A Quote by Kate DiCamillo

I think that that's part of how people have responded to The Tiger Rising. It's what I call my dark child. It's gotten sandwiched in between two overachieving, tap-dance-performing kids - Winn-Dixie and Despereaux.
A friend of mine said Winn-Dixie is the way that people want the world to be and Tiger Rising is the way that it is.
Here in New Orleans, what a lot of the musical families do - and this is a romantic concept on my part - is they teach their kids to tap dance first. Then after tap dance, you learn piano, and after piano, you get to pick between all the instruments that are out there.
The Tiger Rising is, again, about a motherless child. His name is Rob Horton. He is dealing with the death of his mother, when he and his father move to a new town. And two things happen the same day that Rob gets sent home. One is he meets a girl named Sistine Bailey, who is what my mother would call "a piece of work," and he finds a real tiger in a cage in the woods behind the motel where he lives with his dad. And that's the story: what happens with the Sistine tiger, the real tiger and Rob's grief.
I am realizing and accepting my role as a tap dancer in this world is not only to tap dance for the sake of performance, but through tap dance be able to share and spread a message and congregate with people I would not necessarily be with had it not been for dance.
How mad would it actually be to do an 'Avatar' type animation film, but about something mundane like a Winn-Dixie cashier's day at work? That'd be something else, I think.
All of that loneliness and longing in my heart got transferred into the book Because of Winn-Dixie, I guess.
I don't tap dance, and I don't think you can learn to tap dance in three weeks at my ripe old age.
I didn't know at the time I was writing Because of Winn-Dixie where the story came from, but in retrospect I can see that it was a response to a terribly harsh winter here in Minnesota.
Wayne Wang, the director of Because of Winn-Dixie the movie, understood the book and transferred as much of the feeling of the book onto film as humanly possible. I think he did a fabulous job. And also I'm thrilled because the movie brings people to the book - people that wouldn't know about the book - and that's a great thing.
Dixie has just fallen to pieces. There are little patches of Dixie. But even in the heart of Dixie - in Alabama - Dixie is slipping. They've stopped using the word in commercial listings.
On Saturday afternoons, there was a film, of course, and then we did about four shows between the films. And I would do a tap dance, a little military tap.
There are people who take tap class, do a tap dance. And then there are people who know the dance, who know why they take tap classes. Who know why they do 20 shuffles, or 50 shuffles, before they go on.
Kids not only understand [a dark story] but appreciate it … Because in the real world there's fear, and dark things happen no matter how young you are. People lose parents, people lose friends … There's darkness in the world. So I think when kids are talked to in that way, they appreciate it. They're not being given some candy-coated, 'Oh, this is a world where there are no stakes.' I think that actually insults their intelligence.
I see it as this: I send my kids to school not only to learn how to read and write and do math, but also to develop socially. So if there's a negative interaction between my child and another child, what I want to know is, how was it handled, what lessons came out of it, and, of course, is my child okay?
I'm a tap dancer. Once you're a tap dancer, you're always a tap dancer. In 'After Midnight,' I get to dance, but I don't do a full tap number.
NewSpace, commercial space - whatever you want to call it - is rising, with or without government support. It is rising in West Texas and on the Gulf Coast, in California and on the Virginia coast, and rising from the ashes of the old space program in Florida and in small shops and university labs in a hundred places in between.
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