0.18

0.21

0.39

Madhya Pradesh

15.8

2.74

1.70

4.19

Maharashtra

19.8

3.12

1.03

3.36

Manipur

0.2

0.05

0.05

Meghalaya

0.3

0.06

0.06

Mizoram

0.1

0.01

0.01

Nagaland

1.1

0.1

0.07

Odisha

4.9

0.17

1.07

1.24

Punjab

4.0

3.06

0.94

3.96

Rajasthan

21.1

3.98

1.52

5.12

Sikkim

0.1

0.01

0.01

Tamil Nadu

6.5

1.61

1.43

2.66

Tripura

0.3

0.02

0.05

0.07

Uttar Pradesh

17.6

10.64

4.21

14.49

Uttarakhand

0.8

0.22

0.14

0.35

West Bengal

5.5

2.09

1.22

2.98

All India

159.6

39.43

22.48

58.13

text: Note: The all India total includes land area for Union Territories of India that is not shown in the above table.

text: Project classification[edit]

text:
Irrigation Projects in India are classified on three major aspects into:[citation needed]
1. Minor Irrigation Projects
2. Medium Irrigation Projects
3. Major Irrigation Projects

text: Since 1950, irrigation works were classified on the basis of cost incurred for the projects' implementation, governing and dissemination. However, the Planning Commission of India adopted the classification of projects on the basis of culturable command area (CCA).


document_title: The Boy in the Striped Pyjamas

question_text: where does bruno live the boy in the striped pajamas

text: The Boy in the Striped Pyjamas

text:
The Boy in the Striped Pyjamas

Author
John Boyne

Country
Ireland

Language
English

Genre
Historical / post modern

Publisher
David Fickling Books

Publication date

5 January 2006

Media type
Print (hard cover & paper back)

Pages
216

ISBN
0-385-60940-X

OCLC
62132588

Dewey Decimal

823.914 22

LC Class
CS 2006/45764

text: The Boy in the Striped Pyjamas is a 2006[1] Holocaust novel by Irish novelist John Boyne. Unlike the months of planning Boyne devoted to his other books, he said that he wrote the entire first draft of The Boy in the Striped Pyjamas in two and a half days, barely sleeping until he got to the end.[1] As of March 2010, the novel had sold more than five million copies around the world.[2] In both 2007 and 2008, it was the best selling book of the year in Spain, and it has also reached number one on the New York Times bestseller list,[3] as well as in the UK, Ireland, and Australia.[not verified in body] The book was adapted in 2008 as a film of the same name.

text: Plot[edit]

text: Bruno is a 9-year-old boy growing up during World War II in Berlin. He lives with his parents, his 12-year-old sister Gretel and maids, one of whom is called Maria. After a visit by Adolf Hitler, Bruno's father is promoted to Commandant, and the family has to move to 'Out-With' because of the orders of "The Fury" (Bruno's naïve interpretation of the word 'Führer'). Bruno is initially upset about moving to Out-With (never identified, but cf. Auschwitz[4]) and leaving his friends, Daniel, Karl, and Martin. From the house at Out-With, Bruno sees a camp. One day, Bruno decides to explore the strange wire fence. As he walks along the fence, he meets a Jewish boy named Shmuel, who he learns shares his birthday. Shmuel says that his father, grandfather, and brother are with him on this side of the fence, but he is separated from his mother. Bruno and Shmuel talk and become very good friends, although Bruno still does not understand very much about Shmuel and his side of the fence. Nearly every day, unless it's raining Bruno goes to see Shmuel and sneaks him food. As the meetings go on, and Shmuel gets more and more skinny, Bruno's naïveté means he never realizes he is living beside a death camp.

text: When lice eggs are discovered in Bruno's hair he is forced to get all of his hair shaved off. Bruno comments that he looks like Shmuel, and Shmuel agrees, except that Bruno is fatter. Bruno's mother eventually persuades his father to take them back to Berlin and stay at Out-With without them.

text: The next day Bruno concocts a plan with Shmuel to sneak into the camp to look for Shmuel's father. Shmuel brings a set of prison clothes (which look to Bruno like striped pyjamas), and Bruno leaves his own clothes outside the fence. As they search the camp, both children are rounded up along with a group of prisoners on a "march". In the gas chamber, Bruno apologizes to Shmuel for not finding his father and tells Shmuel that he is Bruno's best friend for life. Shmuel does not answer, as at that moment the door of the gas chamber is closed, it becomes dark, and all is chaos.

text: Bruno's mother and sister return to Berlin, where they hope to find Bruno sitting on the doorstep, but do not. His father stays at Out-With, where he finally works out what had happened. When soldiers come to take him away from Out-With, he is happy to be leaving.

text: Critics' Reviews[edit]

text: Some critics have called the premise of the book and subsequent film – that there would be a child of Shmuel's age in the camp – erroneous. Reviewing the original book, Rabbi Benjamin Blech wrote: "Note to the reader: There were no 9-year-old Jewish boys in Auschwitz – the Nazis immediately gassed those not old enough to work."[5] Rabbi Blech affirmed the opinion of a Holocaust survivor friend that the book is "not just a lie and not just a fairytale, but a profanation". Blech acknowledges the objection that a "fable" need not be factually accurate; he counters that the book trivializes the conditions in and around the death camps and perpetuates the "myth that those [...] not directly involved can claim innocence", and thus undermines its moral authority. Students who read it, he warns, may believe the camps "weren't that bad" if a boy could conduct a clandestine friendship with a Jewish captive of the same age, unaware of "the constant presence of death".[6]

text: Kathryn Hughes, whilst agreeing about the implausibility of the plot, argues that "Bruno's innocence comes to stand for the willful refusal of all adult Germans to see what was going on under their noses".[7]


document_title: Bonnie and Clyde (film)

question_text: show me the cast of bonnie and clyde

question_tokens: show me the cast of bonnie and clyde

text: Bonnie and Clyde (film)

text: Plot[edit]

text: In the middle of the Great Depression, Clyde Barrow (Warren Beatty) and Bonnie Parker (Faye Dunaway) meet when Clyde tries to steal Bonnie's mother's car. Bonnie, who is bored by her job as a waitress, is intrigued by Clyde, and decides to take up with him and become his partner in crime. They pull off some holdups, but their amateur efforts, while exciting, are not very lucrative.

text: The duo's crime spree shifts into high gear once they hook up with a dim-witted gas station attendant, C.W. Moss (Michael J. Pollard), then with Clyde's older brother Buck (Gene Hackman) and his wife, Blanche (Estelle Parsons), a preacher's daughter. The women dislike each other on first sight, and their feud only escalates from there: shrill Blanche has nothing but disdain for Bonnie, Clyde and C.W., while gun-moll Bonnie sees Blanche's flighty presence as a constant danger to the gang's well-being.

text: Bonnie and Clyde turn from pulling small-time heists to robbing banks. Their exploits also become more violent. When C.W. botches a bank robbery by parallel parking the getaway car, Clyde shoots the bank manager in the face after he jumps onto the slow-moving car's running board. The gang is pursued by law enforcement, including Texas Ranger Frank Hamer (Denver Pyle), whom they capture and humiliate before setting him free. A raid later catches the outlaws off guard, mortally wounding Buck with a gruesome shot to his head and injuring Blanche. Bonnie, Clyde and C.W. barely escape with their lives. With Blanche sightless and in police custody, Hamer tricks her into revealing C.W.'s name, who was up until now still only an "unidentified suspect."

text: Hamer locates Bonnie, Clyde and C.W. hiding at the house of C.W.'s father Ivan Moss (Dub Taylor), who thinks the couple—and an ornate tattoo—have corrupted his son. The elder Moss strikes a bargain with Hamer: in exchange for leniency for the boy, he helps set a trap for the outlaws. When Bonnie and Clyde stop on the side of the road to help Mr. Moss fix a flat tire, the police in the bushes open fire and riddle them with bullets. Hamer and his posse then come out of hiding, looking pensively at the couple's bodies.

text: Cast[edit]

text:
Warren Beatty as Clyde Barrow
Faye Dunaway as Bonnie Parker
Michael J. Pollard as C.W. Moss
Gene Hackman as Buck Barrow
Estelle Parsons as Blanche Barrow
Denver Pyle as Frank Hamer
Dub Taylor as Ivan Moss
Gene Wilder as Eugene Grizzard
Evans Evans as Velma Davis
Mabel Cavitt as Bonnie's mother (uncredited)

text: Cast notes[edit]

text: Actor Gene Wilder portrayed Eugene Grizzard, one of Bonnie and Clyde's hostages. His girlfriend Velma Davis was played by Evans Evans, who was the wife of film director John Frankenheimer.

text: The family gathering scene was filmed in Red Oak, Texas. Several local residents gathered to watch the film being shot. When the filmmakers noticed Mabel Cavitt, a local school teacher, among the people gathered, she was cast as Bonnie Parker's mother.[7][8]

text: Production and style[edit]

text: The film was intended as a romantic and comic version of the violent gangster films of the 1930s, updated with modern filmmaking techniques.[9] Arthur Penn portrayed some of the violent scenes with a comic tone, sometimes reminiscent of Keystone Kops-style slapstick films, then shifted disconcertingly into horrific and graphic violence.[10] The film was strongly influenced by the French New Wave directors, both in its rapid shifts of tone, and in its choppy editing, which is particularly noticeable in the film's closing sequence.[10][11]

text: The first handling of the script was in the early 1960s. Very influenced by the French New Wave writers and in a state not yet completed, it was first sent by its writers David Newman and Robert Benton to Arthur Penn. He was already engaged in the first decisions of production for the 1966 film The Chase and could not further involve himself at that point. The writers then sent to François Truffaut, renowned director of the New Wave movement, who made contributions to the script. He passed on the project and went on to make Fahrenheit 451.[12] At Truffaut's suggestion, the writers, much excited (the film's then-producers less so), approached Jean-Luc Godard. Some sources claim Godard didn't trust Hollywood and refused; Robert Benton claimed that Godard wanted to shoot the film in New Jersey in January during the winter and took offense when would-be producer Norah Wright objected that that was unreasonable considering the story took place in Texas with its year-round warm environment.[13] Her partner Elinor Jones[14] claimed they did not believe Godard was right for the project in the first place. Godard's retort: « Je vous parle de cinéma, vous me parlez de météo. Au revoir. » ("I'm talking cinema and you're talking weather. Goodbye.")[15] After the 1968 Academy Awards, Godard sent Benton and Newman a cable that read, "Now, let's make it all over again!"[16]

text: Soon after the failed negotiations for production, Warren Beatty was visiting Paris and learned through Truffaut of the project and its perambulations. On returning to Hollywood, Beatty requested the script and bought the rights. A meeting with Godard was not productive. Beatty then changed compass and convinced the writers that while the script at first reading was very much of the French New Wave style, an American director was necessary for the subject.[17]

text: Beatty offered the position to George Stevens, William Wyler, Karel Reisz, John Schlesinger, Brian G. Hutton, and Sydney Pollack, all of whom turned down the opportunity. Arthur Penn actually turned down the director's position again further times before Beatty finally convinced him to helm the film.[18]

text: When Warren Beatty was on board as producer only, his sister Shirley MacLaine was a strong possibility to play Bonnie, but when Beatty decided to play Clyde, obviously a different actress was needed. Those considered for the role were Jane Fonda, Tuesday Weld, Ann-Margret, Leslie Caron, Carol Lynley and Sue Lyon. Cher auditioned for the part, while Warren Beatty begged Natalie Wood to play the role. Wood declined the role to concentrate more on her therapy at the time, and acknowledged that working with Beatty before was "difficult." Faye Dunaway stated that she won the part "by the skin of her teeth!"[citation needed]

text: The film is forthright in its handling of sexuality, but that theme was toned down from its conception. Originally, Benton and Newman wrote Clyde as bisexual and he and Bonnie were to have a three-way sexual relationship with their male getaway driver. However, Arthur Penn persuaded the writers that since the relationship's emotional complexity was underwritten, it dissipated the passion of the title characters and it would harm the audience's sympathy for the characters who would write them off as sexual deviants because they were criminals. Others claimed that Beatty was not willing to have his character display that kind of sexuality and that the Production Code would never have allowed such content in the first place.[19] Instead, Clyde is portrayed as unambiguously heterosexual, if impotent. When Clyde brandishes his gun to display his manhood, Bonnie suggestively strokes the phallic symbol. Like the 1950 film Gun Crazy, Bonnie and Clyde portrays crime as alluring and intertwined with sex. Because Clyde is impotent, his attempts to physically woo Bonnie are frustrating and anti-climactic.

text: Bonnie and Clyde was one of the first films to feature extensive use of squibs – small explosive charges, often mounted with bags of stage blood, that are detonated inside an actor's clothes to simulate bullet hits. Released in an era where shootings were generally depicted as bloodless and painless, the Bonnie and Clyde death scene was one of the first in mainstream American cinema to be depicted with graphic realism.[20]

text: Beatty had originally wanted the film to be shot in black and white, but Warner Bros. rejected this idea. As it stood, much of the senior management of the studio was hostile to this film project, especially Jack L. Warner who considered the subject-matter an unwanted throwback to Warner Bros.' early period when gangster films were common product.[21] In addition, Warner was already annoyed at Beatty who refused to star in the film, PT 109 at his behest and was insolent enough to defy his favorite gesture of authority of showing the studio water tower with the WB logo on it by responding "Well, it's got your name, but it's got my initials."[22] In addition, Warner complained about the film's extensive location shooting in Texas which exceeded its production schedule and budget, until he ordered the crew back to the studio backlot, where it was planned to be anyway for final process shots.[23]

text: At first, Warner Bros. did not promote Bonnie and Clyde[11] for general release, but instead mounted only limited regional releases that seemed to confirm its misgivings about the film's lack of commercial appeal, despite the fact the film was doing excellent sustained business in select urban theatres.[24] In fact, while Jack Warner was selling the studio to Seven Arts Productions, he would have had the film dumped but for the fact that Israel, of which Warner was a major supporter, had scored a triumphant victory in the Six-Day War, and he was in too defiant a mood to sell any of his studio's films.[25] Meanwhile, Warren Beatty, Bonnie and Clyde's producer and star, complained to Warner Bros. that if the company was willing to go to so much trouble for Reflections in a Golden Eye (they had changed the coloration scheme at considerable expense), their neglect of his film, which was getting excellent press, suggested a conflict of interest; he threatened to sue the company. Warner Bros. gave Beatty's film a general release. Much to Warner Bros.' management surprise, the film eventually became a major box office success.[26]

text: Music[edit]

text: The instrumental banjo piece "Foggy Mountain Breakdown" by Flatt and Scruggs was introduced to a worldwide audience as a result of its frequent use in the movie. Its use is strictly anachronistic as the bluegrass-style of music dates from the mid-1940s rather than the 1930s, but the functionally similar Old-time music genre was long established and widely recorded at the period in which the film is set.[citation needed] Long out of print in vinyl and cassette formats, the film soundtrack album was finally released on CD in 2009.[27]

text: Historical accuracy[edit]

text: The film considerably simplifies the lives of Bonnie and Clyde, which included other gang members, repeated jailings, other murders and a horrific auto accident that left Parker burned and a near-invalid.

text: The Gene Wilder–Evans Evans sequence is based on the kidnappings of the undertaker H. D. Darby and his acquaintance Sophia Stone, near Ruston, Louisiana on the late afternoon of April 27, 1933 by the Barrow gang, who had stolen their car.[28]

text: The film strays furthest from fact in its portrayal of the Texas Ranger Frank Hamer as a vengeful bungler who had been captured, humiliated, and released by Bonnie and Clyde. In real life, Hamer was already a legendary and decorated Texas Ranger when he was coaxed out of semi-retirement to hunt down the duo; indeed he had never seen them until the moment he and his posse ambushed them near Gibsland, Louisiana on May 23, 1934.[29] In 1968, Hamer's widow and son sued the movie producers for defamation of character over his portrayal and were awarded an out-of-court settlement in 1971.[30]

text: The couple's notoriety in 1933 came from photos found by police as undeveloped film in a hastily abandoned hideout in Joplin, Missouri. In one, Bonnie holds a gun in her hand and a cigar between her teeth. Its publication nationwide typed her as a dramatic gun moll. The film portrays the taking of this playful photo. It implies the gang sent photos—and poetry—to the press, but this is untrue. The police found most of the gang's items in the Joplin cache. Bonnie's final poem, read aloud by her in the movie, was publicized only posthumously by her mother.[31]

text: The only two members of the Barrow Gang who were alive at the time of the film's release were Blanche Barrow and W. D. Jones. While Blanche Barrow approved the depiction of her in the original version of the script, she objected to the later re-writes. At the film's release, she complained loudly about Estelle Parsons's portrayal of her, saying, "That film made me look like a screaming horse's ass!"[32]

text: Reception[edit]

text: The film was controversial on its original release for its supposed glorification of murderers, and for its level of graphic violence, which was unprecedented at the time. Bosley Crowther of The New York Times was so appalled that he began to campaign against the increasing brutality of American films.[33] Dave Kaufman of Variety criticized the film for uneven direction and for portraying Bonnie and Clyde as bumbling fools.[34] Joe Morgenstern for Newsweek initially panned the film as a "squalid shoot-'em-up for the moron trade." After seeing the film a second time and noticing the enthusiastic audience, he wrote a second article saying he had misjudged it and praised the film. Warner Bros. took advantage of this, marketing the film as having made a major critic change his mind about its virtues.[35]

text: Roger Ebert gave Bonnie and Clyde a largely positive review, giving it four stars out of four. He called the film "a milestone in the history of American movies, a work of truth and brilliance." More than 30 years later, he added the film to his The Great Movies list. Film critics Dave Kehr and James Berardinelli have also praised the film in the years since.

text: The fierce debate about the film is discussed at length in For the Love of Movies: The Story of American Film Criticism. This 2009 documentary film chronicles what occurred as a result: The New York Times fired Bosley Crowther because his negative review seemed so out of touch with the public, and Pauline Kael, who wrote a lengthy freelance essay in The New Yorker in praise of the film, became the magazine's new staff-critic.[11]

text: It performed well at the box office, and by year's end had grossed $23,000,000 in US theatrical rentals, becoming the studio's second highest-grossing film of all time, right behind My Fair Lady.[36] Listal lists it as one of the top five grossing films of 1967 with $50,700,000 in US sales, and $70,000,000 worldwide.[37]

text: Although many believe the film's groundbreaking portrayal of violence adds to the film's artistic merit, Bonnie and Clyde is still sometimes criticized for opening the floodgates for violence in cinema.[38] It currently holds a 89% "Certified Fresh" rating on Rotten Tomatoes.[39]

text: Accolades[edit]

text: In the 40th Academy Awards, Estelle Parsons won Best Supporting Actress award for her portrayal of Blanche Barrow, and Burnett Guffey won for Best Cinematography. The film was also nominated for:

text:
Best Picture – Warren Beatty
Best Director – Arthur Penn
Best Writing (Screenplay Written Directly for the Screen) – David Newman and Robert Benton
Best Actor in a Leading Role – Warren Beatty
Best Actress in a Leading Role – Faye Dunaway
Best Actor in a Supporting Role – Gene Hackman
Best Actor in a Supporting Role – Michael J. Pollard
Best Costume Design – Theadora Van Runkle

text: In 1992, Bonnie and Clyde was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."

text: The film is also honored by the American Film Institute:

text:
1998 – AFI's 100 Years...100 Movies – #27
2001 – AFI's 100 Years...100 Thrills – #13
2002 – AFI's 100 Years...100 Passions – #65
2003 – AFI's 100 Years...100 Heroes and Villains

Clyde Barrow & Bonnie Parker – #32 Villains

2005 – AFI's 100 Years...100 Movie Quotes – #41

"We rob banks." – #41

2007 – AFI's 100 Years...100 Movies (10th Anniversary Edition) – #42
2008 – AFI's 10 Top 10 – #5 Gangster Film[40]

text: In 2012, the Motion Picture Editors Guild listed the film as the fifth best edited film of all time based on a survey of its membership.[41]

text: Influence[edit]

text: Forty years after its premiere, Bonnie and Clyde has been cited as a major influence for such disparate films as The Wild Bunch, The Godfather, The Departed,[42] and Natural Born Killers.[43]

text: In popular culture[edit]

text: The "Storage Jars" skit of episode 33 of Monty Python's Flying Circus features a brief still shot of Warren Beatty as Clyde Barrow firing a Thompson submachine gun as he escapes from the Red Crown Tourist Court. [44]