By Stan Berenstain, Jan Berenstain
Whilst Papa endure is going honey-hunting, difficulty is bound to follow
There are chores to be performed round the apartment, yet all Papa undergo can take into consideration is honey. there is not any finer honey than the sort made by means of the bees that reside within the gnarled outdated tree within the depths of the darkish woodland. Papa often is the happiest endure within the land if he may get his paws on a few of that honey, yet there's one great problem—the bees won't share!
Papa undergo has attempted everything—asking, sneaking, hiding—and all he's gotten for his hassle is a pawful of bee-stingers. yet at the present time he's get a hold of a foolproof plan to get the wild, wild honey, and he's made up our minds to hold it out. Papa undergo is both going to have honey for dinner—or stingers for dessert!
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Additional resources for Berenstain Bears and the Wild, Wild Honey
Evidence suggests that one reason might be the book’s focus on some common adolescent concerns—burgeoning teenage sexuality, frustrated passion, unarticulated feelings of desire, the mystery of sex—that adolescent girls may feel unable to discuss with adults, by whom they often (rightly or wrongly) feel ignored or misunderstood. , Cathy, and the twins, Carrie and Cory—who are the children of Corrine and Christopher Dollanganger of Gladstone, Pennsylvania. Narrated by Cathy, the story begins with the ingredients of a fairy tale: a perfect family whose blond, blue-eyed beauty prompts acquaintances and friends to call them ‘‘Dresden Dolls’’ in reference to both their Germanic handsomeness and the first syllable, 34 V.
Andrews’s novels are Gothics of a particularly twentieth-century type, focusing on young women who are forced to endure domestic abuse and violence and suffer isolation and deprivation, finally to triumph over adversity and achieve happy domesticity—for a short while. Author Donald Westlake has been quoted as remarking, ‘‘A Gothic is a story about a girl who gets a house’’ (Pronzini 199). 18 V. C. Andrews HISTORY OF THE GENRE Literary historians generally agree that the first true Gothic novel was Horace Walpole’s The Castle of Otranto (1764), which chronicles the persecution of the heroine, Isabella, by Prince Manfred and his son Conrad before the two men are finally killed and Isabella is united with Theodore, her true love.
In a Gothic novel, tone—the sum of plot and setting and language—is everything. The language of the Gothic novel tends to be formal and solemn rather than familiar. There are frequent references to nightmares and visions, secrecy and concealment, darkness and mystery, pain and death. Overall, the tone of Gothic fiction creates a sense of antiquity and decay and hopelessness. PLOT DEVICES The plot devices associated with Gothic fiction have their origins as far back as the landscape poetry of the sixteenth century, although they became fictional staples through the works of Walpole and Radcliffe and their imitators.