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Foulds - The Broken Word

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Cover; Title Page; Copyright; Contents; Introduction; Chapter 1 Characteristics of Gymnastics; 1.1 A Short History; 1.2 Characteristics of Gymnastics; 1.3 Specifics of the Contemporary Stage; 1.4 Trends; 1.5 Forecasts and Prospects; 1.6 Rules of Competition; Chapter 2 Methodological Basis of Preparation Technique; 2.1 Methodological Basis; 2.2 The Concept of Preparation; 2.3 Methodological Principles of Preparation; 2.4 Similarities and Differences in Preparing Men and Women Gymnasts; Chapter 3 Preparation Modelling; 3.1 Models and Model Characteristics; 3.2 Modelling Competitive Activity.

3.3 Sports-Goal Prospective-Forecasting Models3.3.1 Normative Forecasting Model; 3.3.3 Model Characteristics of Olympic Champions; 3.3.4 Forecast Model of Sporting-technical Achievements; 3.3.5 Technical Preparedness Model; 3.3.6 Model of Special Physical Preparedness (SPP); 3.3.7 Functional Preparedness Model; 3.3.8 Psychological Preparedness Podel; 3.3.9 Selection Model for the National Team; 3.3.11 Competition Preparation Model; 3.3.12 Competition Micro-cycles Model; 3.3.13 Goal Exercise Models; 3.3.14 Model for Elaborating and Directing the Preparation Programme.

Chapter 4 Integrated Preparation System4.1 Ways and Means of Preparation; 4.1.1 Ways of Preparation; 4.1.2 Means of Preparation; 4.2 Technical Preparation; 4.2.1 Sports Technique and Technical Skill; 4.2.2 Conception of Technical Preparation; 4.2.3 Basic Technical Preparation; 4.3 Physical Training; 4.3.1 Physical Qualities; 4.3.2 Physical Preparation Conception; 4.3.3 Special Physical Preparation; 4.4 Tactical Preparation; 4.5 Psychological Preparation; 4.6 Functional Preparation; 4.7 Theoretical Preparation; 4.8 Various Forms of Preparation; 4.8.1 Basic Preparation.

4.8.2 Rotational Preparation4.8.3 Combined Preparation; 4.8.4 Jump Preparation; 4.8.5 Acrobatic Preparation; 4.8.6 Choreographic Preparation; 4.8.7 Centralised Preparation; 4.8.8 Altitude Preparation; 4.8.9 Pharmacological Preparation; 4.8.10 Pre-competition Preparation; 4.8.11 Competition Preparation; Chapter 5 Planning and Projecting Preparation; 5.1 Methodics Basis; 5.2 Training Load Structure; 5.2.1 Training Load Indicators; 5.2.2 Basic Training load Parameters; 5.3 Structure of Olympic Cycle of Training; 5.4 Structure of Macro- and Mezzo-cycles; 5.5 Structure of Training Micro-cycles.

5.6 Structure of Training Day5.7 Structure of Training Sessions; 5.7.2 Second Training Session; 5.7.3 Third Training Session; 5.7.4 Characteristic Features of the Preparatory Part; 5.8 Structure of the Pre-competition Training Stage; Chapter 6 Biomechanical Basis of Technique; 6.1. Main Concepts and Terms; 6.2. Movements in Support Position; 6.2.1. General Laws; 6.2.2. Exercises on the Parallel Bars; 6.2.3. Exercises on the Rings; 6.2.4. Exercises on the Asymmetric Bars; 6.2.5. Exercises on the Beam; 6.3 Movement in Flight; 6.3.1. Basic Parameters of Flight; 6.3.2. Projectile Movement.

Gymnastics - How to create Champions answers in detail the many unanswered questions relating to high performance. Written by the worlds leading coach and his scientific advisor it explains in detail the essential components for planning and preparation for high level results. The book will be invaluable to coaches at all levels, to university departments of sports theory and science and to those dedicated and committed individuals who really want to increase their knowledge of gymnastics at the highest level. The author has produced more Olympic, World and European Gold medallists than any.

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Table of Contents Praise for The Broken Word Winner of the 2008 Costa - photo 1
Table of Contents

Praise for The Broken Word
Winner of the 2008 Costa Book Award Winner of a Somerset Maugham Award Shortlisted for the John Llewellyn Rhys Prize
Dazzling... an exhilarating tour de force. Its thirty-three-year-old author moves around territory that is half a century and thousands of miles away from him with uncanny accomplishment. Place and period are conjured up as confidently as if he had been there.... What Foulds brings to the portrayal of violence and terror is the elegance of accuracy combined with emotional power and imaginative finesse. It makes his bookconcise and precise, attentive and inventivea superlative achievement.
Peter Kemp, The Sunday Times (London)

A miracle and a masterpiece.
Sebastian Barry, author of The Secret Scripture

Adam Foulds combines intricacy with momentum, line-by-line attentiveness with the first procedures of the storyteller, the lyrical with the epic. The Broken Word shows civilization breaking down in a nightmare of rape and murder, terror and tension. This alarming account of a forgotten colonial struggle tests peoples capacity and marks a brilliant debut.
Michael Longley

I like The Broken Word very much. Adam Foulds shows triumphantly what a verse narrative can do that a prose one cant. Its not just a matter of economy, telling a big story in a small space; it has more to do with the dynamics, the accents and tensions, of the verse line. Under Fouldss direction, it can register both the slightest nuance and the greatest depth of feeling, while keeping a story that combines human comedy with tragic history moving forward irresistibly.
Christopher Reid

The only parallel I can think of for The Broken Word is Basil Buntings The Spoils, in which Death lays his purse on the table and opens the wine for a comparable journey into brilliance, terror and compassion, powered by a wild control. Remarkable.
Ruth Padel

The Broken Word is a first-class, word-perfect, brilliant debut which doesnt put a toe wrong. The long poem is the most testing of poetic forms but Adam Foulds passes the test triumphantly.
Craig Raine
PENGUIN BOOKS
THE BROKEN WORD
Adam Foulds was born in 1974, took a Creative Writing MA at the University of East Anglia, and now lives in South London. His first novel, The Truth About These Strange Times, was published in 2007 and he was named Sunday Times Young Writer of the Year in 2008. His second novel, The Quickening Maze, which was shortlisted for the 2009 Man Booker Prize, was recently published by Penguin. The Broken Word was shortlisted for a number of awards, including the John Llewellyn Rhys Prize, and won the 2008 Costa Poetry Award.
I WHAT WAS HAPPENING Compact glare of a match flame in daylight and the - photo 2
I : WHAT WAS HAPPENING
Compact glare of a match flame in daylight

and the waiters dark hand still
as an ornament, the flame an upright leaf
tending to Jenkins as he sucked his cigarette alight,
because the train had slowed.
He wished it wouldnt slow, not
among the lion-coloured slums
with their cattery stink.
He could see people posting themselves,
third class, into the train windows or dropping
carefully onto wide, unfeeling feet.

The waiter waved out the flame.
Can I get you a drink, sir?
Suns over the yard arm.

The waiter stood in the cylinder
of his white shift, understanding
or not. The train bucked,
gathering speed. He levelled himself
naturally as a glass of water.

Jenkins blew smoke towards him.

Also there is an Englishman, English boy,
sir, on the train with... other people.
Really? Who?
I dont know name, sir.
Well, tell him to come and see me,
and the answer is yes, bring me a drink.
Picture 3
The carriage dark with bodies.
Bright smells of opened fruit.
He asked questions and got
one old man talking because
he loved the plush impacts
of their consonants, the glimmer
of teeth, and had missed the sound
of thoughts fetched and weighed
and slowly spoken, ideas
that had formed slowly in the sun,
a million miles from the bark
and whine and snivel
and brag of school.
It soothed him. The noble cheekbones soothed him.

The old man looked like Joseph
from his own farm
who always had something
small and alive to show.
He spoke of his son in the city,
the difficult life, and ambition.

Then a cough, a touch on his shoulder.

Excuse me, sir. Mr Jenkins invites you
to go to him, please.
Picture 4
Tables. Empty Seats. Napery.
The proper way to sit.

This Jenkins, half-remembered, had a tweed moustache:
threads of ginger brown and white
I assume you dont smoke yet.

and hair so thin and waxed,
fastidiously flat,
it looked like a lick of paint.

You havent been back long.
Jenkins observed the boys white skin
as though the observation were cunning.

I flew in this morning.
And school?
Is finished. I go up to university in autumn.
Jenkins, who had not been, did not ask which one.
Final summer. You might have stayed in England,
you know. It might have been better.
Tom said nothing, then: I wanted to come back.

Jenkins held his cigarette down
into the ashtray until it was out,
the last smoke crawling up his hand, into his sleeve.

I presume your father has written to you
about the situation.

Tom, trying to pull his eyes politely
back from the view to Jenkins:
He mentioned it.

Its bad enough, Jenkins leaned forward
sending quiet words out one by one
like bees from the gap of their hive,
that you should not be in there
talking with them.

Tom blinked, fingertips on table edge.
But Ive always...

Oh, weve all always but things are different.
The oathing has been going on
round your fathers estate.

Oathing?

The ceremonies, the pledges:
join or your throat cut.
Or worse. Not far from here
two wouldnt.
Cut to bits, buried, dug up,
and then others forced to eat bits,
keep them in line. Of course
one broke down and spilled it.

Jenkins regarded Tom, the boys
fingertips still on the table edge,
mouth slightly open, blushing
with fear, the fine and healthy fear
that might save him.
Picture 5
Jenkins was met by Fuller
who led him to the car under trees already black,
the first stars prickling in their branches,
the two men walking, not talking.

Then, in the car, Fuller:
Weve picked up two more.
Oh, yes?

Yes. Chaps got a bit worked up,
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