By Megan McDonald
Croak! Squeenk! Ribbet! After a detailed come upon with a mutant amphibian makes him freaky for frogs, water-shy Stink turns into a swimming success.
Stink could be tremendous shrewdpermanent, and Stink can be uber smart, yet he’s been within the Polliwog swim classification frog-ever and he nonetheless can’t undergo to place his face within the water. Why might he need a geyser up his nostril, on purpose? yet then whatever bizarre occurs: Stink starts off to determine frogs in all places — within the locker room, in his boot, within the tub. And whilst a freaky blue frog licks his arm, his froggy senses begin tingling! He has an urge to slurp up raisins (that seem like flies). He can’t wait to play within the rain and dirt. He’s a wiz at deciding on frog calls. And he has develop into very attracted to the neighborhood frog inhabitants. may perhaps it's that Stink is popping into . . . the fantastic Stink-Frog, fighter of slime? Pree-eep! Craw-awk!
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Extra info for Stink and the Freaky Frog Freakout (Stink, Book 8)
25 As I shall demonstrate, however, Kingsley’s, and later Buckley’s, appeal to wonder through the motifs and characters of the literary fairy tale constitutes more than just a reduction of scale. Unlike Gosse’s approach to nature in his Romance of Natural History, their use of fairies and fairy-tale motifs to enhance the beauty and wonders of the natural world is also, I will argue, a means of dealing with tensions, in particular those related to the crisis of faith which followed the publication of Darwin’s On the Origin of Species.
H. Huxley (1825–95) and John Tyndall (1820–93), refuted the idea that science had moved away from imagination: reason and imagination must be combined. Hence Huxley’s description of the new vision of science as 36 Fairy Tales, Natural History and Victorian Culture a ‘Cinderella’, giving Theology and Philosophy the roles of the ugly sisters: In her garret, she has fairy visions out of the ken of the pair of shrews who are quarrelling downstairs. 89 Huxley’s Cinderella is typical of the ways in which fairies were used in the second half of the nineteenth century both to call attention to the importance of imagination and – as popular science books on natural history make clear – to quiet fears related to scientiﬁc materialism.
The tales, ﬁguring animals, birds or insects, anthropomorphized them humorously, offering fantasies poles apart from earlier dry didacticism. Among the Victorian writers who attempted to explain natural history to children, Charles Kingsley, Arabella Buckley, Margaret Gatty (1809–73) and Charlotte Yonge (1823–1901) are the most signiﬁcant. Kingsley’s Madam How and Lady Why (1870) celebrates in the preface John Aikin and Anna Laetitia Barbauld’s Evenings at Home, a collection of narratives combining natural history and more ‘scientiﬁc’ topics, such as chemistry or astronomy, with poetry and moral stories.