There are many variations on this theme. Some involve dangers and trickery; in many the gift helps overcome the first of three or four dangers.
is the only folktale I've read that talks about the nature of the gift itself. It is a wisp of a story, with no dangers, no trickery, only kindness. It is one of the most beautiful stories I know. I first read the story in a collection of Chinese folktales, in which it was called the "Dancing Yellow Crane." In this version, the stranger drew the crane on the wall of a poor restaurant with the soft yellow inner part of an orange peel a guest had thrown on the restaurant floor. The second version I read was in a collection of Chinese folktales beautifully illustrated by a Czechoslavakian artist, Eva Bednarova. The stranger was a young student who also drew the crane on the restaurant wall, but this time with his brush dipped in thick black India ink. (We call this ink India ink; many other countries refer to it as China ink. Students in ancient China did not have pens or pencils. They carried with them a brush of sheep or other animal hairs with a bamboo handle, plus an inkstone and a dry block of carbon mixed with clay. When the student needed to write, he (and only men were allowed to write) would pour a bit of water onto the inkstone. Every inkstone has a little dip or pool at the far end, and a longer slanted middle. The student had to rub the inkblock against the middle of the stone, wetting it, rubbing, wetting, rubbing, until he had made a thick black ink, which ran down into the pool at the end.)
I think I made more attempts at illustrating this story in different ways than I have for any other. I first illustrated it in pencil and white ink on grey paper, but the editor I took it to found the pictures too soft and depressing. Then I decided to make it of cut paper collages, having the whole story take place in the United States but with a woman fiddle player as the stranger, who used the oranges as her writing tool. The editors found these pictures too peculiar and the woman—a gypsy—way too weird-looking. Then I tried to illustrate it in India (or China) ink, in the style of Chinese paintings, and with just small bits of orange scattered about to give brightness. The editors felt this style would be too strange for an American audience.
Finally, I came back to cut paper collages. Again I had the story take place in the U.S., but this time the protagonist would be a man with a son, and the pictures of the son would tell a different SILENT story from that of the father. The father's relationship with the crane was exactly the one told by the words, but the boy loved the crane at first, and interacted with it, then lost interest and forgot about it, until it flew away. Then the boy began to do what he could to bring it back, even if only in his memory.
The other change I made was in the crane itself. I realised as I was working that it would be much more appropriate to make the crane out of cut paper, since that is what the pictures were made of. In a way, this made the story become a symbol of the book—or any book—itself: an object made of paper and given life by every reader. As a way of showing the magical nature of the dancing bird, this was the only element in the story that I painted, and I painted it as delicately and beautifully as I could. For the crane, I went to the Stoneham Zoo, where as I remember there were several Sandhill cranes, and maybe even a white crane from China. I drew them in as many positions as I could, which was difficult, as they were always moving, moving.
When I used to work in classrooms, I would often use this story as a pattern on which students based their own stories, but I added a slight twist: in the , the stranger shows his love and deep relationship with the bird when he "adds something" to the crane by playing music. The crane naturally goes with him when he leaves. I told the students that their stranger had to "add something" to their "gift" that would also make it even more beautiful than it had been up until then, and that this addition might help the stranger and the gift to leave. The results were unusually full of surprise and delight: a nursery owner had a problem with freezing temperatures and gave a stranger a bed during the cold; the stranger gave her a spider that wove warm cocoons around the trees; when spring came and the stranger returned, she sang as the spider wove a staircase up into the sky, which they climbed, disappearing into the clouds. Another child had the protagonist make good, warm boots that nobody bought, until a poor stranger gave her a magic shoelace as thanks for food and a warm place to stay. The shoemaker rubbed the shoelace over the shoes, which became beautiful and full of colorful designs, and her shop became more and more popular. When the stranger returned, he tied the shoelace into the shape of a butterfly, climbed on and flew away, as the shoemaker continued to make her beautiful shoes.
This story is an excellent example of how students can learn to use a pattern and make their own stories which are varied, surprising and solid—although the story itself is indeed a wisp, almost a gauzy veil that hides and reveals great beauty.
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One of the qualities that I like about this correspondence card is the weight. This is a card, not a sheet of paper. It has that great feel and look. The 4x6 ish size of the card is large enough to say thanks or provide a short note. Because of the size, a short message looks great. You can't just write "Thanks for getting together, it was good to connect up again." on a large sheet of paper. But a short message liked that looks appropriate on a correspondence card.
For two to five authors, use their last names separated by commas and with an ampersand "&" before the very last name in the list, then the year separated by a comma.
You may be required to use slightly different formats for other papers, such as papers submitted for publication to refereed journals, each of which typically have their own styles.
InterviewsIf you choose to include any personal interviews, reference them with the person's name, their professional title and employer, and the date, time, and place of the interview.
Absolutely love it hun! Now that im on tag i have so much time on my hands and this keeps me busy and creative! Looks lovely with coloured paper aswell! X
When citing the name of a journal, magazine or newspaper, write the name in italics, with all words capitalized except for articles, prepositions and conjunctions.
Crane & Co. has been the country's leading maker of fine 100 percent cotton stationery for social and business correspondence for over two centuries. Founded in 1801, the company's roots extend to the birth of the nation. It was at Crane's Liberty Mill that paper was made for Paul Revere to engrave colonial currency in 1776. Crane has made the distinctive paper for United States currency since 1879. The company continues to be owned and managed by members of the sixth and seventh generations of the Crane family. For more information on Crane's fine business papers and brands, visit .
Journals, Magazines, and NewspapersThe following apply to citing the name and identifying information for journals, magazines, newspapers, and periodicals in general.
This is the only guide that was actually useful for me!! Thank you so much. I have to learn how to make these for school and this has helped me so so much!!!
Notes O'Donnell, "The deep history and strong heritage of both Neenah and Crane set us apart in the paper industry. Together, we have over two centuries of papermaking experience and our brands are among the most recognized and preferred social and business papers in North America."
For example, give the year of publication for a book, the year and month of publication for a monthly magazine or journal, and the year, month, and day for a newspaper or daily periodical.
References Found in Electronic FormMany resource materials are available through Melvyl and Harvest, which are the electronic access points for the UC Davis library.