Delphus E. Carpenter (1877-1951) was Colorado's commissioner of interstate streams during a time when water rights were a legal battleground for western states. A complex, unassuming man as rare and cunning in politics and law as the elusive silver fox of the Rocky Mountain West, Carpenter boldly relied on negotiation instead of endless litigation to forge agreements among states first, before federal intervention. In Silver Fox of the Rockies, Daniel Tyler tells Carpenter's story and that of the great interstate water compacts he helped create. Those compacts, produced in the early twentieth century, have guided not only agricultural use but urban growth and development throughout much of the American West to this day. In Carpenter's time, most western states relied on the doctrine of prior appropriation--first in time, first in right--which granted exclusive use of resources to those who claimed them first, regardless of common needs. Carpenter feared that population growth and rapid agricultural development in states sharing the same river basins would rob Colorado of its right to a fair share of water. To avoid that eventuality, Carpenter invoked the compact clause of the U.S. Constitution, a clause previously used to settle boundary disputes, and applied it to interstate water rights. The result was a mechanism by which complex issues involving interstate water rights could be settled through negotiation without litigating them before the U.S. Supreme Court. Carpenter believed in the preservation of states' rights in order to preserve the constitutionally mandated balance between state and federal authority. Today, water remains critically important to the American West, and thegreat interstate water compacts Carpenter helped engineer constitute his most enduring legacy. Of particular significance is the Colorado River Compact of 1922, without which Hoover Dam could never have been built.

This Companion provides an introduction to the craft of prose. It considers the technical aspects of style that contribute to the art of prose, examining the constituent parts of prose through a widening lens, from the smallest details of punctuation and wording to style more broadly conceived. The book is concerned not only with prose fiction but with creative non-fiction, a growing area of interest for readers and aspiring writers. Written by internationally-renowned critics, novelists and biographers, the essays provide readers and writers with ways of understanding the workings of prose. They are exemplary of good critical practice, pleasurable reading for their own sake, and both informative and inspirational for practising writers. The Cambridge Companion to Prose will serve as a key resource for students of English literature and of creative writing.

'And O, Angelica, what has become of you, this present Sunday morning when I can't attend to the sermon; and, more difficult question than that, what has become of Me as I was when I sat by your side?' At the height of his career, around the time he was working on Great Expectations and Our Mutual Friend, Charles Dickens wrote a series of sketches, mostly set in London, which he collected as The Uncommercial Traveller. In the persona of 'the Uncommercial', Dickens wanders the city streets and brings London, its inhabitants, commerce and entertainment vividly to life. Sometimes autobiographical, as childhood experiences are interwoven with adult memories, the sketches include visits to the Paris Morgue, the Liverpool docks, a workhouse, a school for poor children, and the theatre. They also describe the perils of travel, including seasickness, shipwreck, the coming of the railways, and the wretchedness of dining in English hotels and restaurants. The work is quintessential Dickens, with each piece showcasing his imaginative writing style, his keen observational powers, and his characteristic wit. In this edition Daniel Tyler explores Dickens's fascination with the city and the book's connections with concerns evident in his fiction: social injustice, human mortality, a fascination with death and the passing of time. Often funny, sometimes indignant, always exuberant, The Uncommercial Traveller is a revelatory encounter with Dickens, and the Victorian city he knew so well.

Some writers of the Victorian period, as well as more recent critics, have argued that the prose style of Victorian fiction aims to efface itself or that an absence of style may in itself represent the nineteenth-century ideal. This collection provides a major assessment of style in Victorian fiction and demonstrates that style - the language, techniques and artistry of prose - is inseparable from meaning and that it is through the many resources of style that the full compass of meaning makes itself known. Leading scholars in the field present an engaging assessment of major Victorian novelists, illustrating how productive and illuminating close attention to literary style can be. Collectively, they build a fresh and nuanced understanding of how style functioned in the literature of the nineteenth century, and propose that the fiction of this era demands we think about what style does, as much as what style is.

This Companion provides an introduction to the craft of prose. It considers the technical aspects of style that contribute to the art of prose, examining the constituent parts of prose through a widening lens, from the smallest details of punctuation and wording to style more broadly conceived. The book is concerned not only with prose fiction but with creative non-fiction, a growing area of interest for readers and aspiring writers. Written by internationally-renowned critics, novelists and biographers, the essays provide readers and writers with ways of understanding the workings of prose. They are exemplary of good critical practice, pleasurable reading for their own sake, and both informative and inspirational for practising writers. The Cambridge Companion to Prose will serve as a key resource for students of English literature and of creative writing.

Charles Dickens, generally regarded as the greatest novelist of the Victorian age, was known as 'The Inimitable', not least for his distinctive style of writing. This collection of twelve essays addresses the essential but often overlooked subject of Dickens's style, with each essay discussing a particular feature of his writing. All the essays consider Dickens's style conceptually, and they read it closely, demonstrating the ways it works on particular occasions. They show that style is not simply an aesthetic quality isolated from the deepest meanings of Dickens's fiction, but that it is inextricably involved with all kinds of historical, political and ideological concerns. Written in a lively and accessible manner by leading Dickens scholars, the collection ranges across all Dickens's writing, including the novels, journalism and letters.

Charles Dickens, generally regarded as the greatest novelist of the Victorian age, was known as 'The Inimitable', not least for his distinctive style of writing. This collection of twelve essays addresses the essential but often overlooked subject of Dickens's style, with each essay discussing a particular feature of his writing. All the essays consider Dickens's style conceptually, and they read it closely, demonstrating the ways it works on particular occasions. They show that style is not simply an aesthetic quality isolated from the deepest meanings of Dickens's fiction, but that it is inextricably involved with all kinds of historical, political and ideological concerns. Written in a lively and accessible manner by leading Dickens scholars, the collection ranges across all Dickens's writing, including the novels, journalism and letters.

The job should've been simple, but in Boruin's experience, nothing ever is. Somehow, the young mute boy he's been hired to bring in can read the mysterious runes on his arms. Somehow, this boy can create magic with them. And somehow, Bourin's blank past is suddenly full of questions he's desperate to answer. As a simple job transforms from betrayal into the beginnings of an epic journey, Bourin seeks out answers to his past with his trusted companions: Wraithe, a protector whose methods sometimes turn violent; Pile, a young relic-hunter; and Toaaho, sworn to Bourin's servitude with marks of his own. As they cross mysterious jungles full of monsters, floating forests full of flying sharks, and cave systems teeming with golems, Bourin begins to understand his fate is inexorably entwined with the boy's. But does that spell his salvation, or his doom? Life on the Pilean continent grows more interesting by the hour...

Delphus E. Carpenter (1877-1951) was Colorado's commissioner of interstate streams during a time when water rights were a legal battleground for western states. A complex, unassuming man as rare and cunning in politics and law as the elusive silver fox of the Rocky Mountain West, Carpenter boldly relied on negotiation instead of endless litigation to forge agreements among states first, before federal intervention. In Silver Fox of the Rockies, Daniel Tyler tells Carpenter's story and that of the great interstate water compacts he helped create. Those compacts, produced in the early twentieth century, have guided not only agricultural use but urban growth and development throughout much of the American West to this day.In Carpenter's time, most western states relied on the doctrine of prior appropriation--first in time, first in right--which granted exclusive use of resources to those who claimed them first, regardless of common needs. Carpenter feared that population growth and rapid agricultural development in states sharing the same river basins would rob Colorado of its right to a fair share of water. To avoid that eventuality, Carpenter invoked the compact clause of the U.S. Constitution, a clause previously used to settle boundary disputes, and applied it to interstate water rights. The result was a mechanism by which complex issues involving interstate water rights could be settled through negotiation without litigating them before the U.S. Supreme Court. Carpenter believed in the preservation of states rights in order to preserve the constitutionally mandated balance between state and federal authority. Today, water remains critically important to the American West, and the great interstate water compacts Carpenter helped engineer constitute his most enduring legacy. Of particular significance is the Colorado River Compact of 1922, without which Hoover Dam could never have been built.

This Is A New Release Of The Original 1881 Edition.

Anton is a little boy who loves to dance. His parents and grandparents came from many places-England, Scotland, Spain, Mexico, and Vietnam-and the music and dance of those cultures flow through him. What's more, when he dances, he brings joy to everyone around him, because people who see him realize they are happiest when they dance. Throughout the world, Anton's reputation grows, and the leaders of many nations invite him to come dance for them to end conflict and bring about peace. And so he travels around the world, dancing and spreading hope to people everywhere. But one day, Anton finds himself in pain and unable to dance. None of his doctors can figure out what is wrong, and so he goes home, sad and weary. Will Anton's family be able to help him become the Little Dancin' Boy once more? In this bilingual children's story, one little boy, with the help of his family, shows the world that dance is the international language of peace and harmony.

At the height of his career, around the time he was working on Great Expectations and Our Mutual Friend, Charles Dickens wrote a series of sketches, mostly set in London, which he collected as The Uncommercial Traveller. In the persona of 'the Uncommercial', Dickens wanders the city streets and brings London, its inhabitants, commerce and entertainment vividly to life. Sometimes autobiographical, as childhood experiences are interwoven with adult memories, the sketches include visits to the Paris Morgue, the Liverpool docks, a workhouse, a school for poor children, and the theatre. They also describe the perils of travel, including seasickness, shipwreck, the coming of the railways, and the wretchedness of dining in English hotels and restaurants. The work is quintessential Dickens, with each piece showcasing his imaginative writing style, his keen observational powers, and his characteristic wit. In this edition Daniel Tyler explores Dickens's fascination with the city and the book's connections with concerns evident in his fiction: social injustice, human mortality, a fascination with death and the passing of time. Often funny, sometimes indignant, always exuberant, The Uncommercial Traveller is a revelatory encounter with Dickens, and the Victorian city he knew so well.