Tuesday, 25 November 2014

The ten best America short stories you may have missed

I found this list interesting. Having read none of the stories cited here, I can’t possibly agree or disagree but I promise to read them and post a comment. In the meantime, dear follower, if you have read any of them, I’d appreciate your opinion.

Tastes differ, of course, and it can be confusing to spot the small boat of a great story on the wide sea of fiction. What any reader can offer you in terms of guidance is actually the same thing that any good writer can offer you with the story itself: a way of saying, This is what moved me and made me feel strange and alive in some way; here, why don’t you give it a try?
In that spirit and in no particular order, here are ten short stories you might’ve missed that ambushed me with their odd wonder:

1. “The Zero Meter Diving Team” by Jim Shepard (BOMB Magazine)
This curious, masterful story is about a set of brothers who work as managing engineers overseeing the Chernobyl power station on April 26, 1986, but, as with most of Shepard’s work, it’s also about the invisible planets of loss that our personal lives orbit. It is both an education and an elegy. Shepard’s forthcoming novel of the Warsaw Ghetto, Aaron Only Thinks of Himself, promises more of the same.

2. “A Tiny Feast” by Chris Adrian (The New Yorker)
Titania and Oberon, the immortal Queen and King of the Fairies, live under a hill in a modern city park. To save their marriage, they adopt a mortal toddler and begin to raise him, only to discover he has developed terminal leukemia. What follows, set in a fairy den and an oncology ward, is one of the best (and, somehow, realest) short stories ever written, a haunting exploration of love and death that has followed this reader, at least, into marriage, parenthood, and nearly every subsequent day spent on this earth.

3. “Lorry Raja” by Madhuri Vijay (Narrative Magazine)
One of the newest voices on this list, Vijay tells the story of Indian children mining the ore used to construct Olympic stadiums in China with remarkable poise and vision. While the inherently political nature of the story is certainly important and the writing is ruthless in its detail, to approach “Lorry Raja” in only that way is to miss the quiet power of Vijay’s prose, as well as its ability to look honestly into the subtleties of family and the scales of desire without denying beauty where it lurks.

4. “Bluebell Meadow” by Benedict Kiely (The New Yorker)
Published in 1975 at the peak of The Troubles in Ireland, Kiely’s unlikely story of a small country park and the two young people who spend a few afternoons together in it is sly, funny, and tremendously affecting. A lesson simultaneously in understatement and heart, this story is really about the near misses of the lives we almost live, as well as what time does to the things that could’ve been. Long forgotten by most, author Colum McCann miraculously resurrected it for The New Yorker‘s fiction podcast, and it is best experienced in his wonderful voice.

5. “Some Other, Better Otto” by Deborah Eisenberg (The Yale Review)
It’s difficult to say exactly why this story–the reflections of intelligent, grumpy Otto about his aging partner William, his own aging, his uneasy relationship with his family, the sanity of his troubled sister, loneliness, and the new baby of his upstairs renter–is as wonderful as it very much is. The story is, in the end, a testament to the power of a whole person–caustic, funny, articulate, alone, lost and found, cruel and loving–given life on the page. Originally published in The Yale Review, eager readers can find it in The Best American Short Stories 2004 anthology.

6. “City Lovers” by Nadine Gordimer (The New Yorker)
Also published in 1975, sixteen years before she would be awarded the Nobel Prize, this is Gordimer’s story of the relationship between Austrian geologist Dr. Franz-Josef Von Leinsdorf and a mixed-race Johannesburg shop girl, an affair that is illegal in apartheid-era South Africa. One of the most overlooked pieces of Gordimer’s writing, this is also one of the quietest, and most effective. The uneasy dynamics of race, class, and power (especially when it comes to love and sex) are nimbly explored here, and build to a devastating end. It was similarly saved from obscurity, this time by author Tessa Hadley, for The New Yorker‘s fiction podcast.

7. “Spring in Fialta” by Vladimir Nabokov
“Spring in Fialta is cloudy and dull,” begins this amusing and heartbreaking story, perhaps the most underappreciated narrative Nabokov ever wrote. Waiting behind Nabokov’s admittedly long and wry sentences is the plainly moving story of a love affair pursued through the years. Every detail works together here to render Nabokov’s testament to the illusiveness of love and memory, and a reader’s patience is richly rewarded. Those interested can find it online, or in the excellent anthology of love stories, My Mistress’ Sparrow Is Dead.

8. “Especially Heinous: 272 Views of Law & Order SVU” by Carmen Maria Machado (The American Reader)
By turns funny, disturbing, canny, and inventive, this novella takes the form of fictional episode summaries of the famous show (but if the show, as one reader puts it, were directed by David Lynch). Machado, another new voice in American fiction, manages to create an engaging, strange, and wholly original story that draws into conversation sexual violence, popular culture, and our own weird-feeling relationships therein.

9. “Inventing Wampanoag, 1672″ by Ben Shattuck (FiveChapters)
While this very short, very tricky story purports to be about the birth of the tribal language used to print the first Bible in the Americas, it is really about the death of it, and the way history itself is a colonizing narrative. Shattuck’s facility with prose makes this a funny, winning story, even as it is a bitter and sad one: a clever and unique creation that will stay with you long after you’re done reading.

10. “Painted Ocean, Painted Ship” by Rebecca Makkai (Ploughshares)
This humorous, deceptive story, loosely descended from Coleridge’s most famous poem, follows an unreliable English professor as a single compound error (mistaking a bird, then a student) births another and another, eventually threatening her potential marriage, job, and fate. The best part, however, is the turn at the very end, which reveals the entire story to perhaps have been something different all along, a sneakily stunning mediation on the limits of self-awareness, guilt, and penance. Originally published in Ploughshares, curious readers can find it in the pages of the Best American Short Stories 2010 anthology.

Fuente: New Yorker y Huffignton Post USA


Sunday, 23 November 2014

TESOL-FRANCE 2014 Plenary speakers

Stephen Krashen, one of the leading experts in Second Language Aquisition (SLA), was the main plenary speaker at the Colloquium. 



I must admit I was thrilled having read his work for so many years. He is a really nice man, with a fantastic sense of humour and a passion for Star Trek! His sessions were extremely interesting, delivered in a dynamic way (you can't miss a word he says!) and WITHOUT POWER POINT! Amazing!

Here is the summary of the three plenary session he gave. 

Developing Academic Language: Not just the easy way but the only way

This presentation presented a simple hypothesis: We develop academic language by reading. Nearly all of the conventions of academic language, its special vocabulary, grammar and discourse style are subconsciously absorbed, or acquired, from reading texts written in the academic style that are relevant to us.


Extensive self-selected reading alone will not develop full academic language competence, but develops the background knowledge and language competence that makes academic reading comprehensible. Self-selected reading is the bridge between conversational and academic language competence.

Animals and Aliens: How Far Can We Push the Comprehension Hypothesis
Professor Krashen discussed the possibility that the Comprehension Hypothesis provides a plausible explanation for non-human language. This inlcudes communication systems that animals develop in interaction with others of their own species (but not always their own subspecies), cases of animals acquiring human language, what we might expect from aliens from other planets and what science fiction has predicted. 

Controversies

Professor Krashen discussed four topics: 
1. What about writing? He claimed that doing more writing will not improve writing style, but can help solve problems and make the writer smarter.
2. Is all grammar teaching bad? Professor Krashen argued that grammar teaching is not bad, but that learning and applying consciously learned rules of grammar is very limited. 
3. Non-targeted comprehensible input: given enough comprehensible input, all the rules we are ready to acquire (+1) are present in the input. 
4. Accent: the perfect accent is inside us, but a powerful 'output filter' prevents us from using it. 


The other plenary speaker was Carol Read, current President of IATEFL and well-known author and trainer. 



Here is a summary of Carol's plenary. 

Reflections on how to be a highly effective teacher

In her session she took for granted that teachers need to be confident in their subject knowledge and skilled in the craft of teaching in order to achieve desired curriculum outcomes. She explored the more intangible personal capacities, attitudes and beliefs that make for highly effective teachers who have a profound influence and make a long-lasting difference to the lives of their learners. She considered the role of the teacher as educator in fast-changing social and technological times and discussed a notion of professionalism that supports learners in leading fulfilled and productive lives as citizens in both a local and global context. Among the areas that she also discussed during the session were self- awareness, personal development, emotional intelligence and engaging with other people. 



TESOL France 33rd Annual Colloquium - Paris, November 14, 15 and 16, 2014

The 33rd TESOL-FRANCE Annual Colloquium was held in Paris, France at Télécom ParisTech on November 14, 15 and 16, 2014. As always, it was a perfect excuse for visiting Paris and meeting friends and colleagues. 




As usual, all the Exec committee of TESOL-FRANCE, led by extra energetic Debbie West, worked very hard to make theis convention yet another success. 


The closing ceremony


I went with my friends Silvia Benítez and María Antonia Castro representing TESOL-SPAIN. 



The publishers exhibition in the main hall. 




 




This year, for the first time, TESOL-FRANCE  organised a conference dinner at a lovely restaurant. 


TESOL France Colloquium dinner with Stephen Krashen, Carol Read Debbie West Beatrix Price, Christina Rebuffet-Broadus, Marta Bujakowska, Gillian Evans, Ros Wright, Jane Ryder, Graciela Alchini and many others last weekend. 

Speed, rolling ... Action! Using films in the English class - Part 3

Using trailers and clips

The trailer works effectively to market a film because the audience experiences it actually in the cinema auditorium. In this way, we can get the full impact of the moving images and sound, which is far more effective than any still picture could be, and the connection in our minds has been made between the cinema environment and the film.

I've used films to enhance learning in many ways from isolated listening comprehension exercises to - at the other end of the spectrum - integral parts of a theme based curriculum. However I use them, though, I like to use a Pre-viewing, Viewing and Post-viewing sequence. Following are some general ideas for film activities based on this concept.

 Pre-Viewing
Activate the students' background knowledge before showing the film:
Some suggestions:
Have a group discussion of the theme. Ask what they know already. Ask what they'd like to know. Ask them to predict from the title what they think the film will be about. Will it be a comedy? A drama? A documentary? Ask them to predict the story line.
Introduce students to the general vocabulary: one way of doing this is to assign a reading activity based on the same theme as the film.
Show a scene without the sound. Have students write or discuss possible dialogue.
Whether you show clips or the entire film (either straight through or in parts), try giving the students a specific task while watching the film.
Assign individuals or groups to follow the actions of a particular character.
Give students a set of questions about the content: characters, plot, specific bits of dialogue. Go over the questions before viewing so students understand what they're looking for. 
Depending on the language level of the students, you might want to show longer films in logically separated segments. Review the completed segments before going on to the next ones. Also try having students revise and expand their predictions as they gain more information.

Post-Viewing
Relate the film to the students' own lives or the world in general.
Some suggestions:
Review the film. Give dtudents reviews of other movies that have appeared in newspapers and magazines. Choose a character and compare that character's life/actions/ideals with your own.
What happens after the movie is over?
How would the movie have been different if certain characters had taken different actions?
Debate the pros and cons of a controversial theme in the movie.
How do cultural norms influence the action? Would the plot be plausible in another culture? Why or why not?
What happens after the movie is over?

My movie: project work 
Divide the class into groups and tell them that they are going to direct and produce a film. 
Give the groups some questions to consider and tell them to use this information to build their project:
  • What type of film will X be?
  • Write the plot. 
  • Find the cast. 
  • Choose the soundtrack. 
  • What might be the greatest attraction of this film?
  • Who do you think the marketing campaign is aimed at?
  • What extra information would you expect the poster to give us if it were part of the main campaign?
  • Choose a poster from the main campaign of a film you know well. Design a poster for your film, being careful to whet the public’s appetite to see the film but not giving away too much information. 
  • Present your film to the class. 


Saturday, 22 November 2014

Speed, rolling ... Action! Using films in the English class - Part 2

Approaches to film presentations 

There are roughly two approaches adapted to classroom work: a short-sequence approach that involves teaching scene-by-scene or one segment at a time, or using only one scene or segment from the entire film or choosing only a few scenes from different parts of the film, and a whole film

Short Sequence Approach

Many advocates of short sequences suggest that a two-hour feature film has the disadvantage of overload and length for less advanced learners. Essentially, the teacher has to decide which approach is the most appropriate. In the case of a choice of scenes, there are a number of options. All of them are feasible depending on the teaching objectives and target groups.

What we need to ask ourselves is: Is this sequence used to generate a theme-based discussion, to practice listening strategies, to illustrate a grammar or pronunciation point, or to present cultural background? What activities will benefit them the most?

For mature and advanced learners, films should be chosen not simply for their entertainment value; they should be timely and deliver a clear message to enhance classroom discussion. The short sequence approach can then be used for theme-based discussion, dealing with thought-provoking films.  

A theme-based discussion allows students to explore relevant issues raised from a variety of perspectives, develop critical thinking skills, elicit responses, converse freely on all aspects of the film they watch and release them from inhibiting grammatical rule-binding and detailed-oriented learning habits. Usually these theme-based films are inappropriate for complete viewing due to length and overall language difficulty.

Whole Film Approach 

The whole film approach takes one or two hours rather than the typical video-teaching techniques. It can be argued that using whole movies is a theoretically and empirically sound way of teaching English. A short-segment approach may be useful with most types of videos, e.g., TV commercials, or news to supplement content materials. However, "if communication is to be emphasized, the complete communicative process of a movie is in order as the vehicle for study. Using a comprehensive approach would be less time-consuming and more logical, coherent, and motivating for students (Chung, 1995).
Showing complete film enhances student motivation to such an extent that students are visibly impressed with how much English they can figure out. In addition, the limited amount of listening input has been a disadvantage for EFL learners to learn realistic and current usage of English. Whole film approach with abundant exposure to authentic listening not only facilitates learners' listening strategy training, but also achieves awareness of pragmatics which is an essential component of communicative competence.


Talking about films  

Films are a topic of conversation just like the weather or football so, let's going to have a look at some simple tasks that can be done as straight classroom activities. No actual films are required and they can be used with elementary as well as advanced students to stimulate group or pair work, conversation, vocabulary building and writing. They can also be used to activate background knowledge, encourage students to think about different aspects of the film industry and focus on the content of the film and the language used for discussing it. 



Best film survey (elementary and above) 30-45 minutes
Students walk around the class and interview 5 students, asking questions to find out what they think is the best film they have seen and why. With low level classes, model the questions beforehand.
When they have finished, ask for volunteers to read the most interesting answers.
They can also make the survey about the worst film they have seen. You may also wish to display the surveys for students to read and to keep as your reference of student preferences.
With more advanced classes, this is a good lead-in to writing film reviews.



Famous film lines (elementary and above) 20-30 minutes
Prepare a worksheet with lines of recent or very famous films. 
Divide the class into groups of 3 or 4 students and give a copy of the worksheet to each group. They should work together and match the lines to the name of the actor or actress who said it and the film it comes from. When they have finished, groups take turns to report back to the class.

Variation: students can make their own worksheets and quiz each other by exchanging worksheets. They may also include the names of the characters and the year the film was shown. 

Here are some examples:
Famous film lines

1.     ‘Play it, Sam’
2.     ‘May the force be with you’
3.     ‘I see dead people’
4.     ‘Hasta la vista, Baby’
5.     ‘I’m the king of the world’
6.     ‘As God is my witness, I’ll never be hungry again’
7.     ‘We’ll make him an offer he can’t refuse’
8.     My Mama always said, 'Life was like a box of chocolates; you never know what you're gonna get.'"
9.     "You talkin' to me? You talkin' to me?
10.    "Mrs. Robinson, you're trying to seduce me."
11.    "When I first saw you, I thought you were handsome. Then, of course, you spoke."
12.    "Carpe diem. Seize the day, boys. Make your lives extraordinary."
13.    "A martini. Shaken, not stirred."
14. "Just keep swimming. Just keep swimming."


a.     Sean Connery, Goldfinger
b.    Leonardo di Caprio, Titanic
c.      Vivien Leigh, Gone with the Wind
d.    Tom Hanks, Forrest Gump
e.      Ingrid Bergman, Casablanca
f.      Arnold Schwarzenegger, Terminator 2
g.     Harrison Ford, Star Wars
h.    Helen Hunt, As Good as it Gets
i.       Marlon Brando, The Godfather
j.       Robert De Niro, Taxi Driver
k.    Haley Joe Osment, The Sixth Sense
l.       Robin Williams, Dead Poets’ Society
m.  Doris, Finding Nemo
n. Dustin Hoffman, The Graduate

Film posters (elementary and above) 
You need an illustration of a film poster or the actual poster.
Pre-teach or revise the following vocabulary: title, stars, director, strap line. 
Divide the class into groups and elicit from the students the kind of information they would expect to find on a film poster. 
Display the poster or give each group a copy of the illustration. Tell them to find the title, stars, director, strap line and describe the picture. 
Ask them to:
-         predict what the film is about
-         where it will be set
-         who the main characters are and what will happen to them

As a follow up, they may pretend they are film directors and they have to design their own poster for their film. Ask them to:
-         choose actors for the film
-         decide where it will be shot
-         imagine the story
-         write a strap line
-         present their project to the class




Tuesday, 4 November 2014

38th TESOL-SPAIN Annual convention Salamanca 2015


Speed, rolling ... Action! Using films in the English class - Part 1

Introduction

Films are an excellent source of authentic spoken language in context - a resource for both language and culture. Whether you're showing short clips or full-length features, though, it's important to structure the film-related activities so that viewing becomes a language learning experience rather than just a passive break from the normal classroom routine.

Some initial considerations

With training sometimes limited to numerous grammar exercises and tests designed to analyze the fine points of English, students still struggle in comprehending the main ideas in listening and reading. Some learners want to understand exactly what is said or written, contradicting the listening strategies used by effective language learners: guess from the context, follow your hunches, put up with ambiguity, and absorb the language input. Learning English by use of films compensates for all the shortcomings in the learning experience by bringing language to life. It is a break from rote learning of vocabulary and drill practices, and replaces it with something realistic.

Feature films are far more motivating than videos especially made for EFL/ESL teaching because they are "a story that wants to be told rather than a lesson that needs to be taught" (Ward & Lepeintre, 1996). Moreover, the realism of movies provides contextualized linguistic, paralinguistic and authentic cross-cultural information, classroom listening comprehension and fluency practice. Films present colloquial English in real life contexts and an opportunity of being exposed to different native speaker voices, slang, reduced speeches, stress, accents, and dialects.

The use of feature films in the classroom is quite often controversial among classroom teachers who have a curriculum to follow and limited time to allocate as many  still regard movies as mere entertainment that has no place in a pedagogic setting, or, at most, as only outside classroom assignments. 
However, films offer endless opportunities for pedagogically sound activities for developing fluency. The key to using films effectively mainly lies in the teacher's ability in preparing students to receive the film's message. Teachers need to make the most of learning opportunities by means of films to justify the use of films in the classroom. Firstly, they may ask themselves several questions: What are the pedagogical reasons for using a particular film sequence (Stempleski, 2000:10)? What type of approach in dealing with movies should be taken, viewing a movie in its entirety or in segments? Will non-captioned or captioned films be more appropriate for a particular class? What are the film selection criteria? And finally, what kind of activities will integrate the four skills into the course, elicit student involvement and avoid passive viewing?


-         Films are fun because they are associated with entertainment rather than study so that’s why they are more exploitable as a teaching tool.
-         Films are texts, they tell stories, they have characters they contain messages. They can be used in the classroom just like any other text, but the visual dimension of films makes them richer than most of other text type.
-         In addition to this, the sound of a film, the movement, the music, the fact that it is fiction made true provide a substantial number of stimuli necessary to stimulate the process of learning.
-         They are full of contextual clues, which allow learners even at elementary levels to watch them and do useful language developing tasks. In mixed-ability classes, film lends itself particularly well to tasks that are open-ended enough to accommodate a range of different levels.
-         Films provide a rich source of cross-curricular content and topics for discussion. 
-         The number, variety and quality of the images, the range of topics and the variety of stimuli help develop creativity through reflection, memorisation of information and associations of ideas.
-         Watching films helps develop sensitivity and observation skills.
-         Watching films helps develop the cognitive and expressive dimension through exposure to different art forms and styles.

Selection Criteria  

Finding an appropriate feature film is essential and sometimes not easy. Arcario (1992) suggests that comprehensibility is a major criterion in selecting a film for language-learning purposes. It is important to choose scenes that balance dialogue with a high degree of visual support, appropriate speech delivery, clear picture and sound, and standard accent. Sometimes the storyline might be appealing to students, but the enunciation, speed and accent make it very difficult to understand. It is should not include lots of dialect or too many monologues or assume detailed background knowledge of a particular subject or culture.

Using the wrong film in the wrong way can lead to utter frustration. Student may end up confused, depressed and convinced they will never understand "real" English (Doye, 1998). Viewing films could easily turn into a frustrating experience for learners who might give up this stimulating tool for English learning.
The appropriateness of content and the comfort level of students need to be taken into. Films with sex scenes, gratuitous violence and excessive profanity should be ruled out.

As far as student motivation and interest are concerned, entertaining films are sometimes enjoyable and relevant to learners' appreciation of popular culture. Dramatic tension and good acting surely will make students like the film so choose films with a strong story line and well-defined characters. Recently released films are more appealing to students than classic ones.

Choosing films that are age- and culture-appropriate and suitable for both genders is also important. Romances, romantic comedies, and less-violent action movies with relatively simple plots and subplots are also good choices for college students.


The length of viewing time in the whole-film approach is quite different from existing language-based video-teaching approaches. For more proficient students, it is better to show a two-hour movie in two class periods. It serves as good intensive listening training. When students are attracted and deeply absorbed by the story, they do appreciate the continuity their teacher allows. For low-level learners, usually one class period is recommended since the problem of overload and intensive concentration is required while watching a movie. 

Cambridge Global English - Cambridge University Press 2013 - 2014

Cambridge Global English presents authentic listening and reading texts, writing tasks, and culminating unit projects similar to those learners might encounter in a first language school situation.



Cambridge Global English primary materials follow the Cambridge Primary English as a Second Language curriculum framework and lead into lower secondary ESL materials (Cambridge Global English 7-8) and eventually Cambridge IGCSE materials, providing a full complement of ESL materials.

Cambridge Global English can be used as a stand-alone ESL curriculum or it can be used as part of an innovative suite of materials created by Cambridge University Press for young learners at international primary schools.


To meet the challenges of the future, children need to develop facility with both conversational and academic English. From the earliest level, Cambridge Global English addresses both these competencies. Cambridge Global English presents authentic listening and reading texts, writing tasks, and culminating unit projects similar to those learners might encounter in a first language school situation. Emphasis is placed on developing the listening, speaking, reading and writing skills learners will need to be successful in using authentic English language classroom materials.



Tiny and You - Macmillan Education, Argentina 2013 - 2014




Tiny and you is a new two-level course especially thought for 6 and 7-year-olds. Tiny, a cute and lovable character, will introduce children to the new language and will make it memorable for them.

The stories and songs in Tiny and you give children the opportunity to learn the new language and vocabulary in different scenarios. The course also includes a new approach on phonics, which allows children to identify and produce sounds easily.
 By appealing to the senses of sight, sound and touch, Tiny and you will facilitate the children’s learning process in a fun and enjoyable way.

Key Features
A Pupil’s Book with:
*6 units and 2 revisions, a section on Festivities such as Music Day, Children’s Day and other celebrations that are internationally recognized, extra practice activities and a final game
*Writing activities introduced as from Unit 5, only at word level and in block capitals (in Level 1)
*Stickers, to develop children’s comprehension skills, and cut-outs, to further exploit the situations and vocabulary introduced in the units
*Clearly signalled activities designed to foster children’s critical thinking
*A lesson devoted to work on values that focuses on children’s recognition of positive and negative attitudes
* A Phonics lesson per unit, where sounds are introduced through chants and children have the chance to learn by playing
*A lesson dealing with core subjects such as science, art, social studies and PE, in which specific vocabulary is taught
*A free Songs CD including the Karaoke versions of all the songs and chants
A Teacher’s Pack with:
*The Teacher’s Notes on CD, which include: step-by-step lesson notes plus an extension of each lesson to cover more contact periods if needed; classroom routines accompanied with songs; sections dealing with the ‘Home connection’ and parents’ involvement; tips on how to deal with mixed-ability classes and plenty of photocopiable material to supplement each unit
*The Audio CD with all the songs, chants and activities, including the routine songs
*A set of 20 Posters with enlarged pictures of the new vocabulary and the stories to enhance and facilitate the presentation lessons. There are also a couple of posters covering general topics such as the numbers, the alphabet and the weather
 Tiny and you: learning English can be enjoyable and fun with the MEMOtests app for Android.



Hello and welcome!

After many months, I have finally decided to start this blog in English. I've had a blog in Spanish for some time, Tubo de Ensayo, devoted mainly to literature in Spanish and my own work: poetry and short stories in Spanish. I never got round to starting this blog in English because I thought it would be a lot of additional work but here I am. The urge was stronger. 

I am a teacher of English, trainer and author. I was born in Argentina where I studied and worked until I moved to Salamanca, Spain, in 2003. Since then, I have taught Business English, written a few more books and given a few more lectures. I think this is the time to share some of the things I like, others that I've learnt and some that I've done. This is not an ELT blog, there are many and very good. This is a kind of Pandora's box where visitors will find a little bit of this a little bit of that. 

Welcome to Blogging Crazy!