Barbara Park, Denise Brunkus's Junie B., First Grader: Toothless Wonder (Junie B. Jones, PDF

By Barbara Park, Denise Brunkus

ISBN-10: 0375822232

ISBN-13: 9780375822230

Yikes . . . It’s a looth tooth!

One of Junie B. Jones’s most sensible entrance tooth is unfastened! merely Junie B. isn't that delighted approximately this improvement. simply because what if she appears like toothless Uncle Lou? or even worse . . . what’s all this enamel fairy company? Like, who's this girl, rather? And what does she do with all these used the teeth? such a lot of questions, so little time.

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Additional resources for Junie B., First Grader: Toothless Wonder (Junie B. Jones, Book 20)

Example text

It’s notable that in the original magazine installments of the novel, the full title read The Personal History, Adventures, Experience and Observation of David Copperfield the Younger, of Blunderstone Rookery, which he never meant to be published on any account (814). The comic garrulity suggests that Dickens was still uncertain what genre the work would conform to, and the past tense of “never meant” implies that the narrator is dead and the document published posthumously—whereas in the final version the book is most definitely a famous writer’s public declaration of his heroism.

Murdstone flogs David “as if he would have beaten me to death” (62) and exiles him to his room for five days of separation from his mother. Even worse than the physical pain is David’s guilt at having become “an atrocious criminal” who might be hanged. In this, he becomes his own jailer. . ‘I’m a Tartar,’ ” he declares (90, 85). “He had a delight in cutting at the boys, which was like the satisfaction of a craving appetite. I am confident that he couldn’t resist a chubby boy, especially; that there was a fascination in such a subject, which made him restless in his mind, until he had scored and marked him for the day.

The child, of course, is Estella. Jaggers’s narrative affirms his powers as a secretly benevolent father (analogous both to the convict and to Pip as benefactor of Herbert), but it also shows Jaggers to be as cruelly self-deceived and as emotionally and morally self-serving as Pip. Pip had his fairytale; Jaggers, his secret history. Neither understands how fatal such narratives can be. Jaggers’s plot manipulations have brought destruction to all his characters—including the child Estella, who was emotionally deprived, perverted, and abused by her adoptive mother (who made her an unfeeling “puppet” [204] to be used in a revenge plot) and who we learn is now the victim of a violently abusive husband, a rich “gentleman” she coldly married for money and social status.

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