Garden Gate Research Articles

The Doctor's Garden: Medicine, Science, and Horticulture in Britain

The Doctor's Garden: Medicine, Science, and Horticulture in Britain

Garden Hunter

Garden Hunter

Safe and Sound

Safe and Sound Annie Bartos (bio) Safe, adj. (1): secure, unharmed; still alive or existing; immune from punishment. Our house is no more than three miles from the shooting range. My daughter's outdoor preschool is closer, less than one mile as the bullet flies. "What's that sound?" my almost-five-year-old daughter asked me. "I think those are gun shots," I said. "Are they going to kill us?" she asked. "No, honey. You are safe." The words fell out of my mouth, meant to convince myself as much as her that a shooting range is not dangerous. That shooting ranges are essentially schools to teach gun safety, for people to practice a skill. That the sound of bullets is nothing to be alarmed about. The website for the range states firearms that can be used there include: all handguns and rifles; any shotguns and loads; pistols, pistol-caliber carbines up to .45 ACP; rifles using rim-fire cartridges; shotguns with 7.5 shot or smaller; rifles with ammunition up to and including 50 caliber BMG; black powder firearms; handguns using rifle-caliber ammo. None of these guns should be able to reach farther than 400 yards, about a third of a mile. Therefore, the bullets fired at the shooting range should not reach the site of her preschool. The website also advises: Read range rules upon arriving. If only rules kept people safe. Rules, in their expression as laws, are simply meant to regulate, to keep order. Safety is not the primary goal, but rather a possibility. Statistics confirm this impossibility. Unintentional shootings, accidents from improperly stored firearms, and suicide by gunshot are the leading cause of death for people under the age of twenty-four. The data show the numbers continuing to rise, rather than plateau. And schools are hardly safe havens. On April 20, 1999, I was in my last year of college in Boulder, less than forty miles from Columbine High School. It was the early days of the internet, a year after Google launched, and a year before Wikipedia. I returned to my flat for lunch after my morning classes, and the house, partitioned into five separate flats, was quiet except for the sound of voices on a television. My housemate's door was wide open, and he called out my name when I came through the flower garden gate. The screen on his T.V. showed a line of kids running in single file, crouching their heads, herding together outside the school. Aerial views of a sprawling high school building; a parking lot; police cars; the flat, tree-less landscape surrounding the school. Groups of kids hugging, crying, huddling behind police vehicles. It was hard to know what was happening, but it seemed impossible. The words "never again" were declared. In the twenty-plus years that have passed since that April day, hundreds of thousands of kids in schools across the country have been exposed to gun-related violence during school hours. Not all these events have been televised or captured on social media. Most aren't even reported in the news. Every so [End Page 141] often, a particularly horrific shooting will breach the headlines, and the dead may be named. Year after year, "thoughts and prayers" have had minimal impact on federal gun legislation. When she graduated from preschool, public kindergarten inched my daughter a half mile further from the shooting range. But the sound of bullets is still heavy on the recess yard, mingling with the sound of the school bell, the P.E. teacher's whistle, and the screeching strings of student violin lessons. The gun range's very presence within earshot of a place of learning is a material and visceral reminder that shootings happen every day. For the next five years of elementary school, my daughter and her classmates will learn the drills for a fire, an earthquake, and how to "shelter in place." Their teachers will be trained in active shooter drills. They will instruct the children to run, hide, defend, or offend. Some of these kids will become friends while others might be bullied, envied, excluded. Some of these kids will have guns in...

HeathcliffWalks

Heathcliff<i>Walks</i>

NOSTALGIA

1 5 2 Y N O S T A L G I A J A M E S A R T H U R The museum was closed, so no one saw the statue of Adam tumble to the floor, and break. No one saw the plywood pedestal collapsing, when it couldn’t hold the marble man one second more. Cameras weren’t allowed at the scene of the accident so no public images exist of the curators sifting through every fragment, hoping to rebuild Adam from the wreck, but you can imagine the disconnected hand still gripping the apple. You can imagine the head broken o√ at the neck. There’s no going back to the garden, she said – no more reading poetry in the reservoir park. No more origami. There won’t be any more lunches at the Green Room or long weekends in New York. No traveling by ocean liner. No silk stockings, no poke bonnets, or broadfall pants for the men. No collecting beach glass or writing out letters by fountain pen. As the man and woman walked deeper into exile from the garden outside of time, their memories of where they’d come from grew hazy, and recombined, 1 5 3 R becoming pieces of a magic jigsaw that never would stay together or make any picture twice – now a mystic wilderness where a hyena was licking the injured flank of a gira√e; now a couple courting in the foreground of an ancient cenotaph. The lovers had invented nakedness and put on their garments made of shame. The children weren’t children any longer, and everything had changed – except for the angel whose particular job it was to stand at the garden gate forever, making sure the man and woman did not reenter, if somehow they came back. And because angels don’t mind laboring without reward, the angel didn’t feel bored or disenchanted; he didn’t spend eternity on the thought that he was getting punished because of something that somebody else had done. Whether he represented stubbornness or human consciousness or just himself, or the sun, he kept watching all directions, all at once. And never for a moment did he put down his burning sword. ...

Winter Thaw

Winter Thaw Cori Martin (bio) Click for larger view View full resolution Pray to Heaven. © Walter Sanchez [End Page 106] The garden gate creaks on spring hinges, swingingopen slowly. Snow-blown just last week,the yard's streaked with green and scattered violets.From under-earth the velvet moles emerge,hiding blind eyes from daylight, dazzled. Neatsquirrels—all sleek energy unbounded now—race, chase birds fluttering on Easter wings.Blood in creatures stirs; trees' sap seeps freely.Erupting bulbs cast off death's clasp, blast throughtheir burial ground, black caskets cracked. So letthe disused spirit too be born anew,the closed soul unfold, as when (shut againstbleak seasons) a slowly opening crocus creaks. [End Page 107] Cori Martin Cori Martin, a native of Toronto, is a poet and librettist, playwright, and editor who has also worked as a journalist, musician, and in musical artists' management in Toronto, New York City, New Haven, CT, and Washington DC, among other locations. She was a Lecturer in English at The Ohio State University from 2001 to 2014. In 2015 she won both first and second prize in The New Quarterly Occasional Verse Competition (Canada). Cori lives in Columbus, Ohio with her husband, Renaissance scholar Hannibal Hamlin. corimartin.323@gmail.com. Copyright © 2017 Johns Hopkins University Press

Un faux pas dans la vie d’Emma Picard by Matthieu Belezi

Reviews 255 just eighty-odd pages (and sparsely furnished ones, at that), organized in twenty-three very brief chapters. Barely enough room to tell a story about brothers, let alone a story about the sea. Almendros stakes his minimalist wager with a great deal of conviction, however, and he displays considerable resourcefulness in the way he keeps his reader off balance, as if on a swaying deck in a rising swell. Whether we eventually find our sea legs or not will be a matter of individual constitution; but the voyage will not be long enough to test us beyond endurance, and at its end there is the shining promise of land,“ferme et rassurante” (24). University of Colorado Warren Motte Belezi, Matthieu. Un faux pas dans la vie d’Emma Picard. Paris: Flammarion, 2015. ISBN 978-2-0812-9365-6. Pp. 255. 18 a. After C’était notre terre (2008) and Les vieux fous (2011), Belezi’s latest fiction (based on true facts) closes a trilogy devoted to Algeria. The reader hears exclusively the voice of the main character, Emma. Given the miserable circumstances of the widowed Emma and her four sons Charles, Joseph, Eugène, and Léon in Alsace, they take the challenge and move to colonized Algeria to work and prosper. At the end of the 1860s, the French government of the Third Republic promised them and many others four acres fertile to cultivate in Algeria. This was the plan of the French colonists to repopulate Algeria, which had lost 17% of its population, between 1866 and 1868, from a series of disasters. The reader hears one voice under two types of juxtaposed narrations. The first one is of the past in short segments by Emma in a captivating monologue addressed to her youngest son, recounting their move to the Algerian countryside between Mascara and Sidi Bel Abbès, the adversity of the circumstances of a woman’s life from the time they were offered the plot of land, the scarcity of water, the grasshoppers’ attack on the crop, the famine, and the earthquake. The second narration is also in the voice of Emma, directly talking to Léon in the present time, commenting rather than narrating and asking him rhetorical questions about his health and wellbeing. The latter is presented in italics, making it easier for the reader to distinguish between the two. The narration as well as the story rely on the strong character of Emma, a solid, maternal and independent figure who faces one disaster after another marked only by a brief respite, a short love story that helps her gather strength and face reality. Both narrations are interlaced and presented without punctuation , making the story move fluidly from past to present through the strength of the oral form that makes the events seem immediate and direct. In Emma’s tragic story of destitution despite her hard work in harsh conditions, the question remains: Who is really responsible for the tragic events in Algeria, the attitude of superiority of the white Christian colonizers, and the tragic conditions of life of the colonizers and the colonized in the promised land full of injustices? “On nous a jetés, nous les colons, abandonnés à notre sort de crève-la-faim sur des terres qui ne veulent et ne voudront jamais de nous” (253). It is ultimately a nightmare that started as a journey, a dream, and a promise of happiness. St. John’s University (NY) Zoe Petropoulou Bordage, Pierre. Les dames blanches. Nantes: L’Atalante, 2015. ISBN 978-2-84172718 -6. Pp. 380. 21 a. Sunrise in Nueil-les-Aubiers, sometime in the not-too-distant future. On that fateful morning, Léo looks out the kitchen window and spots a mysterious giant“egg” lying in the field just beyond the garden gate. The three-year-old alerts his mother, Élodie, still sipping her morning coffee and hardly interested in playing along with her son’s latest shenanigan. But looking out across the yard, there it is: a massive sphere. Léo darts out the front door. By the time an out-of-breath Élodie reaches the field, standing face-to-face with the enormous...

“It Is I Who Have the Power”: Settling Women in Haggard's South African Imaginary

H. Rider Haggard has long been known as the premier writer of the imperial adventure novel, which is described by scholars as predominantly devoid of colonial settlers, particularly women. Yet his most innovative contribution to the genre of adventure fiction is actually his most overlooked: the colonial settler heroine. Reading beyond King Solomon's Mines (1885), She (1887), and Allan Quatermain (1887), male imperial romances that have almost exclusively been allowed to represent Haggard's vast body of work, we encounter female colonial leadership on the South African frontier. An effect of Haggard's anxiety over burgeoning metropolitan female agency and Afrikaner political strength, the heroines of Haggard's female colonial romances enabled the author imaginatively to redirect feminist energy — from metropole to colony, from self (as he saw it) to service, from suffragism to soil. Though they expand the British Empire's, rather than simply their own, sphere of influence, they belie Haggard's imaginative mastery, for in domesticating the empire these heroines transcend domestication, commanding authority far beyond the garden gate. Through an analysis of The Ghost Kings (1908), Haggard's final female colonial romance, this article compares the subgenre to the male imperial romance, demonstrates Haggard's capacity to imagine positive female leadership, and, finally, suggests the limits of that imagination.

Food Science Education Publications and Websites

Food Science Education Publications and Websites

At the Garden Gate: Community Building Through Food: Revisiting the Critique of “Food, Folk and Fun” in Multicultural Education

This essay takes up a re-evaluation of the ossified view of food events that have circulated in the canonical texts of multicultural education. While agreeing with the critique by progressive multiculturalists against a “touristic” approach to diversity, the author argues that such a conception of food-centered events in schools has obscured how such activities can foster multi-ethnic and multicultural community building. By looking at popular discourses such as newspapers which describe school gardens in particular, the author identifies how school-community partnerships centered on food are developing in multi-ethnic contexts to promote progressive ideals such as volunteerism, civic engagement and environmental awareness.

中国庭園の墻と門窓の特色

中国庭園の墻と門窓の特色

At the Firefly Gate (review)

Reviewed by: At the Firefly Gate Elizabeth Bush Newbery, Linda At the Firefly Gate. Fickling/Random House, 2007 [160p] Library ed. ISBN 0-385-75114-8$17.99 Trade ed. ISBN 0-385-75113-1$15.99 Reviewed from galleys Ad Gr. 4-6 It was the dream of Henry's parents, certainly not Henry himself, to move from London out to the country, and now he finds himself facing a new school and his parents' efforts to arrange a friendship for him with sulky next-door neighbor, Grace. He actually gets along far better with Grace's great aunt Dottie, with whom he promptly forms an unspoken bond when he realizes that she, like himself, sees a mysterious figure that occasionally appears at the garden gate and seems to have come from another time. As Henry makes friends with kids from the neighborhood, he also begins to unravel threads of local history that ultimately connect an abandoned World War II airfield, Dottie, a chum's grandfather, and the ghostly presence in the garden. This is about as tame and gentle as ghost stories get, and there's never much doubt that there's romance rather than peril behind the apparitions. Still, the story Henry uncovers involves an act of wartime heroism that compensates for any disappointment in the haunting department, and the supernatural lovers' reunion he is privileged to witness should touch even cynical grade-school hearts. Copyright © 2007 The Board of Trustees of the University of Illinois

Opening the Garden Gate

During the past several months, we have been working to build a new infrastructure to produce what you read each month. This is not the big “ta da”… yet. We are developing a new garden, and that involves preparing the soil, sowing new varieties of seeds, and transplanting some of the established plants. As a novice Editor in Chief, I have sought help from many sources in the effort to understand soil conditions, necessary nutrients, and predictions of climate change. You began to see some changes in the July issue. When you look at our masthead, you see that we now have a Steering Committee (Anthony Delitto, PT, PhD, FAPTA, chair; Alan Jette, PT, PhD, FAPTA; Charles Magistro, PT, FAPTA; Carolynn Patten, PT, PhD; Ruth Purtilo, PT, PhD, FAPTA; and Julie Whitman, PT, DSc, OCS). I am delighted to welcome this august group and look forward to their “big picture” view and their expansive ideas. During the past few months, Tony Delitto and I have discussed transforming the Journal from a passive …

A Border Passage: From Cairo to America — a Woman's Journey

It was as if there were to life itself a quality of music in that time, the era of my childhood, and in that place, the remote edge of Cairo. There the city petered out into a scattering of villas leading into tranquil country fi elds. On the other side of our house was the profound, unsurpassable quiet of the desert. There was, to begin with, always the sound—sometimes no more than a mere breath—of the wind in the trees, each variety of tree having its own music, its own way of conversing. I knew them all like friends (when we left in the summers for Alexandria I would, the last day, make the round of the garden saying goodbye to the trees), although none more intimately than the two trees on either side of the corner bedroom I shared with Nanny. On one side was the silky, barely perceptible breath of the mimosa, which, when the wind grew strong, would scratch lightly with its thorns at the shutters of the window facing the front of the house, looking out onto the garden. On the other side was the dry, faintly rattling shuffl e of the long-leaved eucalyptus that stood by the window facing the street. On hot nights the street lamp cast the shadows of the slender twirling eucalyptus leaves onto my bedroom wall, my own secret cinema. I would fall asleep watching those dancing shadows, imagining to myself that I saw a house in them and people going about their lives. They would appear at the door or windows of their shadow house and talk and come out and do things on the balcony. I would go to bed looking forward to fi nding out what had happened next in their lives. I loved the patterns of light cast by leaves on the earth, and I loved being in them, under them. The intricate, gently shifting patterns that the fl ame tree cast where the path widened toward the garden gate, fading and growing strong again as a cloud passed, could hold me still, totally lost, for long moments. Almost everything then seemed to have its own beat, its own lilt: sounds that distilled the sweetness of being, others that made audible its terrors, and sounds for everything between. The cascading cry of the karawan, a bird I heard but never saw, came only in the dusk. Its long melancholy call descending down the scale was like the pure expression of lament at the fall of things, all endings that the end of light presaged. Then there was the music of the street beyond the garden hedge in the day, not noisy but alive, between long intervals of silence, with the sounds of living. People walking, greeting one another, the clip-clop of a donkey, sometimes of a horse. Street vendors’ calls—“tama-a-tim” for Com par ativ e St udi es o f So uth Asi a, A fric a an d the Mi ddl e Ea st Vo l. 26 , No . 1, 2 006 d oi 1 0.12 15/1 089 201 x-2 005 -00 8 © 20 06 by D uke Un iver sity Pre ss

BOOK REVIEW: Valerie Sanders.THE BROTHER-SISTER CULTURE IN NINETEENTH-CENTURY LITERATURE: FROM AUSTEN TO WOOLF. Basingstoke and New York: Palgrave, 2002.

The thesis of Valerie Sanders's book—that sibling relations are a cornerstone of nineteenth-century familial, social, and ideological life and hence provide "an undeservedly neglected guide to understanding the complexity of gender relations at that time" (2)—seems to me to be both correct and important (sometimes theses are true but insignificant). To support her thesis, Sanders draws from a broad range of literary and autobiographical texts and demonstrates a strong command of the primary literature. In her introduction, Sanders provides us with the literary-historical genesis of the brother-sister bond, starting with a brief but pertinent glance at Antigone, moving through the Romantics (and gesturing at G. W. F. Hegel's influence on them), and on to the later nineteenth and early twentieth centuries. Sanders argues that the middle classes' unprecedented emphasis on the brother-sister bond in the nineteenth century stemmed from the development of the nuclear family as we now know it and the resultant increased intimacy between siblings. "With a full set of playmates at home," Sanders observes, "there was no real need to go looking for friends beyond the garden gate" (4). Later, Sanders notes that "most of the best- (and least-) known nineteenth-century women novelists were also sisters, whose first emotional tie to anyone other than a parent had been to a brother" [End Page 738] (79). Somewhere in here, Sanders would have done well to justify more explicitly her emphasis on the brother-sister attachment to the exclusion of same-sex sibling ties. At the very least, it seems as though the concern about, if not obsession with, the sister-sister bond during this period is noteworthy and warrants some acknowledgment. The book isolates the nineteenth-century brother-sister relationship in a rather arbitrary manner.

"Where the World May Ne'er Invade"?: Green Retreats and Garden Theatre in La Princesse de Clèves, The History of Miss Betsy Thoughtless , and Cecilia

"Where the World May Ne'er Invade"? Green Retreats and Garden Theatre in La Princesse de Clèves, The History ofMiss Betsy Thoughtless, and Cecilia J. David Macey, Jr Give me O indulgent Fate! Give me, yet, before I Dye, A sweet, but absolute Retreat, 'Mongst Paths so lost, and Trees so high, That the World may ne'er invade, Through such Windings and such Shade, My unshaken Liberty.1 The speaker in Anne Finch's poem "The Petition for an Absolute Retreat " (1713) expresses her desire for "A sweet, but absolute Retreat," and she locates this retreat out of doors, in a retired and inaccessible corner of a grove where unwelcome visitors will be unable to infringe on her "unshaken Liberty." Finch is not alone in her desire for a green retreat: the gardening mania that gripped England during the eighteenth century bears witness to the widespread appeal of gardens, groves, and wildernesses as sites of recreation and spiritual renewal. Novelists pay tribute to the ideal of rural retirement celebrated in Finch's poem when they represent their heroes or, more frequently, their heroines retiring to bowers in 1 Anne Kingsmill Finch, Countess ofWinchilsea, "The Petition for an Absolute Retreat," The Poems ofAnne Countess ofWinchilsea, ed. Myra Reynolds, The Decennial Publications ofthe University of Chicago, 2nd series, vol. 5 (Chicago: University of Chicago Press, 1903), pp. 68-69, lines 1-7. EIGHTEENTH-CENTURY FICTION, Volume 12, Number 1, October 1999 76 EIGHTEENTH-CENTURY FICTION lovely and lonely gardens in order to reflect on the tumultuous events that shape their careers. The secluded garden seat provides these heroines with a place in which to express feelings, either alone or to a privileged confidant , that would invite censure were the heroines to acknowledge them in public. Richardson's Clarissa, for example, seeks respite from the oppressive atmosphere of Harlowe Place—and finds means to conduct a clandestine correspondence with her beloved Anna Howe—in her father's "rambling, Dutch-taste garden," and she dreams of escaping from her tyrannical family and retiring to the rural "dairy-house" that her grandfather erected for her use.2 As Clarissa learns, however, the garden at Harlowe Place is far from an absolute retreat, and more than a few other eighteenthcentury heroines make the same discovery about the gardens to which they retire in moments of crisis. Lovelace is not the only villain—or hero— in eighteenth-century fiction who possesses a key to the heroine's garden gate: again and again, heroines are taken by surprise by intruders after retiring to gardens in order to be alone. Some of these surprises effect éclaircissements that facilitate the heroines' marriages, while others, including Clarissa's, have disastrous consequences. Whether happy or fatal, these conventional scenes of discovery suggest the difficulty, if not the impossibility, of securing the perfect and "unshaken Liberty" that Finch associates with the possession of an "absolute Retreat." One version of this discovery scene derives from Mme de La Fayette's novel La Princesse de Clèves (1678). In La Princesse de Clèves, the heroine retires to a pavilion or "bower" in the garden ofher château at Coulommiers in order to contemplate a portrait of her beloved would-be lover, the Duc de Nemours. Nemours, who has penetrated the Princess's maze-like garden, observes her and recognizes himselfas the object ofher affectionate regard, butthe Princess, when she realizes thatNemours is watching her, withdraws from view. The remainder of La Fayette's novel describes the Princess's search for and eventual discovery of a more secure retreat in which she will be able to indulge both her passion and her melancholy without exciting malicious gossip or inviting the unwelcome advances of a lover whom she feels duty-bound not to marry. The scene in the bower at Coulommiers marks an important turning point in the Princess's relationship to Nemours, and it anticipates her decision, at the end of the novel, to turn her back on Nemours and the court in order to seek, in the seclusion of an "absolute Retreat," a degree ofpersonal freedom impossible in the conspiratorial and sexually charged environment of the French court. Eliza Fowler Haywood 2...

Sour Science

Click to increase image sizeClick to decrease image size Additional informationNotes on contributorsJoan WhetzelJOAN WHETZEL is a freelance writer who specializes in children's nonfiction, particularly science-related stories. Her article “Forbidden Gardens: Opening the Garden Gate” won 4th place in the October 1998 Writers Digest Contest. As a school volunteer, she has frequently assisted teachers with classroom activities such as Sour Science. She has been a mentor and tutor for several years, helping students with their reading and writing skills.

Classical caesarean section through the posterior uterine wall—a complication of complete uterine torsion

Case Report A 35 year old woman booked for her second pregnancy at 12 weeks gestation. Her first pregnancy had been a twin pregnancy. Following induction at 39 weeks for pre-eclampsia a caesarean section was performed for ‘failure to progress in the first stage of labour’ at 3 cm dilatation. Two female infants of 2466 and 3232 g were delivered . At booking i t was decided to allow a ‘trial of scar’ should the pregnancy be uncomplicated. Antenatal serum screening tests indicated a risk for trisomy of 1 3 5 , and an amniocentesis was performed. The chromosomal analysis was normal. At 27 weeks pregnant she was admitted to the labour ward with suprapubic and right sided groin pain. This pain had arisen as a result of the patient kicking a garden gate, following which the pain was noticed and gradually became more severe. The baby was active, and there was no vaginal loss. On examination, there was suprapubic tenderness, but no other abnormality of note. An mid-stream specimen of urine showed no evidence of infection, her white cell count was normal and a Kleihauer test was negative for fetal cells. It was concluded that the pain was due to separation of the symphysis pubis. and she was allowed home. When reviewed in the clinic at 37 weeks pregnant her blood pressure was elevated ( 140/100 rnm Hg) although there was no proteinuria. The lie of the fetus was noted to be transverse. An ultrasound scan was performed which showed an appropriately sized baby (estimated at 3680 g) with a normal liquor volume and a fundal placenta. She was admitted for observation. Over the following week the baby remained in a transverse lie, and therefore a caesarean section was planned. The patient requested a tubal ligation at the time of the operation, which was agreed upon after the appropriate counselling. Caesarean section was performed at 39 weeks pregnant. Upon opening the abdomen huge venous sinuses were encountered over the lower uterine segment. In what appeared to be the uterovesical fold there was a leash of vessels with a vein of approximately 0.5 to 1 cm in diameter. The orientation of the uterus was checked to exclude dextrorotation, and the uterus appeared not to be rotated as the adnexae were located laterally and the flat surfaces of the uterus were anterior and posterior. Because of the vascularity of the lower part of the uterus, a classical caesarean section was performed. A healthy 3500g boy was delivered, and the uterus closed in three layers. At tubal ligation i t was noted that the ovaries were anterior to the broad ligament. It was only then discovered that the uterus was completely rotated to the left, with the vessels of the right infundibulopelvic fold crossing the lower part of the uterus in a fold of peritoneum, and venous sinuses of the pouch of Douglas being the other large vessels present. The uterus was rotated easily back into position by rotation to the right. The uterus was therefore scarred anteriorly in the lower segment, and posteriorly in the upper uterine segment. Tuba1 ligation was completed, and the patient made an uneventful recovery, being discharged on the fifth postoperative day.

Beyond the garden gate

Beyond the garden gate

Teaching Mathematics with Technology: Multiples

Throughout children's study of mathematics, the concept of multiples and the skills associated with multiples play an important role. Initially, children's love of rhymes such as “two, four, six, eight, meet me at the garden gate” is extended to include skip counting with numbers other than 2. Skip counting forms the basis for the production of tables of basic multiplication facts. Children are later expected to acquire skill in accessing these multiples in random order (i.e., knowing that 7 times 2 is 14 without having to skip count by twos until 14). In intermediate grades the concept and skills related to multiples are extended to include comparisons between sets of multiples in search of common multiples or, even more restrictively, the least common multiple (LCM) of two or more numbers.