First introduced in 1927, The Hardy
Boys Mystery Stories are a series of books about the adventures of brothers
Frank and Joe Hardy, teenaged detectives who solve one baffling mystery after
another. The Hardy Boys were so popular among young boys that in 1930 a similar
series was created for girls featuring a sixteen-year-old detective named Nancy
Drew. The cover of each volume of The Hardy Boys states that he author of the
series is Franklin W. Dixon; the Nancy Drew Mystery Stories are supposedly
written by Carolyn Keene. Over the years, though, many fans of both series have
been surprised to find out that Franklin W. Dixon and Carolyn Keene are not
real people. If Franklin W. Dixon and Carolyn Keene never existed, then who
wrote The Hardy Boys and Nancy Drew mysteries?
The Hardy Boys and the Nancy Drew
books were written through a process called ghostwriting. A ghostwriter writes
a book according to a specific formula. While ghostwriters are paid for writing
the books, their authorship is not acknowledged, and their names do not appear
on the published books. Ghostwriters can write books for children or adults,
the content of which is unspecific. Sometimes they work on book series with a
lot of individual titles, such as The Hardy Boys and the Nancy Drew series.
The initial idea for both The Hardy
Boys and the Nancy Drew series was developed by a man named Edward Stratemeyer,
who owned a publishing company that specialized in children’s book.
Stratemeyer noticed the increasing
popularity of mysteries among adult, and surmised that children would enjoy
reading mysteries about younger detectives with whom they could identify.
Stratemeyer first developed each book with an outline describing the plot and
setting. Once he completed the outline, Stratemeyer then hired a ghostwriter to
convert it into a book of slightly over 200 pages. After the ghostwriter had
written a draft of a book, he or she would send it back to Stratemeyer, who
would make a list of corrections and mail it back to the ghostwriter. The
ghostwriter would revise the book according to Stratemeyer’s instructions and
then return it to him. Once Stratemeyer approved the book, it was ready for
publication.
Because each series ran for so many
years, Nancy Drew and The Hardy Boys both had a number of different
ghostwriters producing books; however, the first ghostwrites for each series proved
to be the most influential. The initial ghostwriter for The Hardy Boys was a
Canadian journalist named Leslie McFarlane. A few years later, Mildred A. Wirt,
a young writer from lowa, began writing the Nancy Drew books. Although they
were using prepared outlines as guides, both McFarlane and Wirt developed the
characters themselves. The personalities of Frank and Joe Hardy and Nancy arose
directly from McFarlane’s and wirt’s imaginations. For example, Mildred Wirt
had been a star college athelete and gave Nancy similar athletic abilities. The
ghostwriters were also responsible for numerous plot and setting details.
Leslie McFarlane used elements of his small C fictional hometown.
Although The Hardy Boys and Nancy
Drew books were very popular with children, not everyone approved of them.
Critics thought their plots were unrealistic and even far-fetched, since most
teenagers did not experience the adventures Frank and Joe Hardy or Nancy Drew
did. The way the books were written also attracted criticism. Many teachers and
librarians objected to the ghostwriting process, claiming it was designed to
produce books quickly rather than create quality literature. Some libraries –
including the New York Public Library – even refused to include the books in
their children’s collections. Ironically, this decision actually helped sales
of his books, because children simply purchased them when they were unavailable
in local libraries.
Regardless of the debates about
their literary merit, each series of books has exerted an undeniable influence
on American and even global culture. Most Americans have never heard of Edward
Stratemeyer, Leslie McFarlane, or Mildred wirt, but people throughout the world
are familiar with Nancy Drew and Frank and Joe Hardy.
As used in paragraph 3, which is the
best definition for surmised?
At the time Jane Austen’s novels
were published – between 1811 and 1818 – English literature was not part of any
academic curriculum. In addition, fiction was under strenuous attack. Certain
religious and political groups felt novels had the power to make so-called
immoral characters so interesting that young readers would identify with them;
these groups also considered novels to be of little practical use. Even
Coleridge, certainly no literary reactionary, spoke for many when the asserted
that “novel-reading occasions the destruction of the mind’s powers.”
These attitudes towards novels help
explain why Austen received little attention from early nineteenth-century
literary cities. (In any case a novelist published anonymously, as Austen was,
would not be likely to receive much critical attention.) The literary response
that was accorded to her, however, was often as incisive as twentieth-century
criticism. In his attack in 1816 on novelistic portrayals “outside of ordinary experience,”
for example. Scott made an insightful remark about the merits of Austen’s
fiction.
Her novels, wrote Scott, “present to
the reader an accurate and exact picture of ordinary everyday people and
places, reminiscent of seventeenth-century Flemish painting.” Scott did not use
the word ‘realism’, but he undoubtedly used a standard of realistic probability
in judging novels. The critic Whately did not use the word ‘realism’, either,
but he expressed agreement with Scott’s evaluation, and went on to suggest the possibilities
for moral instruction in what we have called Austen’s ‘realistic method’ her
characters, wrote Whately, are persuasive agents for moral truth since they are
ordinary persons “so clearly evoked that we feel an interest in their fate as
if it were our own.” Moral instruction, explained Whately, is more likely to be
effective when conveyed through recongnizably human and interesting characters
than when imparted by a sermonizing narrator. Whitely especially praised Austen’s
ability to create character who “mingle goodness and villainy, weakness and
virtue, as in life they are always mingled. “Whitely concluded his remarks by
comparing Austen’s art of characterization to Dickens’, starting his preference
for Austen’s.
Yet, the response of
nineteenth-century literary critics to Austen was not always so laudatory, and
often anticipated the reservations of twentieth-century literary critics. An
example of such a response was Lewes complaint in 1859 that Austen’s range of
subject and characters was too narrow. Praising her verisimilitude, Lewes added
that, nonetheless her focus was too often only upon the unlofty and the
commonplace. (Twentieth-century Marxists, on the other hand, were to complain
about what they saw as her exclusive emphasis on a lofty upper middle class.)
In any case having being rescued by literary critics from neglect and indeed
gradually lionized by them, Austen steadily reached, by the mid-nineteenth
century, the enviable pinnacle of being considered controversial.
The primary purpose of the passage
is to
At the time Jane Austen’s novels
were published – between 1811 and 1818 – English literature was not part of any
academic curriculum. In addition, fiction was under strenuous attack. Certain
religious and political groups felt novels had the power to make so-called
immoral characters so interesting that young readers would identify with them;
these groups also considered novels to be of little practical use. Even
Coleridge, certainly no literary reactionary, spoke for many when the asserted
that “novel-reading occasions the destruction of the mind’s powers.”
These attitudes towards novels help
explain why Austen received little attention from early nineteenth-century
literary cities. (In any case a novelist published anonymously, as Austen was,
would not be likely to receive much critical attention.) The literary response
that was accorded to her, however, was often as incisive as twentieth-century
criticism. In his attack in 1816 on novelistic portrayals “outside of ordinary experience,”
for example. Scott made an insightful remark about the merits of Austen’s
fiction.
Her novels, wrote Scott, “present to
the reader an accurate and exact picture of ordinary everyday people and
places, reminiscent of seventeenth-century Flemish painting.” Scott did not use
the word ‘realism’, but he undoubtedly used a standard of realistic probability
in judging novels. The critic Whately did not use the word ‘realism’, either,
but he expressed agreement with Scott’s evaluation, and went on to suggest the possibilities
for moral instruction in what we have called Austen’s ‘realistic method’ her
characters, wrote Whately, are persuasive agents for moral truth since they are
ordinary persons “so clearly evoked that we feel an interest in their fate as
if it were our own.” Moral instruction, explained Whately, is more likely to be
effective when conveyed through recongnizably human and interesting characters
than when imparted by a sermonizing narrator. Whitely especially praised Austen’s
ability to create character who “mingle goodness and villainy, weakness and
virtue, as in life they are always mingled. “Whitely concluded his remarks by
comparing Austen’s art of characterization to Dickens’, starting his preference
for Austen’s.
Yet, the response of
nineteenth-century literary critics to Austen was not always so laudatory, and
often anticipated the reservations of twentieth-century literary critics. An
example of such a response was Lewes complaint in 1859 that Austen’s range of
subject and characters was too narrow. Praising her verisimilitude, Lewes added
that, nonetheless her focus was too often only upon the unlofty and the
commonplace. (Twentieth-century Marxists, on the other hand, were to complain
about what they saw as her exclusive emphasis on a lofty upper middle class.)
In any case having being rescued by literary critics from neglect and indeed
gradually lionized by them, Austen steadily reached, by the mid-nineteenth
century, the enviable pinnacle of being considered controversial.
The passage supplies information to
suggest that the religious and political groups (mentioned in the third
sentence) and Whately might have agreed that a novel.
Many people like to eat pizza, but
not everyone knows knows how to make it. Making the perfect pizza can be complicated,
but there are lots of ways for you to make basic version at home.
When you make pizza, you must
begin with the crust. The crust can be hard to make. If you want to make the
crust yourself, you will have to make dough using flour, water, and yeast. You
will have to knead the dough with your hands. If you do not have enough time to
do this, you can use a prepared crust that you buy from the store.
After you have chosen your crust,
you must then add the sauce. Making your own sauce from scratch can take a long
time. You have to buy tomatoes, peel them, and then cook them with spices. If
this sounds like too much work, you can also purchase jarred sauce from the
store. Many jarred sauces taste almost as good as the kind you make at home.
Now that you have your crust and
your sauce, you need to add the cheese. Cheese comes from milk, which comes
from cows. Do you have a cow in your backyard? Do you how to milk the cow? Do
you know how to turn that milk into cheese? If not, you might want to buy
cheese from the grocery store instead of making it yourself. When you have the
crust, sauce, and cheese ready, you can add other toppings. Some people like to
put meat on their pizza, while other people like to add vegetables. Some people
even like to add pineapple! The best part of making a pizza at home is that you
can customize it by adding your own favorite ingredients
As used in paragraph 1, which word
means the opposite of “complicated”?
The history of the modern world is a
record of highly varied activity, of incessant change, and of astonishing
achievement. The lives of men have, during the last few centuries, increasingly
diversified, their powers have greatly multiplied, their powers have greatly
multiplied, their horizon been enormously enlarged. New interests have arisen
in rich profusion to absorb attention and to provoke exertion. New aspirations
and new emotions have come to move the soul of men. Amid all the bewildering phenomena,
interest, in particular, has stood out in clear and growing pre-eminence, has expressed
itself in a multitude of ways and with an emphasis more and more pronounced,
namely, the determination of the race to gain a larger measure of freedom than
it has ever known before, freedom in the life of the intellect and spirit,
freedom in the realm of government and law, freedom in the sphere of economic
and social relationship. A passion that has prevailed so widely, that has transformed
the world so greatly, and is still transforming it, is one that surely merits
study and abundantly rewards it, its operations constitute the very pith and
marrow of modem history.
Not that this passion was unknown to
the long ages that proceeded the modern periods. The ancient Hebrews, the
ancient Greeks and Roman blazed the was leaving behind them a precious heritage
of accomplishments and suggestions and the men who were responsible for the
Renaissance of the fifteenth century and the Reformation of the sixteen century
contributed their imperishable part to this slow and difficult emancipation of
the human race. But it is in modern times the pace and vigour, the scope and
sweep of this liberal movement have so increased unquestionably as to dominate
the age, particularly the last three centuries that have registered great
triumphs of spirit.
In what epochs of modern history
have men especially contributed to the emancipation of human race?
Lilly loves her town. She loves
the mall. She loves the parks. She also loves her school. Most of all, though,
Lilly loves the seasons. In her old town, it was hot all of the time.
Sometimes it is cold in Lilly’s
new town. The cold season is in winter. Once in a while it snows. Lilly has
never seen snow before. So far her, the snow is exciting as well as very
beautiful. Lilly has to wear gloves to keep her hands warm. She also wear a
scarf around her neck.
In spring, flowers bloom and the
trees turn green with new leaves. Pollen falls on the cars and windowsills and
makes Lilly sneeze. People work in their yards and mow their grass.
In summer, Lilly wears her old
shorts and sandals- the same ones she used to wear in her old town. It is hot
outside, and dogs lie in the shade. Lilly and her friends go to a pool or play
in the water sprinkler. Her father cooks hamburgers on the grill for dinner.
Lilly’s favorite season is autumn.
In autumn, the leaves on the trees turn yellow, gold, red, and orange.
Halloween comes in autumn, and this Lilly’s favorite holiday. Every Halloween,
Lilly wears a costume. Last year she wore a mouse costume. This year she will
wear a fish costume.
One evening in autumn, Lilly and
her mom are on sitting together on the porch. Mom tells Lilly that autumn is
also called “fall”. This is a good idea, Lilly thinks, because in the fall all
of the leaves fall down from the trees.
This passage is mainly about