By Gertrude Chandler Warner
Greater than whatever, Benny desires to have a sleepover within the boxcar in Grandfather's yard. whilst Henry tells Benny to name Michael and Tyler to determine in the event that they can spend the evening, Benny is extremely joyful. extremely joyful, that's, till humans continue stating the notice scared. the men are lovely definite they'll be fine—Michael says in basic terms bears scare him. Then, sooner than they could get to sleep, Henry and the 3 boys need to enterprise during the darkish evening and again into the home. They pay attention a noisy crash. Will they make it during the evening within the boxcar?
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Extra resources for Benny's Boxcar Sleepover (The Boxcar Children: The Adventures of Benny and Watch Series, Book 12)
How do you live with that? Is it an effect you are seeking to produce or, on the contrary, do you suffer from it? (Points, 115) This could have gotten the conversation off to a bad start. In fact, however, Derrida will proceed to respond that he does indeed suffer from the reputation of unreadability, but also, and so as to explain why the “difficulty” in question is not avoidable, he cites once again “philosophical and political reasons” for which “this problem of communication and receivability, in its new techno-economic givens, is more serious than ever for everyone” (Points, 116).
Someone is interrogated who has taken, who thinks he has taken (up to a certain point) the time to write and to elaborate coded, supercoded machines, and so forth. . Then he is asked some questions. These are of a kind that, in any case, he will not be able to answer at leisure and in a manner as closely controlled as in a published text where he can correct galleys and page proofs. The interesting thing, then, or at least the pertinent thing is not what he says . . but what he selects, what selects .
On the contrary, the idea that there is an opposition here, that an interview takes place or has its place outside writing, that therefore one can avoid writing or flee it, take refuge from it in “what is called an ‘interview’,” all this is part of the construct or the program that has to be exposed and allowed to deconstruct. To take just one more indicator of this deconstruction from what I am calling the benchmark interviews, I will cite a segment from the long development on improvisation, on, in other words, that mode of speaking sur le vif without the calculating delay of writing, which is supposed to characterize the interviewee’s response.