TONY NELSON (A BRIEF INTRODUCTION)

Antonya Nelson


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Antonya Nelson (b. 1961) is an American author from Wichita, Kansas. She received an MFA from the University of Arizona and has published four collections of short stories, some of which have appeared in magazines including The New Yorker, Esquire, and Harper's. She received a National Endowment for the Arts grant in 2000.
Nelson is the author of five short story collections, including Some Fun (Scribner’s 2006), and three novels (Talking in Bed, Nobody’s Girl, and Living to Tell). Her work has appeared in The New Yorker, Esquire, Harper's, Redbook and many other magazines, as well as in anthologies such as Prize Stories: the O. Henry Awards and Best American Short Stories. Her books have been New York Times Notable Books of 1992, 1996, 1998, 2000, and 2002, and she was named in 1999 by The New Yorker as one of the “twenty young fiction writers for the new millennium.”
She is the recipient of the 2003 Rea Award for the Short Story, as well as NEA and Guggenheim Fellowships, and teaches in the Warren Wilson MFA Program, as well as in the University of Houston’s Creative Writing Program. She lives in Telluride, Colorado, Las Cruces, New Mexico, and Houston, Texas.

[edit] External links
Nelson short story, "Strike Anywhere," on failbetter
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Retrieved from "http://en.wikipedia.org/wiki/Antonya_Nelson"
Categories: 1961 births Living people American writers United States writer stubs

TOOLMAKER -- ONE OF MANY DEFINITIONS

Tool and die maker
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Tool and Die Makers are highly skilled workers in the manufacturing industry. Most tool and die makers attend a 4 to 5 year apprenticeship program to achieve status of a journeyman tool and die maker. Some of the job functions of a tool and die maker consist of producing jigs, fixtures, form tools, dies, molds, cutting tools, and many other mechanical items used in the manufacturing process.*[1]
Contents[hide]
1 Job description
2 Training
3 Job outlook
4 See also
5 References
//

[edit] Job description
Tool makers, also known as tool fitters, make tools used by engineering craftspeople and operatives. These include:
jigs
gauges
dies
molds
Traditionally, working from engineering drawings, tool makers marked out the design on the raw material (usually metal or wood), then cut it to size and shape using a combination of lathes, milling machines, grinding machines and precision cutting machines. Many tool makers now use computer-aided design and CNC machine tools to perform these tasks. Some tool makers specialise as machinist tool makers, others as tool maker fitters, and some as tool repairers.

[edit] Training
Although the details of training programs vary, many tool and die makers begin an apprenticeship with an employer, possibly including a mix of classroom training and hands-on experience. Some prior qualifications in mathematics, science, engineering or design and technology can be valuable.

[edit] Job outlook
Employment of tool and die makers is expected to decline in some countries due to increased use of automation, including CNC machine tools and computer-aided design. On the other hand, tool and die makers play a key role in building and maintaining advanced automated manufacturing equipment.

[edit] See also
Moldmaker

[edit] References
Tool and die makers by U.S Department of Labor, retrieved September 11, 2006
[hide]
v • d • e Metalworking
Milling and machining
Electrical discharge machining • Electro chemical machining • Endmill • Engraving • Hobbing machine • Lathe • Machine tool • Machining • Milling cutter • Milling machine • Planer • Pantograph • Shaper
Metalworking topics
Casting • CNC • Cutting tools • Drilling and threading • Fabrication • Finishing • Grinding • Jewellery • Lathe • Machining • Machine tooling • Measuring • Metalworking • Hand tools • Metallurgy • Milling • Occupations • Press tools • Smithing • Terminology • Welding •
Retrieved from "http://en.wikipedia.org/wiki/Tool_and_die_maker"
Categories: Machining Metalworking occupations Industrial occupations
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FROM RACHAEL CARSON, 1956

A child's world is fresh and new and beautiful, full of wonder and excitement. It is our misfortune that for most of us that clear-eyed vision, that true instinct for what is beautiful and awe-inspiring, is dimmed and even lost before we reach adulthood. If I had influence with the good fairy who is supposed to preside over the christening of all children I should ask that her gift to each child in the world be a sense of wonder so indestructible that it would last throughout life, as an unfailing antidote against the boredom and disenchantments of later years, the sterile preoccupation with things that are artificial, the alienation from the sources of our strength.
If a child is to keep alive his inborn sense of wonder without any such gift from the fairies, he needs the companionship of at least one adult who can share it, rediscovering with him the joy, excitement and mystery of the world we live in. Parents often have a sense of inadequacy when confronted on the one hand with the eager, sensitive mind of a child and on the other with a world of complex physical nature, inhabited by a life so various and unfamiliar that it seems hopeless to reduce it to order and knowledge. In a mood of self-defeat, they exclaim, “How can I possibly teach my child about nature -- why, I don't even know one bird from another!”
I sincerely believe that for the child, and for the parent seeking to guide him, it is not half so important to know as to feel. If facts are the seeds that later produce knowledge and wisdom, then the emotions and the impressions of the senses are the fertile soil in which the seeds must grow. The years of early childhood are the time to prepare the soil. Once the emotions have been aroused -- a sense of the beautiful, the excitement of the new and the unknown, a feeling of sympathy, pity, admiration or love -- then we wish for knowledge about the object of our emotional response. Once found, it has lasting meaning. It is more important to pave the way for the child to want to know than to put him on a diet of facts he is not ready to assimilate.
From The Sense of Wonder, by Rachel L. Carson, copyright 1956.

THE KID THAT WAS ME
(to the tune of “My Bonnie”)

1.
I think that I need some advice from
the little kid I used to be,
‘Cause adulthood has scrambled my vision
and makes me deny what I see.

REFRAIN:
Bring back...oh bring back...
Oh bring back the kid that was me...was me
Bring back...oh bring back...
Oh bring back the kid that was me.

2.
I need a good heart-to-heart talk with
that smart little kid that I was --
To remind me the emperor’s naked
and to show me the evil he does.
(...repeat refrain...).
3.
I need him (her) to yank back the curtain --
that smart little kid that was me--
To show me the wizard’s a humbug,
so that I can leave Oz and be free.
(...repeat refrain...)
4.
That little kid knew crap from Christmas
and called a spade a spade.
That smart little kid that I once was
looked the world in the eyes unafraid.
(...repeat refrain...)
5.
Oh bring back that kid for ten minutes,
and let these eyes see how it be.
Let me face this mad world through the eyes
of that uncensored kid that was me.
(...repeat refrain twice...)


Words by Galen Green c 1990

LITTLE BROTHER



Little Brother, life is like a boat.
And rowing it all day, your arms get tired.
Your little soul will fly up to its rafter
And look down to where you hang your little coat.

Little Brother, life is poorly wired.
You might burn up before you know what you’re after.
You toss and ride upon life’s purple sea
And dream about a land you once desired.

Little Brother, life will have its laughter,
But please don’t take this as a guarantee
That you’ll have laughed your fill before you end
Or gaze at life forever from your rafter.

Little Brother, you may not agree
That life is both your lover and your friend.
It all depends on what you think you’re after.
But life has loved and walked away from me.

Little Brother, life is what you float upon
And what will break you ‘til you bend.
Little Brother, yesterday I wrote
This note upon a page too torn to ever mend.


Words and music by Galen Green c 1980

Performed on Peasant Cantata c 2003
Excerpted here from The Toolmaker’s Other Son
(working title for) A Memoir by Galen Green
Copyright 2005 – 2007 by Galen Green
All Rights Reserved