Larkin daycare: Larkin Precious Day Care Inc
Larkin Precious Day Care Inc
Larkin Precious Day Care Inc – Care.com Lake Wales, FL Child Care Center
Costimate™
$145
per week
Ratings
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Costimate™
$145/week
Ratings
Availability
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Larkin Precious Day Care Inc. provides childcare programs to the community of Lake Wales, FL. The programs are designed to allow each child to discover more about themselves and their world around them. The center presents a variety of play experiences promoting motor coordination.
In business since: 2000
Total Employees: 11-50
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Type
Child Care Center/Day Care Center
Program Capacity:
45
OFFERINGS
Full Time (5 days/wk)
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Child Care / Daycare / Daycare in Lake Wales, FL / Larkin Precious Day Care Inc
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LARKIN PRECIOUS DAY CARE, INC. PHASE 2, Child Care Facility
LARKIN PRECIOUS DAY CARE, INC. PHASE 2
- Program Type:
- Child Care Facility
- Capacity:
- 108
General Information
LARKIN PRECIOUS DAY CARE, INC. PHASE 2 is a child care facility in Lake Wales, Polk County, Florida that welcomes your child and family. Sensitive, loving interactions with teachers are the active ingredients of high quality early care and learning programs. Children benefit socially, intellectually and physically from participation in quality group care experiences, with proven results that last into their school years. Quality child care/day care programs also involve parents—regularly telling you about your child’s daily activities, and sharing information about child development topics and activity ideas to enjoy at home.
Accreditations
No records
Educational Programs
Subsidized Child Care
Hours of Operations
Monday
6:30AM – 6PM
Tuesday
6:30AM – 6PM
Wednesday
6:30AM – 6PM
Thursday
6:30AM – 6PM
Friday
6:30AM – 6PM
Saturday
Closed
Sunday
Closed
License Information
License number: C10PO0245
Expiration date: May 16, 2020
Staff Roster
No results
Schools in the area
Angela’s Precious Little Angels
FL-60, Florida
(863) 808-2734
View Details
Little Cardinal Leadership Academy
110 E Polk Ave, Lake Wales, FL 33853
(863) 678-4244
View Details
A Blessed Child II
245 E Bullard Ave, Lake Wales, FL 33853
(863) 223-8174
View Details
640 S Scenic Hwy, Lake Wales, FL 33853
(863) 676-5356
- To enhance this description, add pictures, see the programs’ dashboard, or claim this program, click below.
Philip Larkin: portrait of a poet
Alexander Genis: Thirty years have passed since the death of one of the most popular poets in the English-speaking world, Philip Larkin. After waiting for this date, Westminster Abbey finally decided to give him a place in their “Poet’s Corner”, despite the fact that the poet was a militant agnostic and author of rebellious poetry.
Today Vladimir Gandelsman will introduce that still little-known poet to Russian readers, based on the biography of Larkin written by James Booth. This book is called Life, Love and Destiny.
Volodya Let’s start, as always, with a brief background.
Vladimir Galdesman: Philip Arthur Larkin (English Philip Arthur Larkin, August 9, 1922, Coventry – December 2, 1985, Kingston upon Hull) – British poet, writer and jazz critic.
Studied at Oxford (1940-1943), where he became friends with the novelist Kingsley Amis. Then he worked all his life as a university librarian, first in Belfast, then at the University of Hull (East Yorkshire). In 1984, Larkin was offered the honorary title of Poet Laureate, which he declined. For his literary merits he was awarded the Order of the Knights of Glory and the Order of the British Empire. In 2003, the Society of Poetry Book named Larkin the most beloved post-war British poet by readers, in 2008 The Times newspaper named him the best British author of the post-war era.
Alexander Genis: Why is Larkin’s new biography remarkable?
Vladimir Galdesman: James Booth’s new biography of Philip Larkin isn’t all that exciting, but it fits the bill. If you agree that Larkin is one of the finest lines of English-language poetry, then it might be interesting to look at him both as a person and as a poet. Especially as a person.
The explanation for the fact that the biographical genre blooms and smells was given by Pushkin in a textbook letter to Vyazemsky: “The crowd eagerly reads confessions, notes, etc. , because in their meanness they rejoice at the humiliation of the high, the weaknesses of the mighty. At the discovery of any abomination, she is delighted. He is small like us, he is vile like us! You lie, scoundrels: he is both small and vile – not like you, otherwise.
Alexander Genis: I understand what you are talking about. Some kind of obscurity entered the image of Larkin after his death, when his executors published his letters, and his first biography.
Vladimir Galdesman: It was a long time ago, and it’s true. By the way, “executor” in English is the same as “executioner” – executer, and unfortunately for the perception of the image of Larkin in his biography, the facts of using racist and indecent-sexual rhetoric were revealed, and not only. It did not occur to his executors to place some preface before the biography, explaining that the poet allowed such statements only in private conversations and that he also considered his letters to be his private life. In public life, he knew perfectly well how to behave and what to say. For some reason they didn’t. They did not do what was so obviously expected of them, but they were by no means dullards who only waited with lust for the hour when it would be possible to publicly bite the dead poet on the heel and (in their understanding) humiliate him. A depressing number of English-speaking literary critics agreed that Larkin was not worth reading at all, and those who understood what rank he was a poet covered their mouths with tape.
Alexander Genis: Nevertheless, a huge number of readers on both sides of the Atlantic love Larkin’s poetry. Over the past 20 years, this view has become stronger. The question is, will Larkin’s new biography serve to strengthen Larkin’s reputation?
Vladimir Galdesman: Probably. Admirers of Larkin see the main advantage of Booth’s book in that it demonstrates that only the author’s text matters and nothing else.
Significantly, Booth was Larkin’s colleague for 17 years and served as a literary consultant to the Larkin Literary Society. Whether his opinion can be trusted is another question.
Alexander Genis: Well, what’s the matter? What is so controversial in this figure, let’s explain what kind of person and poet this same Larkin was?
Vladimir Galdesman: This same Larkin, unlike the chest, does not just open. He played the role of a misanthrope, professed total loneliness, joked in a peculiar and cynical way. He did not take the title of Poet Laureate, but it can be said that Larkin was the British Poet Laureate of Disappointment. His cynicism was tempered only by his skepticism, which only occasionally allowed itself the expression of any hope or possibility, as happens at the end of the poem “Trees”: “Last year is dead, they seem to say: / start again, again, again” . (Note that for Larkin, the emphasis on the word “seems” is the same as on the word “again”).
But Larkin was better known for his satirical verses. Characteristically, those who know something of English poetry, as well as those who do not know anything, will still recite to you the beginning of the poem “This Be The Verse”. The first line is “They fuck you up, your mum and dad…” The point is that your birth is a mistake and that you shouldn’t breed at all. I made a free translation, not obscene, so I can read it. Still, it is worth explaining the game that Larkin has in this rhyme. He says that you were made by your father and mother, but not only “made”, but also “deceived”. I used the verb “to inflate”, which also acquires a dual meaning. So:
Having given birth to you, father and mother
mouth to mouth with their breath
you were fooled, so to speak,
so that you add your own to them.
And they were fooled into their turn
by the degenerate forerunners, scurrying
back and forth with their household,
not understanding anything. …what.
Aggravating evil, the freak
breeds, mother soul into God.
Die. Do not continue your family,
so as not to fool anyone.
Alexander Genis: Clever, but are these poems by a great poet?
Vladimir Galdesman: Poems. I don’t like that word, but it fits here. Poems. In the title it is expressed, in my opinion, – “This Be the Verse”. (“These are poems!”, maybe?) … I think Larkin would have found a common language with the Romanian-French philosopher Emil Cioran, who said: “I have no hatred for life, no desire for death, everything that I I would like to, is not to be born into the world.
Alexander Genis: Larkin’s popularity stems from this disillusioned, cold, sort of temperament. It’s always attractive. Let’s remember Pechorin.
Philip Larkin
Vladimir Galdesman: Undoubtedly. Larkin ended his opus Learning Reading Skills with the line: “Turn out the lights, books are bullshit. ” For all the vileness, there is in this irreverent wit and in this melancholy the determination to look at life point-blank. Readers believe him. And, of course, it is not limited to the above quotations. His poetry is psychologically accurate, and there is an ease in handling metrical forms rooted in the British poetic tradition. His gaze is elegiac, working to reduce, but at the same time, these verses are rich in precise nuances. Robert Pinsky, former American Poet Laureate, describes Larkin’s poetry as “a majestic sour rejection,” which is a good description. Perhaps this is best shown in verse 1958 “Weddings on Trinity”.
Alexander Genis: Do you have a translation?
Vladimir Galdesman: No, alas, there is no translation. With Larkin’s translations into Russian, the situation is bad, and you won’t understand anything from the interlinear. Nevertheless, I will say a few words about “Weddings”. Trinity, or Pentecost, is the seventh Sunday after Easter, late spring, at which time people often get married. In the 1950s, this provided some financial advantages related to taxes, and besides, there were many days off. Hence the theme of this poem.
This Trinity I was late
until
at one o’clock on a sunny Saturday
I boarded a half-empty train –
wide open windows, hot pillows,
the evaporated meaning of being. We rushed
past the back alleys, crossed the street,
blinding windshields, the smell of a fish store; from here
the river overflowed in breadth, there,
where sky, Lincolnshire and water are one.
The beginning, so characteristic of Larkin, is conversational, yet rhythmic, in a chaotic manner, instantly conveying the rush of the city fuss, discarded with the departure of the train. From the “river overflowing in breadth” the sky, the city and the water become one thing. The train itself, the central image of the poem, is a form of unfolding movement that connects different places and times.
Let’s move on.
All day, through the sleepy heat
for miles around,
we drove south, slowing down on the curves;
passing vast farms, cows and their short shadows,
canals with dirty factory foam;
a sudden greenhouse: a hedge, sagging
and rising, and an intermittent smell of grass
through the stink of wagon drapery –
and so on until the next nondescript town
with outlying car remains.
Larkin’s voice is so simple and natural that the reader hardly notices the complexity of the rhyme (which is not in my interlinear). Keats came up with this stanza for his summer odes, and Larkin’s allusion is no coincidence—it’s early summer, with its fragrant promise and pastoral sweetness. Just as Keats’ summer odes are full of death and decay, so Larkin has nothing without a particular bittersweet taste. Pastoral fantasy, with its farms and hedgerows, is complemented by a harsh reality: factory foam in the canals, the stench of wagon drapes. ..
This sharp realism goes a long way to substantiate a plausible and at the same time fantastic picture of the upcoming series of weddings – their hero will be watching from the train. A long poem in which the whole life unfolds.
Alexander Genis: I understand that retelling poetry is almost impossible. But maybe there are parallels in Russian poetry, something similar?
Vladimir Galdesman: Maybe. As for “Weddings”, I remembered Pasternak’s lines from the poem “Beloved is horror if the poet loves …” There the poet sees,
…. how weddings are celebrated around.
As they get drunk, they wake up.
How common is this frog caviar?
A poem where the vulgarity of life and the poetry of life coexist. It can also be seen that Pasternak is the translator of Keats’s ode “To Autumn”, from which the complex rhyme of Larkin’s “Weddings” is borrowed. Everything is connected.
Alexander Genis: Let’s go back to the biography written by James Booth. In professional life, Larkin was honesty itself. What did happen in your personal life?
Vladimir Galdesman: The same Choran said: “Create a family. Yes, for me, it’s easier to found an empire. Larkin was a confirmed bachelor. His “wife” was his mother, to whom he wrote letters, addressing her as a lover addresses a lady of the heart. “Oh, my Creation!”, something like that … He had several mistresses at the same time. I noticed that men who idolize mommy are often real womanizers. It is known that from a semi-bohemian environment, Monica Jones was ready for anything for him. The socialite Patsy Strang, who could not stand ephemeral relationships, was also ready for everything. She simply went crazy over him all her life and even at the end of the novel she wanted to resume it.
This does not make Larkin, of course, Eroll Flynn, the Hollywood conqueror of women’s hearts, but still destroys the reputation of some insensitive deck. Perhaps Larkin pretended to be a loser in love, and this was his strategy. If this is a strategy, then it is somewhat shameful.
As for racism, Booth writes that Larkin has wonderful poems dedicated to the famous African American saxophonist and composer Sidney Becket. He may have said something, Booth argues, but he couldn’t be a racist. He admits that Larkin hurt the women he was involved with by hiding them from each other and pretending he had nothing to do with them. And it was cruel. But this, oddly enough, gave rise to his serene lines that delight the reader. So says journalist Booth, Larkin’s generous protector. About Bout himself, they write that he is excessively generous.
Alexander Genis: Are there any responses from Russian poets to Larkin’s poetry?
Vladimir Galdesman: I came across a short response from Joseph Brodsky: “Cat’s screams.” But there are, of course, enthusiastic responses. In Russian poetry, Larkin, it seems to me, has not yet arrived. By the way, when he helped finance the publication of one of his first collections and agreed that the collection would be distributed by subscription, in private conversations he jokingly called subscribers suckers. Booth plays with these places in the book with gentle humor. Larkin made extensive use of the allusions, allusions, and irony of language inherent in literary circles. The obvious benefit of Booth’s book is that in our times the language of Philip Larkin is increasingly in need of translation, at least for the ingenuous public.
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