MODULE 5 - HISTORICAL FICTION
1. BIBLIOGRAPHY
2. PLOT SUMMARY
Beetle, a filthy, malnourished, homeless orphan living in fourteenth century England, has fended entirely for herself, for as long as she has memory. Her vagabond existence teaches her many ways of the world, abet from necessity rather than curiosity. While seeking warmth from a rotting dung heap, Beetle with her innate intelligence and sharp wit, convinces the village midwife to take her on as an assistant. Life in the village, though far from ideal, gives Beetle her first taste of stability and belonging. Beetle works hard to prove herself to a difficult taskmaster, though seldom receiving encouragement or commendation for her efforts. Fighting a strong lack of self-confidence, self-worth and appreciation of her own intelligence, Beetle begins to develop an identity and place for herself. After experiencing several note worthy successes within the social dynamics of the village, Beetle’s confidence collapses with one inconsequential failure in midwifery. Ashamed and anticipating banishment, Beetle flees the village and finds a position as a lowly inn girl. Adding old experiences with new ones, Beetle comes to understand herself and to realize that only through perseverance and determination can she have the life she really wants and, most importantly, that she truly deserves!
3. CRITICAL ANALYSIS
Integral to the historical fiction genre, Karen Cushman successfully creates an accurate and believable fourteenth century setting in The Midwife’s Apprentice. Weaving in descriptions of the living conditions, prevailing superstitions and attitudes, and commonly used herbal remedies give her readers a feeling for life in medieval England as well as the occupation of midwife. The village is alive with eccentric characters, from the brusque midwife, Jane Sharp, to the portly blacksmith’s daughter, Grommet, to Edward, a fellow orphan, to Beetle herself. Beetle, the protagonist and therefore the most developed character exhibits many typical adolescent emotions such as doubt, fear, and lack of self-confidence making her easy for the young reader to relate to. The midwife, however, is more difficult to get a handle on. “Jane Sharp became a midwife because she had given birth to six children (although none of them lived), went Sundays to Mass, and had strong hands and clean fingernails. She did her job with energy and some skill, but without care, compassion, or joy.” Cushman gives the reader two strong female characters, one easily likeable, the other, harder to fathom and like, yet the reader is left somehow finding reason to like or at least not dislike the irascible midwife.
The Midwife’s Apprentice is, at its heart, a journey of self-discovery. A lowly orphan, through this growing process, comes to be named Beetle, Brat and finally exerting her individuality and backbone, she renames herself Alyce. Alyce learns to recognize and draw on her innate strengths and talents to stand up for herself. Cushman wraps her plot around a universal and important life lesson regardless of time and place. The story has a fast-paced tempo. Episodic in form, the plot moves swiftly. Neither does Cushman pull punches about the harshness of the people or times. The book begins with Beetle sleeping in a pile of rotting animal dung in order to keep warm! The narrative is filled with rough dialogue and adult situations: the midwife is having an adulterous affair with the baker, the blacksmith’s daughter is found in bed with the manor pig boy, and plenty of the text deals with childbirth, though none overly graphic. Written with directness, humor and intelligence makes this 1996 Newbery Medal winner a wise choice for all young adult readers.
4. REVIEW EXCERPTS
BOOKLIST – “ It’s rough, dangerous, primitive, and raucous. Cushman writes with a sharp simplicity and a pulsing beat. / Kids will like this short, fast-paced narrative about a hero who discovers that she’s not ugly or stupid or alone.”
KIRKUS REVIEWS – “…in language that is simple, poetic, and funny.”
SCHOOL LIBRARY JOURNAL – “Earthy humor, the foibles of humans both high and low, and a fascinating mix of superstition and genuinely helpful herbal remedies attached to childbirth make this a truly delightful introduction to a world seldom seen in children’s literature.”
5. CONNECTIONS
Other medieval historical fiction titles by Karen Cushman:
1. BIBLIOGRAPHY
2. PLOT SUMMARY
Tired of children’s homes and foster families, ten-year-old African-American Bud Caldwell strikes out on his own to find his illusive jazz musician father. Bud, Not Buddy is set in 1936 in Flint, Michigan while the nation reels from the devastating grip of the Great Depression; racial tensions, fierce competition for few jobs and long food lines rob many families of their dignity, their very homes and stability. Especially hard-hit are the many abandoned children. Bud’s mother dies suddenly when he is six, leaving him with nothing but a suitcase of memorabilia that serve as his only connection to the past as well as the only clues to his father’s identity and whereabouts. Told in the first person Bud takes the reader through his thought processes and the many adventures he experiences during his quest to find his father, Herman E. Calloway. Along the way Bud’s path crosses with many colorful characters. Bud employs several coping mechanisms: for instance, his official guidebook to life: “Bud Caldwell’s Rules and Things for Having a Funner Life and Making a Better Liar out of Yourself” and his inherent distrust of all adults. Bud wholly believes all this subterfuge serves his purpose of survival well. Alternately persecuted and rescued, Bud’s story winds around episodically to, for our protagonist anyway, a surprising yet satisfying ending.
3. CRITICAL ANALYSIS
True to the genre’s criteria, Bud, Not Buddy is historically set during 1936 in Michigan, precisely Flint, Grand Rapids and parts in-between. Time wise, the novel takes place deep in the Great Depression; Christopher Paul Curtis seamlessly incorporates many aspects of this period into his plot: rampant unemployment, illegal rail riding, labor organizers, free food kitchens, and Hooverville shantytowns. Curtis’ plot moves along swiftly punctuated by funny dialogue and Bud’s ever-present philosophizing. A valid but minor criticism might be that Bud unrealistically encounters too many benevolent people during his quest. The reader readily connects with Bud and his plight; circumstances have made him a scrapper, yet he can mix things up just as quick as he will show his heart of gold and help anyone in need. Bud is a riotous genius, beyond his years in judging human character and, though he fronts himself as a great liar, his narrative demonstrates motives and actions absolutely sincere and true. Lefty Lewis, the jazz band, The Dusky Devastators of the Depression: Steady Eddie, Doo-Doo Boy, Dirty Deed, Mr. Jimmy, and Herman E. Calloway round out a wonderfully eclectic cast of characters.
The overriding theme of his historical work of fiction must be the power of family, family in its many forms. Bud and his mother constitute a family. Then, when Bud eventually builds a type of family with the children at the home he gets parceled out to intolerable foster “families.” After going “on the lam,” Bud decides to seek out his absent father and while doing so encounters a number of conventional and unconventional families, i.e. The Dusty Devastators of the Depression. Through this story, Curtis subtly conveys the psychological importance of family: the need to belong, the spoken and unspoken expectations of each member and the emotional investment of the familial bond. Laced with humor, Curtis possesses a smooth writing style that holds the reader’s attention. Add in the characters’ colorful speech, “.. woop, zoop, sloop..” and Bud’s imaginative guidebook rules, “RULES AND THINGS NUMBER 83: If a Adult tells you Not to Worry, and You Weren’t Worried Before, You Better Hurry Up and Start ‘Cause You’re Already Running Late” and the audience is completely enthralled. Accompanied with background period jazz music Bud, Not Buddy makes a fantastic read-aloud.
4. REVIEW EXCERPTS
BOOKS IN CANADA – “His [Bud’s] narration is immensely engaging thanks to his folksy philosophizing and his overactive imagination.”
BOOKLIST – “Curtis says in an afterword that some of the characters are based on real people, including his own grandfathers, so it’s not surprising that the rich blend of tall tale, slapstick, sorrow, and sweetness has the wry, teasing warmth of family folklore.”
PUBLISHERS WEEKLY – “Bud’s journey, punctuated by Dickensian twists in plot and enlivened by a host of memorable personalities, will keep readers engrossed from first page to last.”
VOICE OF YOUTH ADVOCATES – “Curtis writes with a razor-sharp intelligence that grabs the reader by the heart and never lets go. His utterly believable depiction of the self-reliant charm and courage of Bud, not Buddy, puts this highly recommended title at the top of the list of books to be read again and again.”
5. CONNECTIONS
After reading aloud Bud, Not Buddy invite the students to research, age appropriately, life during the Depression. Specifically, have them research Hoovervilles across the country. Have them identity where these shantytowns were located and what living conditions within each town were like.
1. BIBLIOGRAPHY
2. PLOT SUMMARY
Twelve-year old Tree-ear wants nothing more than to learn the ancient art of pottery from old master Min. Having spent many days observing from afar, Tree-ear eventually convinces Min to allow him to perform menial tasks in exchange for a midday meal cooked by Min’s generous wife. Tree-ear works for the potter from sunup to sundown and returns each night to his makeshift home under a bridge and to Crane-man, his crippled elderly friend who has cared for him since Tree-ear was only two. When a new pottery technique is introduced to their village of Ch’ulp’o, Tree-ear knows the only potter who can perfect it for a royal commission is his master, Min. Working tirelessly beside his master, Tree-ear and the potter are devastated when uncontrollable difficulties cause Min to miss the deadline for showing his wares. One final hope for a commission exists if the finished pieces can be brought personally to the royal court, an arduous many days journey over mountains and unfamiliar terrain. Min and his wife are too old to make the trip so Tree-ear, who has never been beyond the outskirts of Ch’ulp’o, bravely volunteers to transport his master’s treasures. Perseverance and unflappable determination bring Tree-ear to the royal emissary with but a single shard of the fine pottery.
3. CRITICAL ANALYSIS
In a society where the normal polite greeting is “Have you eaten well today?” hunger must be a constant concern. Linda Sue Parks’ A Single Shard brilliantly captures village life in twelfth century Korea. Ch’upl’o is a small seaside village where every enterprise supports the pottery industry. This historical novel is unique in time and place as well as in its subject of pottery making. The plot, though simple, tells an endearing story. At times slowed by detailed descriptions of inlaying and perfecting the glaze color, the plot moves at a moderate pace. The reader is drawn, not to a fast-paced, action-filled storyline, but instead to the characters that Parks develops more through their actions than their words. Tree-ear hides half this midday meal each day so that he can bring it home to Crane-man while Min’s wife finds the bowl and refills it every afternoon. Crane-man, Tree-ear, Min’s wife, and even the irritable potter Min himself possess a calm integrity that Parks lets speak eloquently through their deeds and their few words of dialogue.
A Single Shard transcends time and place thanks to its overriding theme of personal integrity. Under the guise of integrity lies a strong sense of right and wrong, responsibility and generosity and the determination and perseverance to see that integrity lived up to. Tree-ear routinely questions his actions for morality and depends on Crane-man for ethical guidance. When Tree-ear informs a traveling merchant that his rice sack has sprung a hole and then is rewarded for his efforts with the grains that fell to the ground, Tree-man wonders if he is truly deserving since he hesitated before warning the merchant. After Min’s wife repeatedly refills the half-eaten lunch bowl, Tree-ear considers eating all his lunch hoping that she will still refill the bowl, then decides that it would be greedy to take advantage of the wife’s generosity. These ethical concerns even reach to questions of ownership of ideas. Parks writes with a smooth, fluid style giving the text a quiet dignity much associated with Asian cultures. This intelligent story of medieval Korea proves to be intelligent, unique, thought-provoking, and unpretentious making this 2002 Newbery Award winner an excellent choice for the middle school reader.
4. REVIEW EXCERPTS
BOOKLIST – “This quiet, but involving, story draws readers into a very different time and place. Though the society has its own conventions, the hearts and minds and stomachs of the characters are not so far removed from those of people today. Readers will feel the hunger and cold that Tree-ear experiences, as well as his shame, fear, gratitude, and love.”
KIRKUS REVIEWS - “It is in the details that the story lays claim to a sort of Zen quality. Ethical decisions regarding acceptance of lunch and his responsibility to Crane-man are decided with fastidiousness and rectitude. / Tree-ear’s story conveys a time and place far away and long ago, but with a simplicity and immediacy that is both graceful and unpretentious.”
SCHOOL LIBRARY JOURNAL – “…this book not only gives the readers insight into an unfamiliar time and place, but it is also a great story.”
5. CONNECTIONS
After Min refuses to teach Tree-ear the art of throwing pottery on the wheel, Tree-ear discovers the art of hand molding clay, eventually making Crane-man a monkey figurine (Crane-man often referred to Tree-ear as “Monkey-boy”). Provide books on pottery making, especially hand molding, if possible, and provide clay for the students to try their hand at this ancient art.
1. BIBLIOGRAPHY
- Cushman, Karen. 1995. The midwife’s apprentice. New York: Clarion
- Books. ISBN 0395692296.
2. PLOT SUMMARY
Beetle, a filthy, malnourished, homeless orphan living in fourteenth century England, has fended entirely for herself, for as long as she has memory. Her vagabond existence teaches her many ways of the world, abet from necessity rather than curiosity. While seeking warmth from a rotting dung heap, Beetle with her innate intelligence and sharp wit, convinces the village midwife to take her on as an assistant. Life in the village, though far from ideal, gives Beetle her first taste of stability and belonging. Beetle works hard to prove herself to a difficult taskmaster, though seldom receiving encouragement or commendation for her efforts. Fighting a strong lack of self-confidence, self-worth and appreciation of her own intelligence, Beetle begins to develop an identity and place for herself. After experiencing several note worthy successes within the social dynamics of the village, Beetle’s confidence collapses with one inconsequential failure in midwifery. Ashamed and anticipating banishment, Beetle flees the village and finds a position as a lowly inn girl. Adding old experiences with new ones, Beetle comes to understand herself and to realize that only through perseverance and determination can she have the life she really wants and, most importantly, that she truly deserves!
3. CRITICAL ANALYSIS
Integral to the historical fiction genre, Karen Cushman successfully creates an accurate and believable fourteenth century setting in The Midwife’s Apprentice. Weaving in descriptions of the living conditions, prevailing superstitions and attitudes, and commonly used herbal remedies give her readers a feeling for life in medieval England as well as the occupation of midwife. The village is alive with eccentric characters, from the brusque midwife, Jane Sharp, to the portly blacksmith’s daughter, Grommet, to Edward, a fellow orphan, to Beetle herself. Beetle, the protagonist and therefore the most developed character exhibits many typical adolescent emotions such as doubt, fear, and lack of self-confidence making her easy for the young reader to relate to. The midwife, however, is more difficult to get a handle on. “Jane Sharp became a midwife because she had given birth to six children (although none of them lived), went Sundays to Mass, and had strong hands and clean fingernails. She did her job with energy and some skill, but without care, compassion, or joy.” Cushman gives the reader two strong female characters, one easily likeable, the other, harder to fathom and like, yet the reader is left somehow finding reason to like or at least not dislike the irascible midwife.
The Midwife’s Apprentice is, at its heart, a journey of self-discovery. A lowly orphan, through this growing process, comes to be named Beetle, Brat and finally exerting her individuality and backbone, she renames herself Alyce. Alyce learns to recognize and draw on her innate strengths and talents to stand up for herself. Cushman wraps her plot around a universal and important life lesson regardless of time and place. The story has a fast-paced tempo. Episodic in form, the plot moves swiftly. Neither does Cushman pull punches about the harshness of the people or times. The book begins with Beetle sleeping in a pile of rotting animal dung in order to keep warm! The narrative is filled with rough dialogue and adult situations: the midwife is having an adulterous affair with the baker, the blacksmith’s daughter is found in bed with the manor pig boy, and plenty of the text deals with childbirth, though none overly graphic. Written with directness, humor and intelligence makes this 1996 Newbery Medal winner a wise choice for all young adult readers.
4. REVIEW EXCERPTS
BOOKLIST – “ It’s rough, dangerous, primitive, and raucous. Cushman writes with a sharp simplicity and a pulsing beat. / Kids will like this short, fast-paced narrative about a hero who discovers that she’s not ugly or stupid or alone.”
KIRKUS REVIEWS – “…in language that is simple, poetic, and funny.”
SCHOOL LIBRARY JOURNAL – “Earthy humor, the foibles of humans both high and low, and a fascinating mix of superstition and genuinely helpful herbal remedies attached to childbirth make this a truly delightful introduction to a world seldom seen in children’s literature.”
5. CONNECTIONS
Other medieval historical fiction titles by Karen Cushman:
- Cushman, Karen. 1994. Catherine called Birdy. New York: Clarion Books.
- ISBN 0395681863.
- Cushman, Karen. 2000. Matilda Bone. New York: Clarion Books. ISBN
- 0395881560.
1. BIBLIOGRAPHY
- Curtis, Christopher Paul. 1999. Bud, not Buddy. New York: Delacorte
- Press. ISBN 0385323069.
2. PLOT SUMMARY
Tired of children’s homes and foster families, ten-year-old African-American Bud Caldwell strikes out on his own to find his illusive jazz musician father. Bud, Not Buddy is set in 1936 in Flint, Michigan while the nation reels from the devastating grip of the Great Depression; racial tensions, fierce competition for few jobs and long food lines rob many families of their dignity, their very homes and stability. Especially hard-hit are the many abandoned children. Bud’s mother dies suddenly when he is six, leaving him with nothing but a suitcase of memorabilia that serve as his only connection to the past as well as the only clues to his father’s identity and whereabouts. Told in the first person Bud takes the reader through his thought processes and the many adventures he experiences during his quest to find his father, Herman E. Calloway. Along the way Bud’s path crosses with many colorful characters. Bud employs several coping mechanisms: for instance, his official guidebook to life: “Bud Caldwell’s Rules and Things for Having a Funner Life and Making a Better Liar out of Yourself” and his inherent distrust of all adults. Bud wholly believes all this subterfuge serves his purpose of survival well. Alternately persecuted and rescued, Bud’s story winds around episodically to, for our protagonist anyway, a surprising yet satisfying ending.
3. CRITICAL ANALYSIS
True to the genre’s criteria, Bud, Not Buddy is historically set during 1936 in Michigan, precisely Flint, Grand Rapids and parts in-between. Time wise, the novel takes place deep in the Great Depression; Christopher Paul Curtis seamlessly incorporates many aspects of this period into his plot: rampant unemployment, illegal rail riding, labor organizers, free food kitchens, and Hooverville shantytowns. Curtis’ plot moves along swiftly punctuated by funny dialogue and Bud’s ever-present philosophizing. A valid but minor criticism might be that Bud unrealistically encounters too many benevolent people during his quest. The reader readily connects with Bud and his plight; circumstances have made him a scrapper, yet he can mix things up just as quick as he will show his heart of gold and help anyone in need. Bud is a riotous genius, beyond his years in judging human character and, though he fronts himself as a great liar, his narrative demonstrates motives and actions absolutely sincere and true. Lefty Lewis, the jazz band, The Dusky Devastators of the Depression: Steady Eddie, Doo-Doo Boy, Dirty Deed, Mr. Jimmy, and Herman E. Calloway round out a wonderfully eclectic cast of characters.
The overriding theme of his historical work of fiction must be the power of family, family in its many forms. Bud and his mother constitute a family. Then, when Bud eventually builds a type of family with the children at the home he gets parceled out to intolerable foster “families.” After going “on the lam,” Bud decides to seek out his absent father and while doing so encounters a number of conventional and unconventional families, i.e. The Dusty Devastators of the Depression. Through this story, Curtis subtly conveys the psychological importance of family: the need to belong, the spoken and unspoken expectations of each member and the emotional investment of the familial bond. Laced with humor, Curtis possesses a smooth writing style that holds the reader’s attention. Add in the characters’ colorful speech, “.. woop, zoop, sloop..” and Bud’s imaginative guidebook rules, “RULES AND THINGS NUMBER 83: If a Adult tells you Not to Worry, and You Weren’t Worried Before, You Better Hurry Up and Start ‘Cause You’re Already Running Late” and the audience is completely enthralled. Accompanied with background period jazz music Bud, Not Buddy makes a fantastic read-aloud.
4. REVIEW EXCERPTS
BOOKS IN CANADA – “His [Bud’s] narration is immensely engaging thanks to his folksy philosophizing and his overactive imagination.”
BOOKLIST – “Curtis says in an afterword that some of the characters are based on real people, including his own grandfathers, so it’s not surprising that the rich blend of tall tale, slapstick, sorrow, and sweetness has the wry, teasing warmth of family folklore.”
PUBLISHERS WEEKLY – “Bud’s journey, punctuated by Dickensian twists in plot and enlivened by a host of memorable personalities, will keep readers engrossed from first page to last.”
VOICE OF YOUTH ADVOCATES – “Curtis writes with a razor-sharp intelligence that grabs the reader by the heart and never lets go. His utterly believable depiction of the self-reliant charm and courage of Bud, not Buddy, puts this highly recommended title at the top of the list of books to be read again and again.”
5. CONNECTIONS
After reading aloud Bud, Not Buddy invite the students to research, age appropriately, life during the Depression. Specifically, have them research Hoovervilles across the country. Have them identity where these shantytowns were located and what living conditions within each town were like.
1. BIBLIOGRAPHY
- Parks, Linda Sue. 2001. A single shard. New York: Clarion Books. ISBN
- 0395978270.
2. PLOT SUMMARY
Twelve-year old Tree-ear wants nothing more than to learn the ancient art of pottery from old master Min. Having spent many days observing from afar, Tree-ear eventually convinces Min to allow him to perform menial tasks in exchange for a midday meal cooked by Min’s generous wife. Tree-ear works for the potter from sunup to sundown and returns each night to his makeshift home under a bridge and to Crane-man, his crippled elderly friend who has cared for him since Tree-ear was only two. When a new pottery technique is introduced to their village of Ch’ulp’o, Tree-ear knows the only potter who can perfect it for a royal commission is his master, Min. Working tirelessly beside his master, Tree-ear and the potter are devastated when uncontrollable difficulties cause Min to miss the deadline for showing his wares. One final hope for a commission exists if the finished pieces can be brought personally to the royal court, an arduous many days journey over mountains and unfamiliar terrain. Min and his wife are too old to make the trip so Tree-ear, who has never been beyond the outskirts of Ch’ulp’o, bravely volunteers to transport his master’s treasures. Perseverance and unflappable determination bring Tree-ear to the royal emissary with but a single shard of the fine pottery.
3. CRITICAL ANALYSIS
In a society where the normal polite greeting is “Have you eaten well today?” hunger must be a constant concern. Linda Sue Parks’ A Single Shard brilliantly captures village life in twelfth century Korea. Ch’upl’o is a small seaside village where every enterprise supports the pottery industry. This historical novel is unique in time and place as well as in its subject of pottery making. The plot, though simple, tells an endearing story. At times slowed by detailed descriptions of inlaying and perfecting the glaze color, the plot moves at a moderate pace. The reader is drawn, not to a fast-paced, action-filled storyline, but instead to the characters that Parks develops more through their actions than their words. Tree-ear hides half this midday meal each day so that he can bring it home to Crane-man while Min’s wife finds the bowl and refills it every afternoon. Crane-man, Tree-ear, Min’s wife, and even the irritable potter Min himself possess a calm integrity that Parks lets speak eloquently through their deeds and their few words of dialogue.
A Single Shard transcends time and place thanks to its overriding theme of personal integrity. Under the guise of integrity lies a strong sense of right and wrong, responsibility and generosity and the determination and perseverance to see that integrity lived up to. Tree-ear routinely questions his actions for morality and depends on Crane-man for ethical guidance. When Tree-ear informs a traveling merchant that his rice sack has sprung a hole and then is rewarded for his efforts with the grains that fell to the ground, Tree-man wonders if he is truly deserving since he hesitated before warning the merchant. After Min’s wife repeatedly refills the half-eaten lunch bowl, Tree-ear considers eating all his lunch hoping that she will still refill the bowl, then decides that it would be greedy to take advantage of the wife’s generosity. These ethical concerns even reach to questions of ownership of ideas. Parks writes with a smooth, fluid style giving the text a quiet dignity much associated with Asian cultures. This intelligent story of medieval Korea proves to be intelligent, unique, thought-provoking, and unpretentious making this 2002 Newbery Award winner an excellent choice for the middle school reader.
4. REVIEW EXCERPTS
BOOKLIST – “This quiet, but involving, story draws readers into a very different time and place. Though the society has its own conventions, the hearts and minds and stomachs of the characters are not so far removed from those of people today. Readers will feel the hunger and cold that Tree-ear experiences, as well as his shame, fear, gratitude, and love.”
KIRKUS REVIEWS - “It is in the details that the story lays claim to a sort of Zen quality. Ethical decisions regarding acceptance of lunch and his responsibility to Crane-man are decided with fastidiousness and rectitude. / Tree-ear’s story conveys a time and place far away and long ago, but with a simplicity and immediacy that is both graceful and unpretentious.”
SCHOOL LIBRARY JOURNAL – “…this book not only gives the readers insight into an unfamiliar time and place, but it is also a great story.”
5. CONNECTIONS
After Min refuses to teach Tree-ear the art of throwing pottery on the wheel, Tree-ear discovers the art of hand molding clay, eventually making Crane-man a monkey figurine (Crane-man often referred to Tree-ear as “Monkey-boy”). Provide books on pottery making, especially hand molding, if possible, and provide clay for the students to try their hand at this ancient art.
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