Connecting Child Health and School Readiness

Describes research, practices, and policy options for integrating efforts to enhance child health and school readiness by ensuring child health care; linking child health, early learning, early intervention and family support; and improving environments

Differentials in the homological homotopy fixed point spectral sequence

We analyze in homological terms the homotopy fixed point spectrum of a T-equivariant commutative S-algebra R. There is a homological homotopy fixed point spectral sequence with E^2_{s,t} = H^{-s}_{gp}(T; H_t(R; F_p)), converging conditionally to the continuous homology H^c_{s+t}(R^{hT}; F_p) of the homotopy fixed point spectrum. We show that there are Dyer-Lashof operations beta^epsilon Q^i acting on this algebra spectral sequence, and that its differentials are completely determined by those originating on the vertical axis. More surprisingly, we show that for each class x in the $^{2r}-term of the spectral sequence there are 2r other classes in the E^{2r}-term (obtained mostly by Dyer-Lashof operations on x) that are infinite cycles, i.e., survive to the E^infty-term. We apply this to completely determine the differentials in the homological homotopy fixed point spectral sequences for the topological Hochschild homology spectra R = THH(B) of many S-algebras, including B = MU, BP, ku, ko and tmf. Similar results apply for all finite subgroups C of T, and for the Tate- and homotopy orbit spectral sequences. This work is part of a homological approach to calculating topological cyclic homology and algebraic K-theory of commutative S-algebras.Comment: Published by Algebraic and Geometric Topology at http://www.maths.warwick.ac.uk/agt/AGTVol5/agt-5-27.abs.htm

[Review of] John Reed and Clive Wake, eds . A New Book of African Verse

A New Book of African Verse, edited by John Reed and Clive Wake, is actually a new edition of A Book of African Verse, which appeared in 1964 just as black literature of Africa and of the United States was gaining recognition, particularly in academic circles. The authors\u27 intention has been consistently modest. From the first, the authors chose works from contemporary poets of French or English expression from Africa south of the Sahara. Certainly in 1964 their first volume brought attention to almost unknown poetry and was useful as an introduction to new readers of African poetry

[Review of] Angus Calder, Jack Mapanje, and Cosmo Pieterse, eds. Summer Fires, New Poetry of Africa

When Angus Calder, Jack Mapanje, and Cosmo Pieterse sat as judges for the BBC Arts and Africa Poetry Award of 1981, they were faced with some 3,000 entries from more than 700 contestants from which they were to award three cash prizes and a number of book prizes. In the introduction to the book which they subsequently edited, consisting of eighty-two poems from forty-five writers from thirteen countries in Africa, they explain that they had told all entrants they were looking for originality and imagination as well as evidence of technical skill. They state, also, that they strove to deliberate dispassionately ... without regard to geographical origin or to the author\u27s previous reputations. They conclude that the book represents the remarkable vitality of verse in English all over the continent, and leave their choices of poems to speak for themselves, as they do so well

[Review of] Mongane Serote. To Every Birth Its Blood

Mongane Serote is a poet of considerable merit; this I should have discovered from reading his novel, To Every Birth Its Blood, even had I not heard and seen him read his poetry to an African Literature Association Conference in 1975. The novel, however, is not obtrusively poetic; rather, its physical and psychological insights are apt and genuine parts of an integral whole, not ends in and of themselves. Yet a careful reader will respond most positively to such expression

[Review of] Sterling Plumpp, ed. Somehow We Survive: An Anthology of South African Writing

Somehow We Survive takes its title from an included poem by Dennis Brutus and is a collection of poems written in English by non-white South Africans. It is not a new book, having been published in 1982, but it still is worth the attention of Western readers, particularly of those who have not already become students of South Africa\u27s shameful history of apartheid and the growing resistance of black and colored persons, both in direct action and literary activity. As the book is now available in paperback, at a modest price, it is worth having, in spite of its limitations

[Review of] Ngugi wa Thiong\u27O. Devil on the Cross

James Ngugi without question is Kenya\u27s most prominent and most highly regarded novelist to date. Of the same generation of writers as Achebe, Armah, Soyinka, and Owoonor of West Africa, Ngugi, like them, after a local university education, went abroad for advanced work. In 1964 at Leeds, Ngugi published his novel Weep Not, Child, written when he was a student at Makerere. Shortly thereafter, in 1965, he published The River Between which he had composed even earlier. With A Grain of Wheat the writer completed in 1967 a kind of trilogy, depicting for a western readership a literary explanation and clarification of the historic Kenyan struggle for independence. These novels, written in English, and some plays and short stories brought Ngugi an award in 1965 at the Dakar Festival of Negro Arts and subsequent critical acclaim and broad readership

[Review of] T. Obinkaram Echewa. The Crippled Dancer

At the end of The Crippled Dancer, Ajuzia asks, Was everyone coincidentally and inadvertently carrying a bag packed by other people? Like Browning\u27s Andrea del Sarto who says, So free we seem, so fettered fast we are, Ajuzia appears to accept the limitations fate and/or custom place upon the individual. Both men accept with reluctance, however, for both are free, creative spirits aware of the waste of their own talents