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> Guide to Literary Terms What does characterization mean? Download Answer by hohanfan Characterization is the combination of all of the things an author does to create the personality of a character in a piece of literature. There are several techniques an author can use, and good author's usually use a blending of all of the techniques in order to create a well-rounded picture of the person. Here are the most common techniques: What the narrator directly states. What the character does. What the character thinks. What the character says. What other characters say about the character. As a reader, you get to know characters by considering all of the above pieces of the person. For example, if the narrator directly tells us that a character is strong, then we store away that piece of information. On the next page, the character picks up his own car in order to move it into the garage. Now we have a detail of what he does that reinforces what we already learned. On the next page the characters thinks about getting to the gym for his next workout. That thought also contributes to his characterization by revealing what the character thinks about and what is important to him. On the next page, the character says, "If you need your car moved, just call me!" Then what he says reveals his character. First, he is a nice, helpful guy, but also, that he is very strong. On the last page, his friend remarks, "Wow, I didn't think he could do it, but he picked up the car!" Then the comments of other characters reinforce the characterization. The above example is simple, but it gives you an idea of how all of the techniques work together to play off of one another and reinforce the characterization that the author is trying to craft. With longer works, there will be several facets to the characterization, but the techniques will still be the same. like I need examples of denotation and connotation. All words have a denotation and connotation. The... What literary term means the following: An inanimate object given animate characteristics, like a... What is the definition of prose? Kinds of prose, element of prose, characteristics of prose? Explain the difference between denotation and connotation and give an example of each. What is the name given to a person who can't read and write? What is a metaphor? Can you give some examples? What is the difference between a literary and a nonliterary text? What is exposition? How does one write a critical appreciation of a poem? May I please have 10 kennings for the word "school"? More Guide to Literary Terms Questions Guide to Literary Terms Guide to Literary Terms Introduction Guide to Literary Terms Complete Index

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> The Rimers of Eldritch The Rimers of Eldritch Essay - Critical Essays Lanford Wilson Navigate Study Guiderows Themes Characters Critical Essays ▻ Critical Context The Rimers of Eldritch takes its place among several Wilson plays in which he explores the often violent consequences that attend a relationship to one’s own or to a collective past. All too often, the victims are socially marginal individuals: the physically or mentally handicapped, homosexuals, drug dealers, prostitutes, and various hustlers. Such a theme is evident in Wilson’s first major success, The Madness of Lady Bright (pr. 1964, pb. 1967), a one-act play in which an aging drag queen tries to come to terms with the ravages of time on his body and his friendships (his calls to old friends are met with disconnected numbers). Only “Dial-A-Prayer” offers a human, though taped, contact which can momentarily stave off the collected detritus of the past. In The Gingham Dog (pr. 1968, pb. 1969), a middle-class interracial couple, locked into their separate historical racial identities, divorce because they cannot accommodate the changes in each other that the Civil Rights movement has prompted. Two other notable plays offer group protagonists, but in these later plays the group is a society of misfits rather than a society against them. Balm in Gilead (pr., pb. 1965) depicts a motley crew of urban misfits, two of whom fall in love. The hope of this union is cut short, however, when Joe is stabbed to death for trying to leave drug dealing; Darlene’s only recourse then is prostitution on the streets. The Hot... The Rimers of Eldritch Homework Help Questions What is the plot, theme, motifs, symbols, and character analysis in the play, "The Rimers of... That is an enormous question - one that cannot be answered in 1500 characters! Look at the Salem on Literature link for specific details on what you are asking about.This is a beautifully written... Ask a question Hot L Baltimore Talley's Folly Burn This The Mound Builders Fifth of July Desiree's Baby

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Harrison Candelaria Fletcherwriter, editor, teacher Toggle navigation Harrison Candelaria Fletcher is the author of Presentimiento: A Life In Dreams, winner of the 2015 Autumn House Press Nonfiction Prize and Autobiography Finalist in the 2016 International Latino Book Awards. His first book, Descanso For My Father: Fragments Of A Life, won the Colorado Book Award for Creative Nonfiction and the International Book Award for Best New Nonfiction. His work has appeared in many literary journals and anthologies including New Letters, Fourth Genre, Puerto del Sol, Brief Encounters: A Collection of Contemporary Nonfiction and The Touchstone Anthology of Contemporary Creative Nonfiction, which selected his essay, "Beautiful City of Tirzah," as among 50 outstanding works since 1970. His honors include the New Letters Literary Award, High Desert Journal Obsidian Prize, Sonora Review Essay Award, Pushcart Prize Special Mention and fellowships from the Arizona Poetry Center and Vermont Studio Center. A former columnist and feature writer, he teaches in the MFA in Writing Program at Vermont College of Fine Arts and the Creative Nonfiction Program at Colorado State University. He is a native New Mexican and lives in Fort Collins, Colorado with his wife and two children. �There�s nothing more unnerving or empowering as the making of connections.� - Adrienne Rich Autumn House Press Literary Nonfiction SeriesPresentimiento: A Life in Dreams University of Nebraska Press American Lives SeriesDescanso for My Father

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IndyPL Reader's Advisory About the BlogShare a ReviewBooklists Book Discussions at the Library November 2012 October 23, 2012 by Reader's Connection Addie is coming! Addie is coming! Oh, I’m sorry. Our authors this month include an Anthony Award winner, a National Book Award winner, two Nobel Prize winners, and Addie Bundren. No, wait, Addie is a fictional character. I have to pull myself together. Nina Sankovitch’s Tolstoy and the Purple Chair: My Year of Magical Reading will be discussed at the Warren Library on Thursday, November 1st at 10:30 a.m. When Sankovitch lost her older sister to cancer, she was determined to “live her life double” in order to make up for her family’s painful loss. But after three years spent at a frenetic pace, Sankovitch decided to slow down and rediscover the pleasure of books in order to reconnect with the memory of her sister. Despite the day-to-day responsibilities of raising four sons–and the holidays, vacations, and sudden illnesses that accompany a large family–Sankovitch vowed to read one book a day for an entire year and blog about it. In this entertaining bibliophile’s dream, Sankovitch (who launched ReadAllDay.org and was profiled in the New York Times) found that her “year of magical reading” was “not a way to rid myself of sorrow but a way to absorb it.” As well as being an homage to her sister and their family of readers, Sankovitch’s memoir speaks to the power that books can have over our daily lives. Sankovitch champions the act of reading not as an indulgence but as a necessity, and will make the perfect gift from one bookworm to another. — Publishers Weekly As noted in an earlier Reader’s Connection post Sankovitch’s website is partly broken. The links to her reviews of her 365 books aren’t working; but you can look the list over, and if you see something that interests you, enter some keywords (chesterton, thursday) in the search field at the top of the page, and you’ll be taken to a review. Addie! Addie! We’re going to hear from Addie Bundren this month! Addie is the character who actually dies in William Faulkner’s As I Lay Dying. Most of the other characters have several chances to speak, but Addie is given only one chance. Our Shared Reading Group has been moving slowly through the novel, and I’m guessing that we’ll finally hear Addie’s voice in November. It’s not too late to join us. We’ll meet at the Spades Park Branch on November 2nd, 9th, 16th, 23rd and 30th. That’s every Friday, from 10:00 to 11:30. Every chapter is discussed after it is read aloud, and we’ll probably have a lot to say about Addie. Mary McGarry Morris’s novel The Lost Mother will be discussed at the Franklin Road Library on Monday, November 5th at 6:30 p.m. “They said it was bad for everyone, but nobody else the boy knew had to live in the woods.” Thus begins the harrowing story of 12-year-old Thomas and eight-year-old Margaret in Morris’s powerful sixth novel. Reduced to living in a tent in Vermont during the Depression, the children and their father, Henry Talcott, a butcher who must travel daily seeking work, are barely surviving their abandonment by the children’s reluctant mother. The shattered family aches with the desire to bring home beautiful, troubled Irene while Henry crumbles into a “whipped man… worn down and grim,” and Thomas takes on the role of caretaker. Henry’s longtime friend Gladys shows the family rare kindness, but a longstanding animosity between her crotchety father and Henry makes it impossible for the Talcotts to accept her charity. In typical Morris fashion, the author paints a brutal landscape and authentic characters with delicacy and precision . . . once again proving herself a storyteller of great compassion, insight and depth. — Publishers Weekly On Monday, November 5th at 6:30 p.m., An Invisible Thread: The True Story of an 11-Year_Old Panhandler, a Busy Sales Executive, and an Unlikely Meeting with Destiny, by Laura Schroff and Alex Tresniowski, will be discussed at the Wayne Library. According to an old Chinese proverb, there’s an invisible thread that connects two people who are destined to meet and influence each other’s lives. With Tresniowski, Schroff tells how, as a busy advertising sales executive in New York, she easily passed panhandlers every day. One day, 11-year-old Maurice’s plea for spare change caused Schroff to turn around and offer to buy him lunch. Thereafter, Schroff and Maurice met for dinner each week and slowly shared their life stories. Maurice’s tales about his crack addict mother, absent father, and array of drug-dealing uncles were only part of his desperate longing for a life in a safe neighborhood in an apartment with more than one room. As they grow to depend on each other, Maurice asks Schroff to attend his school’s parents’ night, where his teacher asks Schroff not to abandon the boy . . . As Schroff relates Maurice’s story, she tells of her own father’s alcoholism and abuse, and readers see how desperately these two need each other in this feel-good story about the far-reaching benefits of kindness. — Publishers Weekly Erik Larson’s The Devil in the White City: Murder, Magic and Madness at the Fair That Changed America will be discussed at Central Library on Tuesday, November 6th at 6:00 p.m. Daniel Burnham, the main innovator of the White City of the 1892 World’s Fair, made certain that it became the antithesis of its parent city, born to glow and gleam with all that the new century would soon offer. While the great city of the future was hastily being planned and built, the specially equipped apartment building of one Herman Webster Mudgett was also being constructed. Living in a nearby suburb and walking among the hundreds of thousands of visitors who would eventually attend the fair, Mudgett, a doctor by profession more commonly known as H.H. Holmes, was really an early serial killer who preyed on the young female fair goers pouring into Chicago . . . Both intimate and engrossing, Larson’s elegant historical account unfolds with the painstaking calm of a Holmes murder. – Library Journal Michael Connelly’s Harry Bosch mystery The Closers will be discussed at the Brightwood Library on Tuesday, November 6th at 6:00 p.m. Harry Bosch returns to his old homestead-the Los Angeles Police Department-in Connelly’s latest novel (after The Narrows). Assigned with his former partner to the unsolved case squad, Bosch immerses himself in his old habits to solve their first case: the kidnapping-murder of a young woman 17 years ago. New DNA evidence leads the detectives to an ex-con with no obvious connection to the girl. But when Bosch and his partner start asking the right questions of the wrong people, a hornet’s nest erupts. After having Bosch narrate in Lost Light and The Narrows, Connelly switches back to the third person here, and his compelling style makes even the most mundane details fascinating. Fans and newcomers alike will love seeing Bosch back in uniform, stirring up trouble. — Library Journal Ben Mcintyre’s Double Cross: True Stories of the D-Day Spies will be discussed at the Fountain Square Library on Thursday, November 8th at 1:30 p.m. Despite massive efforts by the Abwehr, the German espionage service, the where and when of the D-Day landings were perhaps the most successfully kept secrets of WWII. As a result, the Germans were required to maintain forces all across their “Atlantic Wall.” When the Normandy invasion began, the ability of the Germans to rush in reinforcements was severely hindered. The maintenance of the secret, as well as the continued deception foisted on the Germans, is chronicled superbly by Macintyre, a writer for The Times of London. The success was, in no small part, due to a varied crew of double agents. Some, like the Polish exile and fierce patriot Roman Garby Czerniawski, had admirable motives; others, including a neurotic Frenchwoman with an obsessive attachment to her dog, and an anti-Nazi German prone to financial manipulations, defy easy categorizations. The control and management of this corps by Allied intelligence officials were effective but frustrating, nerve-racking, and came close to disaster at least once. Macintyre has written a tense, exciting real-life spy story that illuminates a largely obscure aspect of WWII. — Booklist Following Ezra: What One Father Learned about Gumby, Otters, Autism, and Love from His Extraordinary Son, by Tom Fields-Meyer, will be discussed at the Irvington Library on Thursday, November 8th at 1:30 p.m. A father celebrates his son’s differences and advises others on how to view autism as a parallel journey rather than a restrictive label . . Fields-Meyer approaches autism from a topical perspective, creating a loving tribute that favors “following” his son’s interests instead of imposing behavioral or social expectations . . . Advised early on to “grieve for the child he didn’t turn out to be,” Fields-Meyer quickly realized that there was nothing to grieve, and no sense of blame. Together with his wife and Ezra’s brothers, he adapted to life at a slower pace, allowing frustration and wonderment alike to play out naturally. Characteristics of autism, which can include repetition, fixation, facial nuances, lessened eye contact and a superb memory for obscure minutiae are not treated as symptoms to normalize but as opportunities to enter Ezra’s world—whether that means learning the running times of animated films or appreciating honest insights. — Kirkus Reviews Julia Glass’s novel The Widower’s Tale will be discussed at the Pike Library on Monday, November 19th at 6:30 p.m. Percy Darling is a recently retired Massachusetts librarian who, for reasons I won´t disclose, allows his treasured (though unused) barn to be turned into a preschool; and The Widower’s Tale begins on the first day of school. Percy, whose life will never be the same, is the widower in question, and he’s the novel’s central character; but other stories are being told, here. A gay preschool teacher named Ira, a Guatemalen gardener named Celestino, and Percy’s grandson Robert all bear parts of the narrative. One of the book’s fascinations for me was to watch author Julia Glass tell the story from four male points of view, while allowing her female characters to shine brilliantly. Percy’s two daughters are the first to come to mind, but love interests and friends and obsessive female neighbors all play a part. Also amazing is the way the four narratives flow into each other, how Robert’s roommate helps Celestino and how Ira’s would-be husband helps . . . I’m getting ahead of myself. The story–and with all these interactions it really is all one story–moves through some sorrowful territory, but there are grins along the way. — Reader’s Connection Unbowed, a memoir by Wangari Muta Maathai, will be discussed at the Lawrence Library on Tuesday, November 20th at 10:15 a.m. The mother of three, the first woman in East and Central Africa to earn a doctorate, and the first African woman to receive the Nobel Peace Prize, Wangari Maathai of Kenya understands how the good earth sustains life both as a biologist and as a Kikuyu woman who, like generations before her, grew nourishing food in the rich soil of Kenya’s central highlands. In her engrossing and eye-opening memoir, a work of tremendous dignity and rigor, Maathai describes the paradise she knew as a child in the 1940s, when Kenya was a “lush, green, fertile” land of plenty, and the deforested nightmare it became. Discriminated against as a female university professor, Maathai has fought hard for women’s rights. And it was women she turned to when she undertook her mission to restore Kenya’s decimated forests, launching the Green Belt Movement and providing women with work planting trees. Maathai’s ingenious, courageous, and tenacious activism led to arrests, beatings, and death threats, and yet she and her tree-planting followers remained unbowed. — Booklist Portal, the Indianapolis Science Fiction and Fantasy Discussion Group, will meet at Glendale Library on Sunday, November 25th from 1:00 to 3:00. Their theme this month will be Enchanted Journeys and Fantasy Worlds The Southport Library will host a discussion of David Baldacci’s novel The Winner on Monday, November 26th at 6:30 p.m. The premise is another Baldacci blockbuster: the national lottery has been fixed 12 times by a man who demands access to his handpicked winners’ windfalls and who now, to protect his secret, aims to kill the last and lovable illicit winner, LuAnn Tyler. To save her baby girl from a hardscrabble life, bright, beautiful and dirt poor LuAnn accepts the offer of the mystery man known as Jackson to reap nearly $100 million in a forthcoming drawing. Jackson is a marvelous mad hatter of a villain who’s not only a modern Moriarity but a master of disguise; his ability to shift from old to young, male to female springs many of the novel’s twists . . . The ensuing mayhem draws in press, the FBI and the White House, sees LuAnn herself shift from hunted to huntress (with help from a romantic interest), and will have readers gasping . . .unlike many thrillers, this is flat-out fun to read. — Publishers Weekly Category Book Discussions | Tags: Readings and Book Discussions Leave a Reply Cancel reply Your email address will not be published. Required fields are marked *Comment Name * Email * Website Please enter an answer in digits:17 − eleven = Possible Combination Gift: A Book and a Trip to the Battlefield » « Someone on Your List Needs to Travel to the City of Poetry » Search the Catalog Topics Announcement Reading In Indianapolis Website Feature IndyPL Sites e-Books, Audiobooks & Downloadables IndyPL Website Search SHERLOC October 2016 September 2016 August 2016 July 2016 June 2016 May 2016 April 2016 March 2016 February 2016 January 2016 December 2015 November 2015 October 2015 September 2015 August 2015 July 2015 June 2015 May 2015 April 2015 March 2015 February 2015 January 2015 December 2014 November 2014 October 2014 September 2014 August 2014 July 2014 June 2014 May 2014 April 2014 March 2014 February 2014 January 2014 December 2013 November 2013 October 2013 September 2013 August 2013 July 2013 June 2013 May 2013 April 2013 March 2013 February 2013 January 2013 December 2012 November 2012 October 2012 September 2012 August 2012 July 2012 June 2012 May 2012 April 2012 March 2012 February 2012 January 2012 December 2011 November 2011 October 2011 September 2011 August 2011 July 2011 June 2011 May 2011 April 2011 March 2011 February 2011 January 2011 December 2010 November 2010 October 2010 September 2010 August 2010 July 2010 June 2010 May 2010 April 2010 March 2010 February 2010 January 2010 December 2009 November 2009 October 2009 September 2009 August 2009 July 2009 June 2009 May 2009 April 2009 March 2009 February 2009 January 2009 December 2008 November 2008 October 2008 September 2008 August 2008 IndyPL.org Kids' Blog

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House of Windows by: Casale, Alexia Format: PaperbackPublisher: Faber & FaberPub. Date: 8/9/2016 SummaryAuthor Biography"The body is a house of many windows: there we all sit, showing ourselves and crying on the passers-by to come and love us." — Robert Louis StevensonNick hates it when people call him a genius. Sure, he's going to Cambridge University aged 15, but he says that's just because he works hard. And, secretly, he only works hard to get some kind of attention from his workaholic father. Not that his strategy is working. When he arrives at Cambridge, he finds the work hard and socializing even harder. Until, that is, he starts to cox for the college rowing crew and all hell breaks loose . . .A British-American citizen of Italian heritage, Alexia Casale is an author, teacher and writing consultant. After studying psychology then educational technology at Cambridge University (England), she moved to New York. There she worked on the Tony Award–winning 2004 Broadway revival of La Cage aux Folles, working with legendary composer Jerry Herman and multiple Tony Award winners Harvey Fierstein, director Jerry Zaks and choreographer Jerry Mitchell. She has families ties in California and New York, where all four of her paternal great-grandparents arrived from Eastern Europe and were processed at Ellis Island.After returning to the U.K., Alexia completed a Ph.D. and teaching qualification. In between, she worked as a West End script-critic, box-office manager for a music festival and executive editor of a human rights journal. She loves cats, collects glass animals, and has a particular fondness for medieval sleeves.

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Harry Potter Audio Boxed Set Signature Edition read by Stephen Fry Written by J.K. Rowling Lovereading4kids Price £320.01 RRP £400.01 saving £80.00 (20%) This is J.K. Rowling's complete, internationally best-selling, Harry Potter series brilliantly brought to life by Stephen Fry who reads them on these recordings. From Harry's first year at Hogwarts School of Witchcraft and Wizardry to his final battle with arch-enemy Voldemort, listen to the seven spellbinding novels in the Harry Potter series. Synopsis Harry Potter Audio Boxed Set Signature Edition read by Stephen Fry by J.K. Rowling J. K. (Jo) Rowling was born in Chipping Sodbury in the UK in 1965. She attended the University of Exeter in Devon where she studied French. Her parents hoped that by studying languages, she would enjoy a great career as a bilingual secretary. But as Jo recalls, 'I am one of the most disorganised people in the world and, as I later proved, the worst secretary ever.' She claims that she never paid much attention in meetings because she was too busy scribbling down ideas. When she was 26, she went to Portugal to teach English, which she really enjoyed. Working afternoons and evenings, she had mornings free to write. When she returned to the UK, Jo had a suitcase full of stories about Harry Potter. In 1996, one year after finishing the book, Bloomsbury bought Jo's first novel, Harry Potter and the Philosopher's Stone. A few months after 'Harry' was accepted for publication in Britain, an American publisher bought the rights for enough money to enable Jo to write full time. Click here to see the new Harry Potter books site with illustrations by Jonny Duddle. More books by this author More books by J.K. Rowling www.bloomsbury.com/Authors/... 9+ readersAudio Books LoveReading4Kids is a modern and creative way of emphasising the value and importance of books in this digital age #booksforlife Adam Graham Lovereading.co.uk

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Search for: Image of Rome Essay Posted on September 9th, 2012, by essay Rome was traditionally a subject of a profound interest of many artists, who attempted to understand the ancient civilization and who often admired the civilization which produced a huge impact on the development of the western civilization and the world at large. In this respect, it is possible to refer to �The Women of Amphissa�� by Sir Lawrence Alma-Tadema, the work of the Victorian artist, which depicts an ancient Roman festival. This painting has apparently a profound symbolic meaning and, at the same time, it has a great artistic value due to its intentionally classical style and depiction of visual images. First of all, it is necessary to dwell the historical context, which the artist attempted to convey through his painting. In fact, Sir Lawrence Alma-Tadema refers to the specific ancient Roman festival in the honor of Roman God Bachus, which took place regularly and constituted an essential part of the life of ancient Romans. The artist focuses his attention on the festival known to modern scientists as the Oreibasia, whose name means �mountain running��, took place during the winter months at Delphi. Official delegations from many cities including Athens, which at the epoch was a part of the Roman Empire, came to this festival. Plutarch depicts the rescue of a group of Thyiads who unwittingly wandered into the city of Amphissa in Phocis during the time of war, and exhausted by their frenzy, fell asleep in the marketplace. The women of Amphissa, fearing that harm would come to them, stood watch silently around them until they revived and could be given a hot dinner and safe conduct to the border. Sir Lawrence Alma-Tadema uses mainly light colors to depict the women, buildings and streets, while dark colors are used simply to distinguish some women standing on the background. In this respect, it is possible to presuppose that the artist intentionally distinguishes some women in the crowd from Thyiads by means of the color. In fact, the women in dark clothes standing on the background emphasize their fear and certain inferiority because gray and black evokes associations with ordinary character of women who wear such clothes. In contrast, Thyiads wear white clothes that apparently symbolizes their brevity since they are willing to emphasize their natural beauty by means of clothes. In addition, the posture of women also reveals a huge gap between the women of Amphissa and the Thyiads. The latter are lying relaxed, having a sleep and rest, while the women of Amphissa stand at a distance, waiting until the Thyiads wake up. The posture of the women of Amphissa radiates certain apprehension, if not to say fear, while the posture of the Thyaids shows their self-assurance and calmness. In such a way, the artist does not only depicts women living in the Roman Empire, but he also raises the theme of the position of women in ancient Roman society. In fact, the artist shows that ordinary women in ancient Rome apparently played a secondary role in the ancient Roman society. They are apparently afraid and attempt to become invisible, especially during the war, which took place at the epoch depicted by Sir Lawrence Alma-Tadema. In such a context, the Thyiads symbolize an exceptional trend in the ancient Roman society, which though proves that some women could be equal and fearless as men did. Thus, Sir Lawrence Alma-Tadema uncovers the classical epoch of ancient Rome and attempts to show to the Victorian audience that the role of women can be different and Victorian women could follow the example of Thyiads. Posted in Free essays | Tagged Image of Rome | Leave a comment Our benefits 24/7 customer support Professional writers No plagiarism 94% of return customers Free extras Free title page Free formatting Free of plagiarism Service features 24/7 customer support Written from scratch papers only Any citation style Fully referenced Never resold papers 300 words per page Courier New font Our Prices 2 Weeks: $10.55/page 5 Days: $13.55/page 3 Days: $17.55/page 24 Hours: $24.55/page 12 Hours: $34.55/page 8 Hours: $39.55/page © 2011 Term paper / research paper writing service

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Home > Authors > Interviews A World Imagined Is Always More Convincing: PW Talks With Benjamin Black By Lenny Picker | Jan 31, 2014 Raymond Chandler’s iconic private eye, Philip Marlowe, walks the mean streets of Los Angeles once again in The Black-Eyed Blonde: A Philip Marlowe Novel by John Banville writing as Benjamin Black, the alias for his mystery series. How did the Chandler estate come to choose you? It was very simple. My agent, Ed Victor, also represents the Chandler estate. He mentioned to me a few years ago the possibility of doing a new Philip Marlowe novel, but it wasn’t until last year that I decided to take up the challenge. Did you have any qualms about the request? It’s funny that you ask this. I suppose I should have had qualms, many qualms, but I didn’t. It seemed to me an opportunity to embark on a splendid adventure. I “invented” Benjamin Black in 2004, after discovering Georges Simenon, whom I had never read before. His Maigret novels are wonderful, of course, but it was his “romans durs,” as he called them, his “hard novels,” that most impressed me, and encouraged me to try my hand at something similar. I say something similar, because I know I could never achieve Simenon’s extraordinary sparseness of style and accuracy of scene-setting. When did you first read Chandler? My brother introduced me to Chandler’s works when I was in my teens. This was an early revelation, somewhat like my later “discovery” of Simenon. Before I read Chandler, it had not occurred to me that crime fiction could be so elegantly written and true to life. Before that I had read only those splendid English mystery writers, Agatha Christie, John Dickson Carr, Margery Allingham, etc.,—very good writers, but fiendishly clever puzzle-makers before anything else. Chandler, on the other hand, offered a wry, witty and melancholy version of West Coast low and high life—romantic and acrid at the same time—that was more realistic, or naturalistic, and so irresistible. What was the hardest part of writing The Black-Eyed Blonde? I wish I could say I sweated and wept over it, but I must be honest and say that the writing of it was a joy, or a relative joy, compared to the Quirke series, or my Banville books. I did, of course, have qualms about my knowledge, or lack of knowledge, of L.A. and environs, but I had good advisers in Ed Victor, Bob Bookman, and Candice Bergen, and others, plus, of course, the fact that a world imagined is always much more convincing than a world researched. Was adopting Chandler’s voice more difficult than you expected? No, less so. Good stylists are easier to imitate than bad ones. I’m sure, however, that true Chandler aficionados will find many jarring notes. But from the start I determined not to parrot Chandler, but to try to catch the spirit of his style and his vision. What surprised you the most about writing this book? How much in tune I seemed to be with a writer from before my time, who lived a life very different from my own, and in a place very different from where I live. Is this hubris? Probably. But I hope not. Would you consider writing more Marlowe? Yes, I would probably do another one, if I can think up a good plot. I like Marlowe, and I suppose I share something of his view of the world. He is heroic in a non-heroic age, and chivalrous in a decidedly non-chivalrous time. I like the notion of a man ready to venture down means streets, who is not himself mean—this was Chandler’s own formula for his hero. And after all, in these days, how often can one speak without embarrassment of a novel having a “hero”? A version of this article appeared in the 02/03/2014 issue of Publishers Weekly under the headline: A World Imagined Is Always More Convincing: PW Talks With Benjamin Black ADVERTISEMENT

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Pop culture from Southern California and beyond. Subscribe to Without A Net GeekGirlCon brings women together to geek out on nerd culture Mike Roe GeekGirlCon is back for a second year of geeky goodness. GeekGirlCon This weekend, women from around the nation are converging on GeekGirlCon in Seattle, Washington. The first year had 3,500 attendees, and it's back for more. GeekGirlCon is for more than just lady geeks, though. "I was really pleased to see the attendance ... last year, it was 50/50 men and women, but just a lot of the programming was skewed more toward women," said Los Angeles's Stephanie Thorpe. Thorpe is one of those attendees, who will also be speaking on a couple of panels. She's an actress who's made a name for herself by acting in and producing numerous Web series. While men are welcome, this is still GeekGirlCon, and that's a big part of the convention's identity. "If I have to be really honest about it, I look forward to the day where we don't have to put gender labels on something, where it can be [a] this is for everyone kind of thing. But I think the celebration of the geek girl is so new to the geek culture," Thorpe said. It can be hard to grow up as a geek girl, as Thorpe knows from personal experience. "Liking fringe and geek things was something I knew not to publicize. I made the mistake of carrying a comic book and a 'Dragonlance' novel into school one day, and was pushed-slash-nudged down a flight of stairs for that, and actually told by a teacher, that's not what the girls are reading now. And they gave me 'Sweet Valley High,'" Thorpe said. Conventions give people who care deeply about something the opportunity to gather together and form in person connections, which is something Thorpe is passionate about. She noted that it's become hard to do that at a place like San Diego Comic-Con, which has around 130,000 attendees, while a smaller convention like GeekGirlCon makes it easier to connect. "You sit down and you find out the stuff that you like and likeminded people. And that's really what a convention is all about, is finding people who speak the same language and really fostering that sense of community and building those connections so that you can go out and make more stuff throughout the year, and have friends," Thorpe said. GeekGirlCon caters to creative types, according to Thorpe. The convention even runs a "GeekGirlConnections" program to help creative people find one another. Thorpe also founded a group called the League of Extraordinary Ladies, which brings fans of both genders together for social events, particularly right here in L.A. "Cons are the breath of fresh air where everyone gets to be in real life together, but more and more we are in front of our social media of choice, in front of the computer, and there's a lot of isolation," Thorpe said. "Social media is absolutely wonderful, and you can make wonderful connections there, but there's something to having that face time that's great, and Los Angeles can be a very isolating place." Thorpe got her start as a geek thanks to her father. "My dad will never admit it, but he secretly wanted a boy. So when I was 6 years old and I came home with the Hobbit, and I was like 'Hey dad, this looks cool,' he [said], 'Umm, that's a book for babies, here's 'the Lord of the Rings.' And smacked down the trilogy. And you know, as a six year old, you shouldn't be reading 'Lord of the Rings,' but I did. And as soon as I was done with that, he [said] here's Dune, and here's Gibson, and no 8-year-old should be reading Gibson," Thorpe said. The world for geek girls has changed a lot in recent years. "This was at a time where I didn't have access to the Internet and finding groups of girls or boys or people who were interested in the same thing, and I think that that's something that's really awesome in today's world, where you can find someone that loves something that you love. I was an 8-year-old girl reading 'ElfQuest,' and I thought I was the only person in the world reading that," Thorpe said. Thorpe had a chance to bring to life those characters she loved so much in a fan film thanks to that online connection in "ElfQuest: A Fan Imagining": "Growing up, it wasn't accepted for me to be a 'closet geek' — I don't think that's the right term, but I knew full-well I could go with my dad to a Star Trek convention on the weekend, but there was no way I was telling the girls at school about that during the day," Thorpe said. What advice does Thorpe have for young geek girls looking to find their thing? "Search for what you're passionate about and I think that you can find a group of people that are interested in the same thing, absolutely, and then I think it's really lovely if you can come together in person with that, and I think that's what the con spirit is all about." With all this love for a smaller convention and smaller events, though, that's not to say that a larger convention can't be rewarding. "At Comic-Con, I cannot say who, because I don't want to jinx it yet, but after the Nerd Machine party, ran into a geek girl who I admire very much, and we were chatting, and we were like, why aren't we making a show together? So that will be coming in 2013!" Look for Thorpe to be talking about that project on a panel at a comic convention near you next year — perhaps with a high-profile geek girl at her side. Thorpe will also be appearing in September at Stan Lee's Comikaze in downtown L.A. Previously in Without A Net Serena Williams: Should an Olympic champion do the Crip Walk? Looking below the radar of pop culture in L.A. and beyond. We bring you what's next, what's trending, what people are talking about and more. Follow lead Without A Net blogger Mike Roe at @MikeRoe on Twitter. Browse the Without A Net archive All posts by Mike Follow @MikeRoe John Horn All posts by John Follow @JGHorn Email John Recently on Without A Net WonderCon Anaheim 2015: 7 things you absolutely shouldn't miss WWE looks to springboard from Wrestlemania 31 into new audiences Wrestlemania 31 weekend: Jim Ross continues an epic career of storytelling Enjoy reading Without A Net? You might like KPCC’s other blogs. Fearful of opioid addiction, some under-medicate A look inside the tough job of a city water manager

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Presidential Icon Book: Jack Kennedy: The Making of a President Book: Jack Kennedy: The Making of a PresidentAuthor: Barbara LeamingPublisher: Orion BooksReviewer: Lindi Obose This book takes you back into a very different era of US politics and culture, and I polished it off in a day. I enjoyed reading and was profoundly influenced by this milestone work which helped popularise the narrative historical approach - merging the character-building drama of a great novel with the march of history. I found it infinitely preferable to the dry, fact-oriented textbooks I was frequently compelled to wade through as a student. Barbara Leaming knows how to get a story and to flesh out the fascinating aspects of people. The Making of a President is a colourful narrative of friendships and family, tragedy and victory; a biography that will radically alter our understanding of both the man and his presidency. Jack or John Kennedy had a great deal of charisma that lent itself to positive press coverage. This ground-breaking biography of the most charismatic of all 20th century American presidents reveals the deep, lifelong impact on John F Kennedy of British history, literature and values. Drawing on extensive new and amazingly intimate primary materials and original interviews, Leaming has uncovered the dramatic line that runs through Kennedy's complicated life, the route of the friendships and forces that led to the White House, and shaped his actions there. Here is the childhood reading of a sickly boy; Jack's blissful engagement at the age of 15 with the writings of Winston Churchill; and his transforming experiences as a member of the Second Sons' Club of young aristocrats in pre-war London, where his father was the American ambassador and where his sister introduced him to a group of friends who would have a deep and lasting influence on Jack. It is extremely readable and most informative.

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"When you write biographies, whether it's about Ben Franklin or Einstein, you discover something amazing: They are human." Walter Isaacson on Amazing More quotes about Amazing "Sometimes I think my husband is so amazing that I don't know why he's with me. I don't know whether I'm good enough. But if I make him happy, then I'm everything I want to be." Walter Isaacson on Angelina Jolie "If you tell people where to go, but not how to get there, you'll be amazed at the results." Walter Isaacson on George S. Patton "It is amazing what you can accomplish if you do not care who gets the credit." Walter Isaacson on Harry S. Truman "If you set goals and go after them with all the determination you can muster, your gifts will take you places that will amaze you." Walter Isaacson on Les Brown "Nobody in life gets exactly what they thought they were going to get. But if you work really hard and you're kind, amazing things will happen." Walter Isaacson on Conan O'Brien More quotes by Walter Isaacson "Polite and velvety leaders, who take care to avoid bruising others, are generally not as effective at forcing change." "You can't have a sustainable US economy without a great education system. Teach students to do the job right. You don't have an innovative economy unless you have a great education." "I visited Jobs for the last time in his Palo Alto, Calif., home. He had moved to a downstairs bedroom because he was too weak to go up and down stairs. He was curled up in some pain, but his mind was still sharp and his humor vibrant." "I think when money starts to corrupt journalism, it undermines the journalism, and it undermines the credibility of the product, and you end up not succeeding." "I have a strong emotional respect for Steve."

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TIM WILSON AMERICA Georgia-born country comedian Tim Wilson was a born funnyman, delivering dead-on impressions of his teachers while still in elementary school; he later MC'ed his high school's talent shows, but after taking up guitar as a teen he instead aspired to a career in music. While in college he accepted a job as a sportswriter, later convincing his editors to allow him to review local concerts as well; at an Atlanta Rhythm Section date, Wilson passed along his demo tape to the group's drummer, Roy Yeager, who agreed to produce a session at his Georgia studio. The resulting demo went nowhere, however, and so Wilson instead turned to comedy; immediately he earned a devoted local following, and soon after won a Cinemax standup competition. A series of television spots followed, including an appearance on The Tonight Show with Jay Leno; in 1990, he also teamed with the duo of Pinkard & Bowden to write the song "Arab, Alabama," and its success convinced him to include music in his standup act. In addition to a series of LPs for the independent Southern Tracks label, including Tough Crowd, Waking Up the Neighborhood, Low-Class Love Affair, and Tuned Up, Wilson scored a hit single with his "Garth Brooks Ruined My Life," also co-writing Jeff Foxworthy's smash "The Redneck Twelve Days of Christmas." Upon signing to Capitol, he released his major-label debut, It's a Sorry World, in early 1999; Gettin' My Mind Right followed later that same year. In 2000 he issued Hillbilly Homeboy, which was helped by the success of its first single, "The Ballad of John Rocker," and waited three years to follow it up with his first funk concept album, Super Bad Sounds of the '70s. Three more traditional albums -- Church League Softball Fistfight (2005), But I Could Be Wrong (2007), and Mr. Wilson Explains America (2009) -- followed. ~ Jason Ankeny, Rovi Fancy tux photo

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Rebel, Rebel? The consumer is not Jack Kerouac. He's your brother-in-law. By Ernest Lupinacci. The consumer is not Jack Kerouac. He's your brother-in-law. I was flipping through a magazine recently, when I came across a sort of four-page, full-color, foldout spread. Running boldly from border to border on the first two pages was the following copy: renegade fearless visionary idyllic unexpected bold proud maverick true spontaneous wild undaunted curious intriguing resolute poetic unwavering rare dynamic soulful brash provocative unconventional intuitive genuine strong romantic daring uncommon authentic brave irreverent brazen unorthodox deft absolute unusual radical dreamer. The amalgamation of words didn’t leave me intrigued as much as disturbed; it was as though I had seen or heard them all before. Upon opening the foldout I was confronted with the image of an SUV and the accompanying headline: "You are. It is." My immediate reaction was not dissimilar to that of Charlton Heston’s when, in the climactic scene of Planet Of the Apes, he discovers the Statue Of Liberty buried up to her neck in sand. "My God," I thought aloud, "you maniacs, you finally went and did it! You literally ran the brief. Damn you, damn you all to Hell." And of course this wasn’t just any brief; this was The Brief. The Universal Brief. The "all-purpose digital wireless button fly stuffed crust cold filtered you’re a rebel and you can’t play by the Man’s rules" brief. Read enough of these briefs and you would be hard pressed not to come to the conclusion that every brand's target market is Chuck Yeager and the product the Beatles' White Album. But how can this be possible? Or rather, how can this be credible? Is the Holy Planning Trinity of research, focus groups and trend watchers correct; that the consumer is a Rebel Without a Spending Limit clamoring to be recognized as a bulwark of iconoclasm? Or is The Universal Brief merely what you wind up with when the planning department fails to ask itself if it is still plausible for a consumer to believe or an advertiser to suggest that by merely embracing the majority of mass-produced, mass-marketed consumer goods and services, an individual can get in touch with his inner-disenfranchised Beatnik Poet Warlord? Perhaps it isn't so much the consumer who has become conditioned to identify himself with this imagery, as much as it is the advertising industry that has become accustomed to positioning almost every brand and product as a panacea to conformity. Without doing much research, you could conclude that in the last half of the 20th century one of the most popular ways to market a brand was to position it as the alternative to the current, and in the vernacular of the times, seemingly "uptight" category leader. So wild, visionary Pepsi-Cola was, as opposed to Coca-Cola, "The choice of a new generation," daring Burger King let you "Have it your way" instead of McDonald's way. For the longest time, this approach continued to make sense since most competing brands had a sort of Lokai-and-Bele relationship to one another. For clarification, Lokai and Bele were two aliens on an episode of Star Trek perpetually at odds with one another. At the heart of their struggle was the fact that the right side of Lokai's body was black and the left side white, while Bele was the reverse. This nuance of perception becomes prophetic relative to advertising in as much as the "You and Me against the world" marketing approach eventually lost its relevance since it relied on the anomaly that once upon a time, the alternative to one brand was coincidentally the opposite. I stress coincidentally because while it is sometimes assumed that alternative and opposite are synonyms, they're not. True, an Apple Computer is an alternative to a PC, but if its operating system proves just as quirky and user-unfriendly, it certainly isn't the opposite. So the next time you sit down and read or write The Universal Brief, ask yourself: Are we positioning our brand relative to what we know about the consumer, or are we making absurd assumptions about the consumer based on what we'd like to believe about our brand? Ernest Lupinacci is a freelance copywriter based in New York. This column appears in the March issue of Creativity.

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Sarcasm in the Middle Ages by sui Fri Feb 15 2002 at 0:15:46 People in medieval times are often conceived as being a serious lot - what with the fighting, and the religion, and the chivalry. But, like us, they often had a lighter side. Certain people, and their actions, have been deliberately ironic, a bit cheeky and yes, even sarcastic. One needs to look no further than the literature of William Shakespeare and Geoffery Chaucer to find examples of this attitude. Not counting the sarcasm which seems to come to all good writers naturally, they appear to have had a certain acerbic wit which often manifested itself in the dialogue of Shakespere’s plays and in the writings of Chaucer. However, I have taken my examples from real life situations, and so I present to you, some of the middle ages’ finest sarcastic moments…. Best use of sarcasm when under pressure…. Christmas time of 1460 saw Richard Plantagenet, the Duke of York and his army holed up in Sandal Castle near Wakefield. They were awaiting reinforcements in preparation to do battle with the Lancastrian army, the driving force of which was Margaret of Anjou. As his opponents were rumoured to be hidden in the area around the castle, the Duke was advised to keep his men within. To which he replied “Wouldst thou that I, for dread of a scolding woman, whose only weapons are her tongue and nails, should shut my gates?” Best use of sarcasm during a royal ceremony…. After the Battle of St Albans in 1461, Andrew Trollope was done the great honour of being knighted by King Henry VI. As the ceremony was taking place, Trollope made a token resistance saying “My lord, I have not deserved it, for I slew but fifteen men….” Best use of sarcasm in direct reference to your King…. It seems that King Henry VI was a veritable sarcasm magnet. After one battle, a contemporary chronicler stated that “King Henry was the best horseman of the day, for he fled the field so fast that no-one could overtake him.” Best use of sarcasm in direct reference to someone else’s King…. A rumour which started in around 1461 was circulated. It claimed that “the Queen of England after the King abdicated in favour of his son, gave the King poison.” A Milanese ambassador reported “At least he has known how to die, if he was incapable of doing anything else.” Best use of sarcasm to describe an execution…. When the Earl of Devon was captured and executed in August 1469, he was recorded as having been “cut shorter by the head”. (N.B. This phrase was in common use in England at around this time. Sort of a medieval ‘in-joke’.) Best use of sarcasm in a physical sense…. “On one known occasion an envoy from the castle who had brought unacceptable peace terms was shot back into it with the rejection strapped to him.” Best use of sarcasm when describing one’s enemies…. “Mysterious are the works of the Creator, the author of all things! When one comes to recount cases regarding the Franks, he cannot but glorify Allah (exulted is he!) and sanctify him, for he sees them as animals possessing the virtues of courage and fighting, but nothing else; just as animals have only the virtues of strength and carrying loads…” When a Frankish knight was returning home from holy pilgrimage by sea, he said to Usama ‘My brother, I am leaving for my country and I want thee to send with me thy son…to our country, where he can see the knights and learn wisdom and chivalry. When he returns, he will be like a wise man.’ “Thus there fell upon my ears words which would never come out of the head of a sensible man; for even if my son were to be taken captive, his captivity could not bring him a worse misfortune than carrying him into the lands of the Franks.” Best use of sarcasm in reference to religion…. “The faith having been planted in the island from the time of St Patrick, so many ages ago, and propagated almost ever since, it is wonderful that this nation should remain to this day so very ignorant of the rudiments of Christianity.” Best use of sarcasm to avoid perjury…. The Waldensian Heretics used sarcasm to avoid answering questions which could have condemned them to death. As Bernard Gui reported… “It should be known that it is exceedingly difficult to interrogate and examine the Waldensians, and to get the truth about their errors from then, because of the deception and duplicity with which they answer questions, in order not to be caught…This is the way they do it. When one of them is arrested and brought for examination, he appears undaunted, as if he were secure and conscious of no evil in himself. When he is asked if he knows why he has been arrested, he answers very sweetly and with a smile, ‘My Lord, I should be glad to learn the reason from you.’ Asked about the faith which he holds and believes, he answers, ‘I believe everything that a good Christian ought to believe’. Questioned as to whom he considers a good Christian, he replies, ‘He who believes as Holy Church teaches him to believe’. When he is asked what he means by “Holy Church”, he answers, ‘My Lord, that which you say and believe is the Holy Church.’ If you say to him ‘I believe that the Holy Church is the Roman Church, over which the lord pope rules; and under him, the prelates’, he replies ‘I believe it’, meaning that he believes that you believe it.” Best use of sarcasm by a lady-in-waiting…. When Edward IV’s Queen was pregnant with their first child (the Princess Elizabeth), a royal physician by the name of Dominic predicted that the child would be a boy, and convinced the King that this was so. He went as far as to station himself at the door to the Queen’s privy chamber so that he could be the first to learn of the good news. Upon hearing the baby’s cry, he knocked at the chamber door and asked what the Queen had given birth to. “To whom it was answered by one of the ladies, whatsoever the queen’s grace hath here within, sure it is a fool standeth there without.” Best use of sarcasm in an official report…. A report of a parliament which was held in 1399-1400, written by a knight, states the lack of effectiveness of the Commons…”Some members sat there like a nought in arithmetic that marks a place but had no meaning itself.” Best use of sarcasm to win back royal favour…. Hugh of Avalon once found himself in King Henry II’s bad books after excommunicating one of Henry’s foresters. He was summoned to the royal presence, but was ignored by the sulking king. “Hugh pushed aside an earl and sat down at the King’s side; Henry, too restless to stay quiet, called for a needle and thread and began to stitch a leather finger-stall which he was wearing on his left hand. After a minute Hugh said: ‘How like you are now to your cousins of Falaise’, alluding to William the Bastard’s mother, the tanner’s daughter.” Apparently, the King “rocked with laughter”. These exerpts of life in medieval times gives us an insight into the minds of these people. It is important to remember that our ancestors were just people like you and me, given to vices such as sarcastic comment. (My favourite vice ever.) There are many, many more examples of sarcasm in the middle ages, however, as brevity is the soul of wit, I have not included them all here. I have one more pearl of wisdom to share, which may not technically be classed as sarcasm, but which certainly has a sardonic air. “Love is a certain inborn suffering derived from the sight of and excessive meditation upon the beauty of the opposite sex…” Feudal Order Marion Gibbs Copyright 1953, by Henry Schuman, Inc. Henry Schuman, Inc. 20 East 70th St. New York 21 Lancaster & York - The Wars of the Roses First published by Jonathon Cape, Random House 1995 20 Vauxhall Bridge Rd. London, SW1V 2SA Medieval Family, A - The Pastons of Fifteenth-Century England Frances and Joseph Gies First published by HarperCollins Publishers, Inc. Published by HarperPerennial 1999 HarperPerennial, HarperCollins Publishers, Inc. 10 East 53rd St. Portable Medieval Reader, The Edited by James Bruce Ross and Mary Martin McLaughlin First published by Viking Penguin Inc. 1955 Published by Viking Penguin Inc. 1956 (twice), 1957, 1958, 1959, 1960 (twice), 1961 (twice), 1962 (twice), 1963, 1964, 1965 (twice), 1966 (twice), 1968 (twice), 1969 (twice), 1970, 1971, 1972, 1973, 1974, 1975 Published in Penguin Books 1977 Published Books USA Inc. Sieges of the Middle Ages First published by G. Bell & Sons Ltd. 1968 Published by Penguin Books Ltd. 2000 Penguin Books Ltd. 27 Wrights Lane London, W8 5TZ Yorkist Age, The - Daily Life During the Wars of the Roses Paul Murray Kendall First published by George Allen & Unwin Ltd. 1962 Published by Penguin Books 2001 London, WC2R ORL How the Waldensian Heretics avoided detection I'm the most off-beat genius you ever knew; I'm so iconoclastic I'm clastic Waldensian heresy Waldensian Heretics E2 Sarcasm FAQ Hair-related legislation through the ages Rose pudding The Royal & Ancient Golf Club of St Andrews Applesauce Fruitcake Medieval animal trials Canon patent five ideas a day to help you have hundreds Margaret of Anjou bonacon

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Network | Old Glory: Patriotic Symbol? About Us Old Glory: Patriotic Symbol? Historians/History by Rick Shenkman Mr. Shenkman is the editor of HNN. This article is drawn from his book, 'I Love Paul Revere Whether He Rode or Not' (HarperCollins). Nothing seems more natural to an American than to venerate the patriotic symbols that represent America. They are virtually sacred. Scornful as we are of the candidate who wraps himself in the flag, it is often the candidate who fails to do so who loses. But if Americans cherish their symbols of patriotism, they haven't always worshiped them. It used to be good enough just to respect them.Take Old Glory, that "emblem of unity, of loyalty to home and to kindred, and to all that is sacred in life." The early adoption of the flag by the United States has been considered proof of its early acceptance as a sacred symbol of the United States. But that seems not to have been the case. Milo Quaife, in his exhaustive history of the flag, concluded that the generation that gave us the national flag remained astonishingly indifferent to it.From early congressional debates, for instance, it is quite clear that the only reason the founders adopted a national flag was for the practical reason that the navy needed one for identification when sailing into foreign ports. The bill providing for the establishment of the flag consisted of a single sentence, just twenty-nine words long. The first verse of the Star-Spangled Banner is longer (fifty-two words). When in 1794 someone introduced a bill to add two stars to the flag to take into account the admission into the union of Vermont and Kentucky, many members objected that the matter wasn't worthy of their attention. It is "a trifling business," said one, "which ought not to engross the attention of the House, when it was their 'duty to discuss matters of infinitely greater importance." The Vermont representative agreed. In the end, says Quaife, the members approved the bill "as the quickest way of terminating" debate about it.The existence of great varieties of flag designs demonstrates the profound carelessness with which it was treated. Some stars came with five points, some with six. Some stars came in white, some came in silver. Because Congress never specified if the stars should be arranged in a circle or in rows, flag makers stitched them both ways. On the eve of the Civil War it became fashionable to put them in an oval. Even the number of stripes seems to have varied by whim, though it was established by law. At one point the flag over the capitol had eighteen stripes, while the flag over the New York Navy Yard had only nine. The flag is a particularly poor example of an early sacred symbol, as many Americans--including top government officials--were unsure of its appearance. More than a year after its adoption by Congress, Benjamin Franklin and John Adams, in a joint letter to the king of Naples, said it "consists of thirteen stripes, alternately red, white and blue."They may be forgiven for their ignorance. For Americans in our early history seldom got the chance to see the flag. It did not fly from buildings. It was not put in the schools. It was never reproduced in the newspapers. And painters did not make pictures of it.Wilbur Zelinsky, reporting on a search of major catalogs of art from the Revolutionary War, says he could not find a single depiction of the American flag. The erroneous impression that Stars and Stripes was ubiquitous in the Revolution is due to the fact that it is ubiquitous in the paintings of the Revolution done in the nineteenth century. But the fact is, not a single land battle in the Revolution was fought under Old Glory. There was no American flag at Bunker Hill, at Trenton, or even at Yorktown. Indeed, not until the Mexican- American War did American soldiers fight under Old Glory. Even then the use of the flag in battle was limited. The marines did not adopt the flag until 1876; the U.S. Cavalry not until 1887. Forget those pictures of George Custer and the Stars and Stripes. His men never carried it. Soldiers did not go flagless, of course. They had battle flags to keep up their spirits. But nobody cares about those old battle flags. What we want is Washington crossing the Delaware with the Stars and Stripes. And what we want the artists in the nineteenth century gave us; pictures with flags sell.Pictures counting more than words, it is likely we will forever think of the "boys on Bunker Hill" fighting under the flag John Trumbull put there in his famous painting of the battle. When we imagine stereotypical revolutionary soldiers, it is Archibald Willard's depiction in The Spirit of '76 that we think of. It features the flag and three haggard patriots, one playing a fife, the others beating drums. It is part of the myth of America and no more could be eliminated from our national memory than the Revolution it honors so sentimentally.Of America's Revolutionary War heroes, only one fought under the Stars and Stripes, John Paul Jones, who has been the subject of endlessly silly stories. Biographer Augustus C. Buell, for example, claimed Jones's flag aboard the Bonhomme Richard was sewn by a band of "dainty" girls "from slices of their best silk gowns"; one of the girls, Helen Seavey, was even said to have sacrificed her bridal dress to provide material for the stars. Actually, the story is as fanciful as Jones's famous sea-battle boast that he had "not begun to fight." And Helen Seavey never existed.Better yet is the story of the flag's eventual disposal. After disappearing from sight for some eighty years, late in the nineteenth century it was said to have suddenly resurfaced. Through a chain of miracles, it was said, the very flag that had flown over the Bonhomme Richard had survived and survived largely intact despite its use during several fierce battles. The only thing missing from the flag was a piece that supposedly had been given to Abraham Lincoln during the Civil War. The family that produced the flag--the Staffords--had an elaborate story to explain how they came into possession of it. In brief, they said it had been awarded by Congress to one of their ancestors, who had bravely served under Jones on the Bonhomme Richard and who saved the flag from destruction when the ship sank. And they had an affidavit to prove it. The affidavit, signed by the secretary of the Marine Committee of Congress, dated 1784, confirmed that one James Stafford had been given "Paul Jones' Starry Flag of the Bon Homme Richd." It was considered authentic for a long time. The Smithsonian Institution even put the flag on display. (It remained on display through the 1920s.)That was a mistake. By Jones's own statement, we now know that the flag that flew over his ship was destroyed in the battle in which he lost the ship; a cannon blew it up. We also know that the Stafford affidavit was a hoax. James Stafford never served on the Bonhomme Richard, and the committee that supposedly awarded him possession of the flag in 1784 had ceased to exist five years earlier.No doubt the founders would be pleased to see that the flag is respected today. But they would not understand it being worshiped. Worship of the flag is strictly a modern development. A hundred years or so ago only a few self-appointed flag defenders conceived of it as a sacred object. Schools were not required to fly the flag until 1890. Americans did not begin pledging allegiance to the flag until 1892. They did not begin saluting the flag until around the Spanish-American War in 1898. Flag Day was not nationally observed until 1916. The flag code, prescribing the proper way to treat a flag and dispose of it, was not approved by Congress until 1942 and did not become part of federal law until 1976. The interesting thing is not that the rituals of flag worship go back only as far as the late nineteenth century but that Americans think they go back further. We have become so used to the idea that the flag is a sacred object that we cannot imagine a time when it was not considered one. However, there was a time when patriotism needed no such artificial braces. During the Revolution, when men were fighting and dying on the battlefield to establish a new nation, saluting the flag would have been regarded as an empty gesture. The thing to do was to go out and join the fighting. That was patriotism.If Americans did not embrace flag rituals early on, once they did, they embraced the practice enthusiastically. There seemed to be plenty of reason. With the invasion of the "hordes" of immigrants from Europe, hordes with strange names and exotic accents, it was believed that flag rituals were needed to ensure the newcomers' loyalty. Fear, then, was behind the movement to adopt flag rituals, but nobody ever remembers that. Today it is the descendants of those "hordes" of immigrants who often seem the most offended by violators of the rituals. It is interesting to speculate what "the ethnics" (as the politicians refer to them) might think if Americans were taught to salute by extending their right hand, "palm up and slightly raised." This proved embarrassingly similar to the Nazi salute, however, and during World War II was dropped. By order of Congress, Americans then began "saluting" the flag by crossing their right hand over their heart. (David R. Manwaring, Render unto Caesar: The Flag-Salute Controversy [1962], pp. 2-3.)Members of patriotic groups such as the Daughters of the American Revolution so feared the immigrants that they began to embrace the British against whom their ancestors had once fought. One proposed making "an alliance of hearts if not of hands with our kinsmen over the sea." After all, "We are of one tongue, one blood, one purpose." Once the immigrants had been absorbed into the culture there should not have been much reason for retaining the rituals designed to Americanize the immigrants. But once invented, the rituals could not be eliminated. Every few years there seemed yet another compelling reason for keeping them. In World War I, they proved useful, as historian Bernard Weisberger has pointed out, in promoting "unity in the fight against the Kaiser." Later, says Weisberger, they were used "to inoculate against Bolshevism."One cannot mention the flag, of course, without making reference to the story that it was Betsy Ross who stitched the first one. She did not, unfortunately. The whole story was made up by her grandson. Nor did she have anything to do with the selection of the flag's design or its colors. If anybody was responsible for designing the flag it was probably Francis Hopkinson, who was given credit by Congress for having done so. But no one individual actually designed the flag. Our flag came about through two modifications of the British Union flag, which included a red, white, and blue cross in the corner square and a solid red field. Our first flag, commissioned for the navy in 1776, was simply the basic British Union flag divided by white stripes. Our second flag, the Stars and Stripes, substituted stars for the cross in the corner square. The red, white, and blue colors were derivative. They did not, as some allege, come out of Washington's family crest. And they do not mean anything. Contrary to the Boy Scout Handbook, the blue in the flag does not represent justice, the white is not for purity, and the red is not for bravery.Related Links HNN Hot Topics: The Fourth of July Please enable JavaScript to view the comments powered by Citizen Historian - 12/27/2009 Interesting article, Mr. Shenkman, and hardly invidious. The flag is a symbol that stands for a nation. It is up to the American people, themselves and through their elected leaders, together to weave, patch and preserve the strong fabric that has made this nation as good as it has been up to now. If the narrative you wrote actually could harm the nation, then the country is in poor shape, indeed. I don't think we are that weak, myself. I think most people understand just from their own daily lives that a throughline can remain strong at its core, even if zigs and zags a bit, and even strays off course from time to time. Yes, throughout our history, there have always been haters and extremists and demagogues on the left and the right who tried to appeal to the worst in people. And yes, wrapping oneself in the flag remains a good way to win elections. But it takes much more than that to govern. Fortunately, the American people, for the most part, have a sense of decency and good common sense that has sustained the nation for a long time. And, I believe, will continue to do so for a long time to come. (That decency and courage is exemplified here: http://www.msnbc.msn.com/id/13530551/site/newsweek/?page=8 and http://www.msnbc.msn.com/id/13530551/site/newsweek/?page=14) To listen to the debate in Congress on the flag burning amendment, you would think that only such a measure can buttress the nation and protect a weak people from collapsing during dificult times. Fortunately, the people I know in my neighborhood and workplace are made of sterner stuff. They and I will celebrate the Fourth of July and the independence of this nation just fine, thank you, by doing what Americans do best: interacting in a neighborly fashion in our different and diverse communities, urban, suburban and rural; stepping up to help those in need (remember our generosity after 9/11 and the tsunami and Katrina); performing our jobs--whether civilian and military--with integrity and skill; and hoping (if secular) or praying (if religious) that our nation will find its way safely through difficult crises. I sometimes wonder what course the U.S. would have followed, had Gerald Ford, whom I voted for, and hoped could bring about national healing after Watergate, been elected in 1976. And what would have been the course of the Republican party? As for more recent times, the sense of unity we felt after 9/11 didn't dissipate because of the way people felt about the flag, then or now. It dissipated because our leaders either didn't understand us or trust us enough to tap into what we share as a people. Last autumn, U.S. News & World Report quoted a Democrat pollster who found that people were tired of selfishness: "even Bush voters are eager for change and anxious to rebuild that old community feeling, especially after Hurricane Katrina. 'Americans didn't like what they saw,' he says. 'This isn't their idea of America.' There's more, he says: From the war in Iraq, to energy prices, to the budget, those he polled felt 'they were sold a bill of goods.' Still, they don't want to play the blame game. 'They want to roll up their sleeves and get to work.'" That's the America that I've always known. I feel lucky to live in that America, it is a good place. Nowadays, it seems that too many politicians no longer trust the people enough to appeal to their best instincts. As for me, I'm much more comfortable with the innate qualities of the American people than the hot air coming out of Washington. To my wonderful neighbors and colleagues, I say, Happy Independence Day. gary christopher gianotti - 12/7/2009 Mr. Shenkman, I have been amazed at how many people have worked so hard to debunk the Jones-Stafford flag. There was two flags flown on the ship Good Richard. The flag that went down on the Good Richards was as wide as the ship itself, 21ft-30ft in length! You state Helen Seavey never existed? The Portsmouth Navy agent John Langdons, wife was a part of that flag making party and the 1st officer of the Rangers wife, Mrs Hall. The Portsmouth flag went down on the ship Good Richard. The flag Stafford was given by the Navy Sec. Brown! Brown Was ordered to give the Jones flag to Stafford by Capt. Barry. The famous Capt. Barry's mother was married to LT. James Stafford father/grandfather! The flag in question is the flag that Capt. Barry's wife made and presented to Jones in Philly for the Rangers. Most historians are clueless to the fact that Americans in the Navy/Politicians were fighting against themselves for power and control of the new Nation! This flag presented with documents from Capt. Barry was the real deal? If Barry was not telling the truth under NAVY LAWS. Barry and the Navy Sec. Brown would have been brought up on charges and brought before a military court for being dishonest. Do you understand that Barry's enemies in the Navy and Government would have charged them if they were not telling the truth. Flag experts do not know that is a fact!!!! These Official Navy documents presented to Stafford where legitimate under US NAVY LAW or a court of inquiry would have been held. Also, in regards to Buell. Buells Rev War father was involved in making and selling flags in New Haven CT! If you learn who sided with who in the Rev War. You may learn who flew what type of 13 Stars and Stripes representing that group or Clan? The flag you are debunking was made by Mrs. Barry, including women of Philadelphia who presented the flag to Jones. The Stafford flag was too small to be the Portsmouth Ensign flag on the stern of the ship. Second Sevaveys dress was white silk! No silk on the Stafford/Barry flag. So jones flew that Philly flag on the mast at the same time in battle! Try to debunk what I just told you. Stephen Kislock - 3/6/2008 With the US Supreme Court appointing G.W. Bush president, I took my flag down and mounted it with the stars on the bottom! On the night of March 15 2003, I removed my flags from my front porch and have No US flag in my house. US Marine veteran, peacetime. Today, what does the US flag stand for, Invading Iraq? The Occupation of Iraq? The next War, with Iran? Carol Hamilton - 3/3/2008 Wow! Brown University is "often regarded as the core of sedition in America"? Regarded by whom, I wonder? All I've heard about Brown is that it's the magnet school for the children of celebrities and wealthy foreigners. The Great Satan of the Ivy League? Rob Willis - 7/3/2007 The flag began to gain its revered status during the Civil War, when the national flag became a sacred object to the regiments to which they were issued. To lose the flag in battle was considered the greatest dishonor, other than outright cowardice. And, this reverence did not spring from a vaccuum, it was simply codified when the loss of the Union and the flag that represented it, was a real threat. There was a reason Lincoln refused to have the stars representing the Southern states removed from the flag during the war: It did indeed mean more than just an indentifying hunk of colored cloth. Interestingly, it was the same men who died defending the flag during the war that helped launch the widespread adoption of the flag in classrooms, parks, and other venues. The Grand Army of the Republic, composed of CW veterens, were deeply disturbed by the rise of anarchist rhetoric in the late 19th century, prompting a widespread campaign of flag appreciation. Nice article, but too simplistic and ignorant of the bigger picture. John H. Lederer - 7/9/2006 Curious with all this downplaying of the flag and the assertion that it really did not matter much until late in our history that both the U.S. national anthem (1814) and the Confederate national anthem (1861) were centered on national flags. Christopher Owen Dougherty - 7/8/2006 The article by Mr. Shenkman is a very prescient one. It clearly identifies how people in this country have lost their perspective on what is important in being an American. The blurb about the representative stating that this is a "trifling business" which ought not to "engross the attention of the House" rings true today. There was a reported total of one instance of flag burning in 2005 (in Tennessee no less; Bill Frist phone home!) while 18,000 Americans died because of lack of access to proper health care. Our members of the world's most exclusive club - The Senate - voted 66-34 for an amendement to ban flag burning that was opposed by 53% of the American voters who were asked about it. We need to restore the proper balance of givernment in this country and our people need to understand that this will come through better understanding of the importance of citizenship in a civilly based Republic; not through desperate grasping of false symbols or the endless failure of a consumption oriented society. Our soldiers who fought and died did not do it for the flag; they did it to represent the great traditions of liberty, freedom and justice that are the cornerstones of our society and they did it under the hope that, with these themes in place, that true peace would follow for our nation and the world around us. Nancy REYES - 7/3/2006 There is a good reason that"...the descendants of those "hordes" of immigrants who often seem the most offended by violators of the rituals..." It is because immigrants are thankful to a country where we have economic and political freedom, and unlike too many academics we have life experiences (Or hear stories from our parents ) where we can compare our freedom to other places. HNN - 7/1/2006 For what it's worth, I hung a flag outside our house on 9-11 too. John Chapman - 7/1/2006 Anything we say about our flag is a touchy subject and will offend somebody somewhere no matter what is said. This sounds exactly like a religion. A Christian-based nation shouldn’t be worshipping a symbol or an object anyway. We should only respect it and not drag it into the dust. But to worship it is pure stupidity or blasphemy depending on whether one is a real Christian or a secularist. "Worship of the flag is strictly a modern development. " I believe the intent of this piece of cloth was originally to reflect a basic reality of our territoriality however over the course of our nation’s development this became more an abstraction which in turn masked the absence of reality which in turn became pure simulation, like our Democratic process. The simulation doesn’t conceal the truth anymore, it becomes the truth. elementaryhistory teacher - 7/1/2006 Mr. Shenkman, I enjoyed your article very much. I applaud you for your research and the crafting of an entertaining read. I agree with you that early on our citizens did not see the flag very much and our Founding Fathers would probably be very shocked at the importance that is placed on a square piece of cloth, but that is what it has evolved into. As an educator I feel it is very important for me to teach truths like the facts you have in your article, but I also understand sometimes myth and history become meshed together so well that it would do our national psyche too much harm to alter our beliefs. I understand the history behind the flag and its importance or lack of it in the past, but it doesn't change the fact that I appreciate it, love it, and fly it appropriately. Lawrence Brooks Hughes - 7/1/2006 I don't see much "respect for the flag" in this article, which the author claims should be "good enough," without "sacred worship." He doesn't seem to care that a lot of men have died under that "silly" flag, so he can enjoy his right to trash it. But he has the right to deny the fallen his thanks, if he likes, while the rest of us just assume he doesn't know any better. Personally, I don't mind much when sophisticated adults want to research and write invidious stories like this. They don't do any good, but they don't do much harm, either. What bothers me is when their ideological brothers try to remove patriotic rituals and instruction from the public schools, and other places where children gather. This activity might result in destruction of the republic. One of my daughters was a student at Brown University on September 11, 2001. She reported that the entire campus was festooned with American flags--by the students--almost immediately after the attack, while many in the faculty seemed to disapprove. That this could happen at Brown, often regarded as the core of sedition in America, gave me great relief and confidence that our kids are still getting the message. I believe veneration for the Union Jack was probably well advanced by the time of the American Revolution, and it just took Americans a few decades to establish their own tradition, and their own colors, in the manner of their British forebears. After all, Sir Walter Scott died in 1832, and Shakespeare in 1616. They both understood patriotism rather well, and gave us a few lines to help promote it. Unfortunately, there will always be an occasional wretch in our midst who must some day go down to the vile dust from whence he sprung, unwept, unhonored and unsung. News

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Testimony of an Irish Slave Girl by Kate McCafferty Kidnapped from Galway, Ireland, as a young girl, shipped to Barbados, and forced to work the land alongside African slaves, Cot Daley's life has been shaped by injustice. In this stunning debut novel, Kate McCafferty re-creates, through Cot's story, the history of the more than fifty thousand Irish who were sold as indentured servants to Caribbean plantation owners during the seventeenth century. As Cot tells her story-the brutal journey to Barbados, the harrowing years of fieldwork on the sugarcane plantations, her marriage to an African slave and rebel leader, and the fate of her children—her testimony reveals an exceptional woman's astonishing life. About Kate McCafferty Kate McCafferty was born in the United States and received her Ph.D. in English. Since then she has taught English in colleges all over the world. She has published essays, poems, and short fiction pieces in a number of publications. Testimony of an Irish Slave Girl is her first novel. History, Literature & Fiction. Reader Rating for Testimony of an Irish Slave Girl

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Well boiled: Philip Marlowe's long hello again The 'Black-Eyed Blonde' seems to sit between the last two completed Chandlers and Poodle Springs. (John McCann) THE BLACK-EYED BLONDE: A PHILIP MARLOWE NOVEL by Benjamin Black (Mantle). The 23rd novel by the Irish writer John Banville feels like the literary equivalent of Winston Churchill's description of Russia as "a riddle wrapped in a mystery inside an enigma". The Black-Eyed Blonde represents a literary brand name wrapped in a pseudonym inside a Man Booker prizewinner. Although this is Banville’s attempt at a novel in the style of the Philip Marlowe series by Raymond Chandler, he has chosen to publish it under the name of Benjamin Black, the identity he has adopted for a series of crime novels (including Christine Falls and Holy Orders) featuring Quirke, an Irish pathologist in the 1950s. Black-Banville remains in the same decade for this Marlowe makeover, which finds the private eye living in the rented residence on Yucca Avenue in Los Angeles that he occupied in the final Chandler books. The Long Good-bye and Playback were set in the early fifties and charted Marlowe’s attraction to and eventual marriage proposal from the heiress Linda Loring. As Black-Banville's Marlowe expresses the hope of one day marrying Loring, The Black-Eyed Blonde seems to sit between the last two completed Chandlers and Poodle Springs, the final, unfinished Marlowe novel, which Robert B Parker finished in a previous authorised continuation, commissioned by the Chandler estate to mark the author’s centenary. The plot follows the master’s hand. On a listless LA day, a beautiful young woman turns up in the personal investigator’s office. She is Mrs Clare Cavendish, heiress to a perfume fortune built by an Irish immigrant family, the Langrishes. For tantalisingly unclear reasons, Mrs C has hired Marlowe to find a former lover, Nico Peterson, who has disappeared. The private eye soon learns that Peterson has been killed and cremated, although this information becomes increasingly questionable as the investigator follows the trail deeper into the scent company. The reputation of the original novels rests largely on the tone of the prose and the character of Marlowe. As the books are narrated in the first person, these are closely linked, so any Chandler stand-in must convincingly carry on both. But a popular perception has developed that Chandler's style consisted entirely of witty metaphors and witticisms stitched together. In fact, between the anthologised one-liners, the language is often looser and more discursive, but so strong is the legend of Chandler's high style that any pretenders will be judged on how successfully they achieve it. The Irish understudy takes on Chandler's habits convincingly. The Marlowe books have a paradoxical tone of energetic weariness, which this imitation echoes in many lines. Visiting a witness, the detective reports that he "lowered himself into one of the armchairs. It was so deep my knees nearly gave me an uppercut." Painted roses on a bedside lamp throw shadows that look like "bloodstains someone had started to wash away and then given up on". The biggest decision for any literary ventriloquist is to what extent simply to transplant the central character, or, just as importantly, any of the actors who have played the role on screen. Humphrey Bogart and Robert Mitchum are probably the Connery and Craig of the Marlowe adaptations and the protagonist of The Black-Eyed Blonde is easy to visualise as an older Bogart. Black-Banville's Marlowe has begun to worry about the medical effects of all the drinking and smoking, but is otherwise recognisably the figure of the originals: chess-playing, introspective, sensitive, self-hating. "Women are not the only thing I don’t understand – I don’t understand myself either, not one little bit." What Banville brings to Chandler is perhaps an enhanced literary sensibility. His Marlowe is alert to nuances of language, delighted when the name of Mrs Langrishe is accidentally recorded in a message as "Mrs Languish", and thrilled when an interrogatee uses the word "milksop", which he has previously only ever seen written down. Banville was once cast as the epitome of serious, prizewinning literary fiction, but the subsequent decade seems to have unleashed a pleasure in plot and playfulness that wasn’t evident before. Even while routinely trashing crime novels, in interviews and at festivals, as "cheap", he has published them at the rate of almost one a year and now seems to have concluded that he would rather add to his shelf a Black-Chandler rather than a Black or a Banville. The genre of new books by dead writers is a curious and questionable one, but Banville and his crime-writing pseudonym have played the game as well as anyone could. – © Guardian News & Media 2014 Philip MarloweRussiabook reviews

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BERLIN (AP) - German conductor Wolfgang Sawallisch, acclaimed for his musical brilliance and unpretentious leadership of the Bavarian State Opera and the Philadelphia Orchestra, has died. He was 89. The Munich-based Bavarian State Opera, which Sawallisch led from 1971 to 1992, said he died Friday at his home in Grassau, southern Germany. "His enormous personality and unrivaled artistry shaped this house for decades," the opera's current head, Nikolaus Bachler, said in a statement Sunday. "His name is linked to the Munich opera like no other. His influence continues to be felt until this day and will continue to do so." Sawallisch also conducted the Bayreuth Festival, the Vienna Symphony Orchestra, the London Philharmonic, La Scala in Milan and Tokyo's NHK Orchestra, among others. Born in Munich in 1923, Sawallisch began his career after World War II. In 1953, he garnered international attention by becoming the youngest conductor invited to direct the Berlin Philharmonic. By 1960, he had become principal conductor of the Hamburg Philharmonic Orchestra before moving to Munich in 1971. Taking the helm of the Philadelphia Orchestra in 1993, at age 70, he guided the ensemble through a decade of financial and artistic turmoil. He was criticized by some for his traditional approach, but others praised the purity of his performance. "With Sawallisch the music always sounded simple, clear, uncomplicated and transparent," the Vienna Symphony Orchestra said in its obituary of the conductor who led the ensemble on its well-received first tour of the United States in 1964. At La Scala, where he made his debut in 1957, he was the first non-Italian to be awarded the Golden Baton in 1993. Sawallisch "leaves an enormous void in the musical life of our time," the famed Milanese opera house said in a statement marking his passing. The Bavarian State Opera said it would dedicate Verdi's Req uiem, directed by Zubin Mehta, to Sawallisch on Monday.

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They Call Me Superseven SUPERSEVEN! ....Adventurer, scientist, crime fighter, hero, lover, Nobel Prize winner, world class athlete, grommet chef, movie star, recording star, bon vivant & the world's greatest masked super spy! Superseven is an international man of mystery, and the top... Four tales of terror from Joe R Lansdale, Edgar AllanPoe, Lafcadio Hearn and Jeff Strand. Of a Promise Broken A woman tormented from beyond the grave by the ghost of her husband's ex-wife. Based on the story by Lafcadio Hearn Berenice Master of horror, Edgar Allan... Jordan Rhodes is an honest detective investigating the heinous murder of a leading talent agent. As he delves into a melting pot of beauty, ego and violence, the stakes are raised when the killer distributes horrific crime-scene photographs to the press, thrusting a... Dominic is on the run from the recession. When he lands in Los Angeles, he meets a man who’s willing to put a million dollars in Dominic’s hands -- All Dom has to do is kill the man’s wife. Lucky for both of them, Dominic is up to the task. What he didn’t count on was... Misdirection is a psychological thriller. The story is told in real time in one continuous camera shot with no cuts or edits, creating a unique intimacy between the players and the audience. The film explores the theme that people are capable of anything when in the... The Jonas Project Would you let the love of your life die knowing you could save her? Having found the cure for Cancer, Dr. Caldwell lives in fear everyday that the company that owns the patient he created, will never let the public know, because there is more money in... On the outskirts of a small town sits an abandoned psychiatric hospital. A constant visitor there is Chet, a misunderstood artist whose obsession with the hospital is fueled by the memory of his Mother, who died there years earlier. The isolation of Chet's existence... In a marginalized New Orleans still trying desperately to recover from Katrina, a private eye on the fringes of society reluctantly investigates two murders - one present day, one thirty years old. But even as detective Jack Spade encounters ancient French Quarter...

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Artist displays his crowbar work Artist Bob Watts showcased his ability to create wildlife and scenic imagery using a crowbar instead of a paint brush during his visit to Terry over the weekend. His work was on display in the back room of the Roy Rogers Tavern from Thursday through Sunday. Watts, who also goes by the handle “Crowbar Man” hopes to make another visit to Terry before Christmas. With a twist here and a stroke there artist Bob Watts gracefully maneuvers his, ... um, ah ... crowbar ... to create idyllic images of Montana’s scenery. Yes, that’s right it’s a crowbar he uses, rather than a paint brush, and it’s something he says he began using about 45 years ago. “It brings attention, because it’s something different,” Watts explained. Watts recalled first using a crowbar while exhibiting his work at the Kirkwood Mall in Bismarck, N.D. After three very slow days of showcasing his work, among other attractions in the mall, Watts realized he needed an attention-grabber to draw in the crowds. After some brainstorming, Watts took a crowbar with him to the mall the next day. The response was immediate. The crowds gathered and the paintings began selling. Watts moved back to Forsyth in 2000 and says interest in his work has renewed in the past year thanks to a full-color spread by the Rural Montana magazine published in February, followed by the PBS documentary show “Back Roads of Montana,” which featured his work in May. Along with the crowbar creations, Watts’ work also includes seven murals in the town of Forsyth. Article Type: News Login to post comments

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DonateSubscribe MagazineCurrent IssueArchivesSubscribeNewsCatholic News BriefsExpert VoicesFaithThe WordFaith in FocusGeneration FaithPope Francis HomiliesLa PalabraOpinionEditorialsColumnsFirst MondayOf Many ThingsWashington FrontVatican DispatchCultureArtPoetryBooksFilmIdeasTheaterTelevisionBlogsIn All ThingsThe Good Word(Un)Conventional WisdomDispatchesMediaVideoPodcastsSlide ShowsSiriusXMResourcesCatholic Book ClubE BooksTeacher ResourcesGeorge Hunt Writing PrizeWeb Only Articles Login / Register Facebook Twitter LinkedIn Of Many Things Of Many ThingsNovember 28, 2005 IssueGeorge M. Anderson"Here today, gone tomorrow.” That familiar saying can apply to many things, including buildings and rare architectural artifacts. In a city like New York, buildings are torn down and replaced in a matter of months, their original accompanying artifacts lost. With this destruction of older structures, segments of the urban past disappear into the rubble. Among New York’s rapidly disappearing treasures is the ironwork found throughout the boroughs, both in the form of uniquely designed manhole covers and other objects of iron dating back to the 19th century. These constitute one of the city’s major beauties—for those who have the keen eye to recognize them. One person who has such an eye for the city’s often unnoticed treasures of wrought and cast iron is Diana Stuart, whose book on early manhole covers was published a few years ago (Am., 6/7/04). Now Ms. Stuart has written what might be called a companion volume, Decorative Architectural Ironwork (Schiffer Publishing Ltd., 2005). This second undertaking is a logical outgrowth of the first. An experienced photographer, the author paced the city streets, camera in hand. In the beginning, there was no thought of even a single book, much less two, she said during a visit to America House. “I just started photographing the rich ironwork details I saw everywhere: balustrades, street lamps, fences, even doorbell ringers and boot scrapers.” The collection of photographs grew until, as she put it, “it was pushing me out of my apartment.” By then, the need to incorporate her discoveries into book form became pressing; hence this newest work on cast and wrought iron. During her visit, Ms. Stuart explained that much of this iron was made in local foundries along the East River, using patterns brought over, in many cases, by artisans from Europe. “But when steel came into use,” she said, “the foundries died out.” One example of a now-lost treasure created by a local foundry stood near my rectory on the Lower East Side: a hitching post. In her book, she describes it as “one of the rarest original ironwork artifacts existing in New York City,” with the head of a horse at the top of the post, a tuft of hair rising from the head. On first coming across the hitching post, she took a picture of it; but when she returned months later, it had vanished. The photograph in her book is now the only documentation that it ever existed. Ms. Stuart also gives walking tours, and on a fall Sunday afternoon I took part in one that began near Gramercy Park in Lower Manhattan. Approaching the agreed-upon meeting spot, I could see her from a block away, seated on her signature folding stool, a rolling suitcase with notes and copies of her book beside her. One of the handsome homes on the west side of the park belonged to James Harper, mayor of the city in the mid-1800’s. The ornate wrought iron lamps at the gated entrance are testimony to the workmanship of the artisans of the time. On noticing us staring at them, a tenant emerged from the house to explain that in that mayor’s day, the lamps were always kept lighted as a sign that he was at the service of his constituents—a fact of which Ms. Stuart was well aware. So engaging was the enthusiasm, however, of the impromptu lecturer, that she let him natter on about a subject to which she devotes considerable space in her book. If the ironwork around the park reflects the lives of the wealthy, such is the abundance of its uses that examples can also be found in parts of the city inhabited by low-income residents as well. The fire escapes of my own, once-immigrant neighborhood often stand out as much for the beauty of their design as for their utilitarian purpose. Ms. Stuart sometimes conducts tours, in fact, that focus on fire escapes alone. But her new book is also notable for drawing attention to artifacts that could easily go entirely unnoticed by the casual passerby—the so-called tie-rods, for example, affixed to the sides of many 19th-century buildings as reinforcement to their brick walls. Their swirling and variegated shapes give them a beauty of their own apart from the purpose they serve. Someday Ms. Stuart hopes to publish a book on another vanishing part of the city’s past, far more ephemeral than the manhole covers and iron artifacts. These are the wall signs painted on the sides of many 19th-century buildings to advertise the products of companies long gone. The faint outline of the lettering is often still visible high above the sidewalk. They too serve as reminders of how easily a city’s past can be obliterated instead of preserved. Ms. Stuart has photographed many of them, and has a book almost ready, should a willing publisher appear. George M. Anderson, S.J., is an associate editor of America. Recently by George M. Anderson Uruguay Today Growing Up Berrigan A Worker's Life (January 3, 2011) Of Many Things All God's Creatures Like us on Facebook Recently in Of Many Things

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> Dusk Please give a character sketch of the young man in the story "Dusk" by Saki. Download Answers Asked on July 2, 2012 at 2:29 PM by uuuuu123- lsumner In "Dusk," the young man is a scam artist. He sits on the bench next to Gortsby and begins to curse angrily. Gortsby questions his angry cursing. The young man begins to tell his sad story. He has lost his way back to his hotel. He had gone out for a bar of soap and wandered along the way to get a drink. Now, he has lost his way and cannot find his way back to his hotel. Gortsby does not fall for the young man's scam at first. Gortsby requests to see his bar of soap to corroborate his story. When the young man cannot produce a bar of soap, Gortsby doubts his story. The young man leaves with a feeling of defeat, muttering something about losing his bar of soap. He realizes Gortsby does not believe his scam. Then the young man gets lucky. Gortsby just happens to see a bar of soap near the park bench. He chases after the young man to give him his bar of soap. Gortsby also feels bad about misjudging the con artist and loans him money for the night. The young man takes the money and hurries off before Gortsby changes his mind. The young con artist gets away with his scam and Gortsby is out of his money. Gortsby will never see his money again. While walking past the park bench where Gortsby and the young man sat, Gortsby sees the older gentleman looking for something: As Gortsby walks back, he passes the bench where he had been sitting. He notices the old man who had also been sitting there earlier. The old man is now searching for something. When Gortsby asks if the old man has lost anything, the man replies, “Yes, sir, a cake of soap.” The young man was a lucky scam artist who has Gortsby's money and has now disappeared. Sources: http://www.enotes.com/topics/dusk-saki William Delaney Posted on December 23, 2013 at 11:42 PM One significant fact about the young man is that he is young. This suggests that he is inexperienced as a con artist. He is intelligent and probably has expensive tastes. He has gotten the notion that in a big city like London it might be possible to make a comfortable living without working. He has invented a story but has not tried it out yet. His approach to Gortsby might be his very first attempt to use it. The story is complicated. It consists of many interdependent elements. Supposedly he has just arrived in London from the country. He doesn't say that his parents have a country estate, but his vocabulary and mannerisms suggest that he belongs to the country gentry. He says that he doesn't know a soul in London. This suggests to Gortsby that he might have an opportunity to make a valuable friend with a member of a superior social class. And it wouldn't cost him anything, because the young man only needs to borrow money which he will repay as soon as he can get back into his original hotel room. The young man's story shows that he is intelligent, articulate, imaginative, lazy, unscrupulous, temperamental, and probably fairly well educated. He may have even been to Eton and Oxford. Arthur Conan Doyle wrote a Sherlock Holmes story about an educated middle-class man who discovered that he could make more money without working than he could by holding a steady job. That story is "The Man with the Twisted Lip." What happens to the young con man in Saki's story shows that he is inexperienced. He lacked the foresight to buy a cake of soap in able to be able to produce it as circumstantial evidence if someone like Gortsby asked to see it. The cake of soap induced Gortsby to lend the stranger a sovereign when Gortsby happened to find it near the park bench. If the stranger had been able to pull a cake of soap out of his pocket when Gortsby referred to it, then Gortsby probably would have lent him the sovereign right then and there. No doubt the young novice con artist will be carrying a cake of soap in the future--and he won't even have to buy one, because Gortsby has given him one as a present. There are been several excellent movies about grifters produced in recent years. The best are The Grifters, House of Games, and Glengarry Glen Ross. The Grifters is based on a novel of the same name by Jim Thompson, an interesting writer of the old hard-boiled school. David Mamet, a very talented writer, wrote both House of Games and Glengarry Glen Ross. Sources: http://www.enotes.com/topics/david-mamet/critical-essays http://www.enotes.com/topics/jim-thompson me1tsush (Level 1) Salutatorian the young man seems to be a poor guy who has been tricked by bad luck and forgetfulness. as the story unwinds we find that most of his mistakes can be summed up as willfull. later the young man asks for a financial help thus unleashing his main motive ,on being denied the young man got out of the place and gortsby feels proud that he was not to fast to judge the young person. from this point we get to know that the young man is a trickster with poor execution of his plan and in not a master in this profession , so he lacked the in sight of keeping a back up plan. at the end of the story we feel bad for gortsby and are surprised by the turn of fate in favour of the young man . What is a summary of the short story "Dusk" by Saki? What is the theme of the story "Dusk"? Discuss the irony in "Dusk" by Saki. What is the element of suspense and suspicion in "Dusk" by Saki? Compare and contrast the two people who came and sat on the bench with Norman Gortsby in "Dusk." In the story "Dusk," what according to the young man was the silliest thing he had done in his life? What is a character sketch of Norman Gortsby in "Dusk" by Saki. What is the message conveyed in "The Umbrella Man" and "Dusk"???? plzzzz... if any one knew it... In Saki's "Dusk," describe the atmosphere during 'dusk' time. More Dusk Questions Dusk Summary

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Hellboy Volume 8: Darkness Calls Paperback Mike Mignola Only a few copies left - usually despatched within 24 hours Pages: 144 pages, 1 Publisher: Dark Horse Comics,U.S. Magus_Manders Hellboy: Darkness Calls is the latest in Mike Mignola's Hellboy series. Hellboy is still AWOL from the Bureau of Paranormal Research and Development; while the BPRD continues to battle the occult plague roaring across America, Hellboy is delving deeper and deeper into the mystery of his own existence. Recovering from the trials of Strange Places and The Troll Witch at an old friend's house, Hellboy is dragged before a very strange parliament, which eventually puts him in the grasp of his old enemy, the Baba Yaga. In the dream-like realm of a mythical Russia, he must battle figures we only know through folklore in an attempt to get back to his world. Unfortunately, even darker tidings are taking place in the shadowy recesses of the Earth. The Hellboy series began as mostly one-offs and short serials. It has only been in the past few volumes, especially since the release of BPRD, that a stronger storyline has taken precedence. This particular volume has probably made more references to past events than any of the other story lines, with returning character's and plot points being pivotal to the events within. Here we are given hints as to the true history of Hecate, the nature of witches, and what it is that Baba Yaga has been up to since Hellboy shot out her eye all those years ago. As is typical with Hellboy, the progression is fast occasionally fragmented: Mignola's plotting has always been more like storyboarding for a film than a fluid comic narrative. This can be give or take for many readers; I have always rather liked the focus on the physical, often violent side of Hellboy's nature. At the same time, the quick cuts give only snippets of the great mythical figures behind the plot, which I feel increases the mystery and unknowable nature of these beings. As a deviation from the majority of the Hellboy stories, this volume is not dawn by Mignola, but instead Duncan Fegredo, who readers may have seen in Kid Eternity with Grand Morrison or on some early 2000's Judge Dredds for 2000 A.D.. Mignola's signature chiaroscuro expressionism has always been one of the hallmarks of Hellboy; indeed it's hard to think of the big red guy without all those sheets of black. None the less, Fegredo does a fantastic job of capturing that same feel and look. After a few pages, Hellboy aficionados won't even care there's a difference, as the tone is the same without being a simple imitation of Mr. Mignola's style. According to Wikipedia, Fegredo will be the new regular artist for the Hellboy series, which does not bother me one bit. Coach_of_Alva Mignola's brilliant use of folklore reaches a peak here. BrookeAshley Apparently I was wrong about Hellboy heading back to London, because he's still off on his own in this volume. One thing I liked - Duncan Fegredo takes over the art, and his Hellboy is a little more detailed than Mignola's. It's an interesting switch, and keeping an eye on the changes helped take my attention off the one thing I didn't like - there was no real reason for this story to take 6 whole issues. Not very much happens, mostly lots of fighting and crashing and booming. There are interesting characters who interact with Hellboy, but I think the same story could have been told in far fewer issues. heavydnilbett Hellboy is back! Darkness Calls is the best yet! Love the characters and enjoyed the ongoing unravelling of Hellboy's destiny! 5 Stars! Also by Mike Mignola Hellboy Library Volume 1: Seed of... Hellboy Library Volume 2: The Chained... Hellboy Volume 9: The Wild Hunt Hellboy Volume 10: The Crooked Man and...

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The Dark Side of Innocence Growing Up Bipolar By Terri Cheney Atria Books, Paperback, 9781439176245, 277pp. Publication Date: March 13, 2012 Now in paperback from the New York Times bestselling author of Manic a gripping and eloquent account of the unfolding of her debilitating bipolar disorder during her childhood. The New York Times bestselling author blends a pitch-perfect childlike voice with keen adult observation as she shares her heartrending, groundbreaking insider's look into the fascinating and frightening world of childhood bipolar disorder. Starting with her first suicide attempt at age seven, Terri Cheney was held hostage by her roller-coaster moods, veering from easy A-pluses to total paralysis, from bouts of obsessive hypersexuality to episodes of alcoholic abandon that nearly cost her her life. On the outside, her world appeared perfect. She was pretty and smart, an academic superstar and popular cheerleader. Yet her inner world was chaos, a well-guarded secret too troubling, too painful to fathom even thirty years later in her bestselling memoir, Manic, which was lauded as chilling and brilliant by People. In The Dark Side of Innocence, her eye-opening follow-up, Terri shares her poignant and compelling journey from a childhood of disaster and despair to hope and survival, an informative first-person account of a dark beast that preys on a staggering one million children. Terri Cheney, once a successful entertainment attorney, now devotes her advocacy talents to the cause of mental illness. Her writings about bipolar disorder have been featured in countless articles and popular blogs. She resides in Los Angeles. Praise For The Dark Side of Innocence… “Cheney’s chilling account of her struggle with bipolar disorder brilliantly evokes the brutal nature of her disease. . .Edgy, dark and often cynical, Manic is not an easy book to read, but it has heart and soul to spare.” — People "The Dark Side of Innocence is a magnificent depiction of the ravages of bipolar illness in childhood. Cheney has the wondrous ability to put herself back in the mind of a child, and we feel with her the exhilarating highs and desperate lows, as well as the terrifying confusion created by an illness for which she had no name...In an age when more and more people recognize that bipolar disorder may affect children too, Cheney’s intensely personal account provides much-needed hope and understanding about a highly stigmatized illness. A real tour de force." —Elyn Saks, author of The Center Cannot Hold: My Journey Through Madness, and recipient of the 2009 MacArthur Award "Rewind the life of any adult with bipolar and you will find a childhood we would all desperately like to forget. Terri Cheney unflinchingly remembers…at long last, someone with the courage to break the silence." —John McManamy, author of Living Well with Depression and Bipolar Disorder “Eloquent, riveting…a tale that is hard to set aside.” —Ed Renehan, author of The Lion's Pride "This will be big." —Library Journal "Once again, Terri Cheney has written an educational but bittersweet book that moved me deeply." —Muffy Walker, MSN, MBA, President, International Bipolar Foundation "As the father of an adult son with a severe mental illness, I found myself choking with emotion as I read Terri Cheney’s riveting and illuminating account of her childhood growing-up with bipolar disorder. What did I miss as a loving father? Were there signs? Could I have saved my son? Cheney provides us with important insights from the eyes of the most innocent among us—our very own children." —Pete Earley, New York Times bestselling author of CRAZY: A Father’s Search Through America’s Mental Health Madness "Her story is a sound first step toward understanding your child's pain and finding solutions." —Publishers Weekly “Cheney gives us a poignant, enlightening view of her struggles as a child.” —The Daily Beast

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The Sugar Camp Quilt By Jennifer Chiaverini Pocket Books, Mass Market Paperbound, 9781451672824, 383pp. Publication Date: June 26, 2012 From "New York Times" bestselling author Jennifer Chiaverini, this riveting novel in the "Elm Creek Quilts" series is thick with secrets in the years before the Civil War. History is thick with secrets and Pre Civil War America comes to vivid life in this stunning and suspense-charged Elm Creek Quilts novel from New York Times bestselling author Jennifer Chiaverini Abolitionist schoolteacher Dorothea Granger faces the ultimate test of her courage and convictions when the national debate over slavery sets friends and neighbors against one another in rural Creek's Crossing, Pennsylvania. . . . When her cantankerous Uncle Jacob designs five unusual patterns and gives Dorothea an urgent deadline for assembling them into a quilt she reluctantly agrees. But annoyance turns to intrigue when she learns her handiwork contains hidden clues to guide runaway slaves along the Underground Railroad. As her family embraces her uncle's clandestine mission to help runaways escape to freedom, Dorothea embarks upon a dangerous, heroic journey that allows her to discover her own courage and resourcefulness, newfound qualities that may win her the heart of the best man she has ever known. Jennifer Chiaverini is the author of seventeen "Elm Creek Quilts" novels, as well as four collections of quilt projects inspired by the series, and is the designer of the Elm Creek Quilts fabric lines from Red Rooster Fabrics. She lives with her husband and two sons in Madison, Wisconsin.

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Teen Reviews -- Summer 2014 Revision as of 15:22, 30 July 2014 by Monica Olivarez (Talk | contribs) Book, movie, and CD reviews that have been written by teens participating in the 2014 Teen Summer Reading Program, "Paws to Read." Posted with permission of the reviewers. Ratings are on a scale of 1 to 5, with 5 being the best. Newest reviews appear at the top of the list for each star rating. Contents 2 Movie, Music and Audiobook Reviews A Devil and Her Love Song by Miyoshi Tomori I liked it because it made sense to me in the first book. It was a book about a girl named Maria Kawai. She's a girl that doesn't get along with anyone except for three people. Everyone's always being mean to her but she doesn't care. She always keeps a straight face and keeps talking back. Review by Andra, Grade 7 Shadows Over Stonewycke by Michael Phillips and Judith Pella I think that this is a great book. It is set during World War ||. It is part of a series called The Stonewycke Legacy. These books are about different generations of a family through the years.The main characters in this book are Logan and Allison Macintyre. It had some exciting parts in it when Logan was a double agent in France. I would definitely recommend this book as a great book to read. Review by Michaela Roll of Thunder, Hear My Cry by Mildred D. Taylor This book was great. The story showed how things were then. I recommend this book to everyone. Review by Bethany B., grade 7 Plain Kate by Erin Bow If a teenager is looking for a book that contains no romance, but ends with a heart-touching moment, then the book Plain Kate is for you. The book begins in a small town where a little girl, Katerina, who, like her father is a magnificent carver, and bears the town's witch scorn. This worsens when the "witch's fever" comes and the girl's father becomes one of the witch's fever's victims. The story is full of suspense and here are many twists and turns as Katerina journey's with her friend, Taggle the talking cat. My favorite character is the cat, which humorously talks about his need of heaps of food and plays an emotional part in the ending that may bring you to tears. Erin Bow expertly eaves together fantasy, humor, and sadness into this 314 page book. Review by Emily C. The Fellowship of the Ring by J.R.R. Tolkien I loved this book because there is action in it. There isn't that much of people just talking. My favorite character is Legdes (or Pippin). My opinion of this book is that it is good, exciting, and there is much adventure. Review by Abigail F. Redwall by Brian Jacques A story of how a mouse, Matthias comes from being an orphan to becoming a warrior of the Redwall. Matthias finds Martin the Warrior's sword and defeats the army that is invading Redwall. Do not judge this story because it has animals in it. Review by Wendy H. Into the Wild (Warriors series) by Erin Hunter I loved this book! It's really great! My favorite characters are Firepaw, Bluestar, and Yellowfang. I can't wait to read the rest of the series and the other books by Erin Hunter! Even though I'm allergic to cats, I still love reading great books like this about them and their adventures. This is a great book and I would definitely recommend it, especially if you're searching for a new series to try out. Review by Alexis Guardians of Ga'Hoole by Kathryn Lasky I loved this book because this book had a lot of adventure. My favorite character was Ezylryb and he was a strong commander. There was love, war and hatred. If you like owls fighting then you should read this book. Review by Lynn C. Let the Song Go On:Fifty years of Gospel Singing with the Speer Family by Paula Becker I really liked this book a ton! It is a biography of the Speer family. They were a southern gospel music group from about 1921-1998. They were known as the first family of gospel music. This was a great book and it was really accurate. It also has a lot of old pictures of them. My favorite member of the Speer family is Ben Speer. This is a great book for southern gospel music fans and people who like biographies. The only problem is that this book is hard to find since it was written in 1971. If you can find this book it is definitely great to read. Review by Michaela H. Goodnight John-Boy by Earl Hamner and Ralph Giffin This book is about the show "The Waltons" which is based on Earl Hamner and his family. It tells about Earl Hamner growing up and when he wrote his books which came before the show. It also tells about the movies before the show. The book also has a section with summaries of all of the episodes and later movies. There are a lot of pictures of the people from the show and of Earl Hamner's family. It also talks about the museum in Schuyler, Virginia(it is really a neat place). This book is really neat. Left Behind: The Kids by Jerry B. Jenkins and Tim LaHaye I like the Left Behind kids series because it has a lot of action in it. I would suggest these books to kids 9 and up. Review by Amy H. Anne of Green Gables by Lucy Maud Montgomery I like Anne of Green Gables because it has alot of action in it. I would recommend these movies to kids 10 and up. Catwings By Ursula K. Le Guin Well, I loved the book because I love cats. I loved all the cats in the book. Review by April The Mark of Athena By Rick Riordan I like this book of the series because, all the characters meet. It is the most exciting book so far. They are always risks and making sacrifices. I like how they are about the gods. This book was awesome. Review by Isabella Shoot Out: A Comeback Kids Novel By Mike Lupika Very good and exciting book. Review by Zach Fangirl By Ken Baker I loved the book because it had a connection toward a fan and her favorite star. Once you start reading it, you won’t be able to put it down. Review by Alli Number the Stars by Lois Lowry' This book is about a family that lives in Denmark, and is helping a family that is Jewish to get to Sweden to have freedom. This is in the time when Hitler was ruling Denmark and there were German soldiers everywhere. Review by Xavier The Mysterious Benedict Society by Trenton Lee Stewart In this book, it was about 4 people who were picked on a test that had to go on a journey to stop someone named Mr. Curtain, who was trying to rule the world. They were supposed to spy on Mr. Curtain’s executives, recruiters, and Mr. Curtain. The Battle for Wondla by Tony Diterlizzy The Battle for Wondla is a science fiction fantasy adventure book. It will draw you in from the first sentence until the last sentence. If you are a fan of the Harry Potter book you will like this series. Review by Mackenzie Les Miserables by Victor Hugo Les Miserables towers above other book in a way unique to its plot of compassion. Every character an unforgettable impression on every reader. Victor Hugo elaborates with such talent, and such description on that it leaves the reader in utter admiration. Les Miserables will remain one of the best works of all times. Review by Lauren Jane Eyre was a WONDERFUL book! The plot was interesting and so were the characters. I liked Mr. Rochester (Jane's boss and lover) the best because he was funny and adored Jane. I think people who like classical romances would greatly enjoy this book. Review by Perri Nancy Drew: Mystery of the Glowing Eye by Carolyn Keene I loved this book! It was thrilling, and the excitement never died. As soon as Nancy had found a clue, there was lots of adventure. I especially liked it because the whole book Nancy was searching for a friend of hers who had been kidnapped. My favorite character is George, who is one of Nancy's close friends. She and her cousin Bess often help Nancy solve mysteries. I really enjoyed this books and I can't wait to read another! Review by Rachel The Titan's Curse by Rick Riordan I loved this book because of all the constant action in it. The author also really hooked me on to the story with the great flow, creativity and the awesome characters. All the protagonists in the story are amazing, but if I had to pick a favorite character it would be Thalia. Since this is based off mythology she's the daughter of Zeus. She wears punk clothes, has a harsh attitude, is really brave and never gives up. I would recommend this to all ages who love fantasy and mythology. Review by Karen, Grade 7 Bad Island by Doug TenNapel I loved this book because it kept my heart racing about what was going to happen next. MY favorite character was Janie because she is really funny. It's a book you won't want to put down. Review by Sirisha, Grade 6 Tortall and Other Lands: A Collection of Tales by Tamora Pierce I loved this book because it has interesting tales about different people lived in interesting places (desert, New York City, tales are not set in Tortall). Tamora Pierce had wrote these stories that had not been published. My favorite character in this book was Adria. Adria had struggled to become an engineer. She was smart at mathematics and her father disliked her education. Review by Lynn, Grade 12 Turnabout by Margaret Peterson Haddix If you were offered a chance at immortality would you accept it? Turnabout takes a realistic, kind of scientific approach to the prospect of immortality. It is really interesting and it kind of gets you thinking about life and death. You start thinking-would you accept the offer of endless life and if you did, what would you do with the extra time? Is an endless life really better? This book takes an interesting idea nd keeps it interesting with plenty of twists and turns in the plot. I would recommend it to anyone who's looking for something new and unpredictable (in a good way). Review by Emily, Grade 10 Death Note Volume 1: Boredom by Tsugumi Ohba In Death Note vol 1 Light finds a "Death Note" so basically now he can kill whoever he knows the name and face of. He wants to use this notebook to make the world a "better place." IN the first volume the entire plot is a decoration of war between Light and an investigator called L. The volume ends on a semi-cliff hanger where the fiance of one of the victims of the death note begins her revenge. Review by Diana, Grade 10 Z for Zachariah by Robert C O'Brien I really liked this book because it took a realistic approach to a story about post-nuclear war in America. It kept me at the edge of my seat with the unexpected character reactions. I do think they should add a sequel if there isn't one. The only part of this book that was not as good, was the ending. Towards the end I just wanted to get it over with and it was hard to shovel through the descriptive writing that concludes it. Review by Diana, Grade 10 Rush Revere and the Brave Pilgrims by Rush Limbaugh "Rush, rush, rushing to/from history," is a quote frequently spoken in the book. This book is mainly based in the 21st century at a middle school and in the 17th century at Plymouth Plantation. My favorite character is William Bradford, since he's a brave man that strongly clings on to what he believes in, no matter how horrible the consequences. As a result, I like this book since it tells the REAL story of the Plymouth Colony and the story's theme is, "if you work hard, you will accomplish your goal." I strongly recommend this to history fans, history teachers, and people who are searching for a much more fun way to learn history. Review by Emily C. Needless to say, this book was extraordinarily sad. Compare to the move, the book is always better, but I think they did a decent job with the film. They left out a few characters that I thought were important, one being Hazel's best friend Katlyn. Most of the book was shown very well in the movie; however, and it turned out to be excellent. Review by Emily P. Unnatural Creatures Selected by Neil Gaiman Unnatural Creatures was a very interesting novel. It was compromised of many different stories about imaginary creatures. I didn't really like the idea of mashing different stories together because you have to remember the different stories, and some stories were hard to comprehend, in my mind. The novel did keep me reading it for all of eternity, though. My favorite story was definitely the one about the Griffin and the Minor Canon. I think the author, Neil Gaiman, intended for an audience of people who love unrealistic characters. I thought that it was going to be about supernatural animals, but in reality it is really about talking animals. Review by Rebecca As If Being 12 3/4 Isn't Bad Enough, My Mother Is Running For President! by Donna Gephart I loved this book because it had a great sense of humor, it was about the right level for me, and I learned tons of cool words from it. The book is about a girl named Vanessa Rothrock, who is 12 3/4, and her mom is running for president. She is in seventh grade, but is always being followed by a six-foot tall security guard. When she starts receiving threatening letters she knows she has to do something about it . . . but what? Read the book and find what happens while having a great time! Review by Laurel Kobato series by CLAMP I loved the book because every book at the end had a little hanging to the next book, so after I finished a book, I got excited about reading the next book. My favorite character would be Kobato-san. She is my favorite character because she's always happy and full of energy. I think people who like manga or graphic novels would enjoy this series. Review by Caitlyn Dear Killer by Katherine Ewell Almost everyone has read a murder mystery novel, but almost every one of those books are told from the victim or detectives. But not Dear Killer, this novel is told from the point of view of Kit, London’s most famous killer since Jack the Ripper. Kit doesn’t just kill for fun she kills for a type of justice, but that doesn’t make her murders okay. Follow Kit though her kills as she decides if living this life is the right or wrong thing to do. Review by Kate Doll Bones by Holly Black This book was very exciting and very long. It was about three friends who went on a journey to bury a doll who was to the friends, “a Queen”. They learned about her history and went on a long journey to East Liverpool to Ohio. Undercurrent by Paul Blackwell This is a very interesting book about a boy whose entire life is changed one day after he falls off a waterfall. Within hours after he wakes up his best friend tries to kill him and he soon finds out that numerous others want him dead. The relationships with everyone he has known, and with people he hasn't known, all change. This book was very good until the ending, which I personally didn't like but I won't spoil. This is a great book for teens. Review by Emily, grade 10 In the Shadow of Blackbirds by Cat Winters In the Shadow of Blackbirds by Cat Winters is a very dark book. It discusses the issues in America during a terrible period, World War I. It also puts a teenage girl in common situations in America during this time. The writing in this book is really good, but there was so much going on, that it became a little confusing. But overall, it was a good book. Review by Stella, grade 8 Movie, Music and Audiobook Reviews The Fourth Wise Man This movie is a Christmas movie. It is about this man who was trying to catch up with the other wise men, who were going to see Jesus Christ. This is a great movie. It is great for anybody to watch. My teacher let me bring it to school for Bible class. My family watches it every year around Christmas. It is a wonderful movie. No Deposit, No Return film starring Don Knotts This movie is really funny. It has Don Knotts from the Andy Griffith Show. I really liked it a lot. It is a great movie to watch as a family because it is absolutely fine for everyone to watch.I would definitely recommend watching it. Living Proof Music CD by Awana Clubs I like (Living Proof) because its the kind of songs I like. I also like the fact that its contemporary Christian music. I would recommend this to anyone who likes contemporary music or Christian music. I hope you like it because I sure did! The Chronicles of Narnia I really like The Chronicles of Narnia because it has a lot of different adventures in it . I would suggest these movies for kids 8 and over. I am sure you will like it. Maleficent directed by Charles Perr ault This was an AWESOME movie! My favorite character was Maleficent (Angelina Jolie). This movie would be scary to young children but I went with my friends and we all loved it.\ Review by Cecilia The Hobbit: The Desolation of Smaug directed by Peter Jackson I enjoyed this film a lot. There was a lot of action and battle but also journeying. It left off on a cliffhanger ending, which I will not spoil. Also, there are many suspenseful scenes that make you wonder what will happen. I would recommend this movie to everyone who is interested in battle and fantasy. Review by Simrat The Lego Movie directed by Chris Miller and Phil Lord It was a very good movie. The animations were great and I really enjoyed it. It was full of action and adventure. My least favorite character was Lord President Business, because he wanted to destroy the world. I liked how it transferred from the Lego World to reality. I highly recommend this movie.

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Great Cow Race Written by Jeff Smith This is one of the most highly acclaimed comic book stories of recent times launching as a stunning full colour graphic novel series. Comic strip books have always had a place in a childhood and it’s interesting that the likes of Tintin and Asterisk have certainly seen a renaissance of interest in the last few years. Fans of those stories will love Fone Bone, a character who is almost larger than life. Synopsis Great Cow Race by Jeff Smith Things seem well in the valley: Fone Bone is living with Thorn and Gran'ma Ben, while his cousins Phoney and Smiley are working in the inn at Barrelhaven. But peace never lasts for long when the Bone cousins are around. Soon Phoney Bone is up to his old con tricks again. Will Phoney be run out of the valley just like he was run out of Boneville? About the Author Jeff Smith (born 1960 in McKees Rocks, Pennsylvania, USA) is an American cartoonist, best known as the creator of the self-published comic book series Bone. He has also worked for Character Builders Animation as an Art Director. He currently resides in Columbus, Ohio. Smith was born in McKees Rocks, Pennsylvania. His family moved to Columbus, Ohio, where he displayed an interest in cartoons dating back to as early as kindergarten. Smith made his mind up to become a cartoonist at nine years of age after a classmate brought a copy of some of Walt Kelly's Pogo comics to school. While attending the Ohio State University, Smith created a daily four-panel strip for the student newspaper, The Lantern. That strip, called Thorn, introduced the characters that would later populate his comic book series Bone.Smith has won several awards, including the 1995, 1996, 1998, and 2000 National Cartoonists Society Comic Book Awards (for Bone), nine Harvey Awards: Best Cartoonist in 1994, 1995, 1996, 1997, 1999, 2000, and 2003, Special Award for Humor in 1994, and Best Graphic Album of Previously Published Works (for The Complete Bone Adventures) in 1994. More books by this author More books by Jeff Smith 9+ readers11+ readers I am so pleased to have signed my kids up as they are reading a much wider range of books and even choosing books out of their comfort zone. Katie Lonsdale A great way to introduce kids to great books, authors & genres. Parents can find age-appropriate books to share with their children. Elosie Clarkson – age 11 It has introduced my children to books we hadn’t come across before. Real children’s reviews gives a great insight into what others think to Liz Evans Lovereading.co.uk

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Michael Patrick Brady Publications | About | Blog | Notations | “Cecilia’s Flood” in CHEAP POP I’m pleased to announce that CHEAP POP is featuring my (very, very) short story, “Cecilia’s Flood,” today. Though it’s small — about the same length as my previous flash piece, “Here, Hereafter” — I think it’s a lot of fun. I hope you do, too. Be sure to take a look around the site. There’s lots of great flash work. In particular, I really enjoyed Rachel Attias’s “Castaway” and J. Bradley’s “Evolution.” Inherited Disorders | Adam Erhlich Sachs My review of Adam Erhlich Sachs’s Inherited Disorders ran today in the Boston Globe. This book was a lot of fun. I wasn’t sure 117 short flash pieces all focused on the same subject (father/son relationships) would hold my attention, but Sachs mixes things up enough to keep things interesting. That’s not to say he doesn’t repeat himself occasionally, but there’s enough humor and wit in the stories to give them each something to make the experience worthwhile. I was skeptical at first, but what won me over was when I laughed out loud at the invocation of the “Alligator Holocaust” in the story about the children’s book writer who reimagines his tyrannical father as an alligator. After that, I was willing to trust where Sachs was taking me. Numero Zero | Umberto Eco My review of Umberto Eco’s Numero Zero ran today in the Boston Globe. As a huge Eco fan, I was a little disappointed by this book. It’s so short! And its scope is so narrow. I’m used to sprawling, historical epics that delve deep into arcane and obscure minutiae. That’s what I read Umberto Eco for. Numero Zero is a very concise story about a group of journalists who end up stumbling upon a supposed conspiracy centered around Mussolini; but that aspect of the story never really comes together. It feels more like Eco had a cute theory about Mussolini’s death and how it tied into (the very real conspiracy) Operation Gladio and decided to built a novella around it. It’s not very smoothly integrated into the story. Much more interesting is the book’s initial focus, the creation and development of a fake newspaper, Domani, whose goal is to essentially blackmail Italy’s powerful movers-and-shakers into allowing the paper’s owner into the “inner sanctum” of Italian society. Books After The Parade | Lori Ostlund My review of Lori Ostlund’s After The Parade ran today in the Boston Globe. I don’t like writing negative reviews. I try really hard to find something to like or admire in all the books I read, and I’m always mindful that the books I’m reviewing are the result of a lot of hard work, and time, and passion on the part of the author. Someday, I hope to publish my own work, and I try and put myself in the author’s shoes. But I also don’t like it when I read a review that’s basically just a summary of the book and tiptoes around the fact that it’s flawed or has problems. I don’t think that’s necessarily fair to readers, who are going to invest their time and money in a book. I do think there’s some value to negative reviews, even just as a benchmark. I can tell you what I don’t like about a book, and you might decide that maybe it’s actually something you would like. This isn’t an objective science, and the greater variety of opinions available, the better. The Goodreads page for After The Parade is full of people who got advance copies of the book and loved it. Maybe you’d be one of them. I like to check Goodreads every so often, just to gauge my own reactions to a book. In some cases, the reviews I read there can mellow my reaction, or maybe force me to reconsider my opinion before I commit it to newsprint. Honestly, though, more often than not, I find the reactions there to be a little too forgiving. Perhaps it’s a function of the NetGalley “free books in exchange for reviews” program. After the Parade isn’t a complete disaster like, say, The Library at Mount Char. It just doesn’t really go anywhere interesting. Ostlund seems to mistake misery for meaningfulness and suffering for substance. It’s a torturous read, and does not reward the reader for their resilience. Books The Library at Mount Char | Scott Hawkins My review of Scott Hawkins’s The Library at Mount Char ran today in the Boston Globe. This one started out promising, with some creepy H.P. Lovecraft/Stephen King vibes, but when you give your characters magic powers and don’t rein them in, or provide any kind of coherent system of boundaries and consequences, a plot can get real sloppy real fast. And while Scott Hawkins has a knack for creating some very imaginative, very macabre imagery, he has a lot of trouble crafting a solid, logical plot to hold it all together. About a third of the way through the book, things go haywire, with the protagonist, Carolyn, resorting to increasingly irrational and convoluted means of manipulating those around her. And then two-thirds of the way through the book, Carolyn admits that it was all irrational and convoluted, but tries to convince us that it was actually part of a grander, brilliant plan that those around her were just too simple to comprehend. All in all, a real let down, and the review goes into more specifics on what a missed opportunity it is. Books The Pinch | Steve Stern My review of Steve Stern’s The Pinch: A Novel/A History ran today in the Boston Globe. I’ve written before about how frustrating I find framing stories (that is, when the main story of a novel is introduced via a separate, ostensibly related story that sets it up). I think it’s a hard thing to pull off well. And in the last few books I’ve read that have utilized this device, it’s been more of an irritation than anything else. The Pinch is a great example. It’s the story of Muni Pinsker, a Russian refugee who makes his home in the Pinch district of Memphis, Tennessee in 1911. And it’s a great story! Stern manages to create a narrative full of surreal, fantastical happenings and Yiddish folklore that is also sweet, funny, deeply affecting, and emotional. It’s smart and engrossing, and I was excited to see where it was headed and read along with Stern’s rich, lyrical prose. He’s a great prose stylist. But rather than simply tell us the story of Muni Pinsker, Stern was compelled to couch that narrative in another one. It’s Lenny Sklarew that finds Muni’s memoir in a bookstore in 1968. And to get to Muni, we have to go through Lenny. And Lenny is awful. His story is banal, and he’s a boor. When writing for Lenny, Stern’s prose becomes leaden, and the momentum of the story grinds to a halt. The book alternates between Muni chapters and Lenny chapters, and I can’t stress enough how hard it was to push through the latter. Thankfully, Muni was worth it, but what a slog. Of course, Stern wraps up Lenny’s story with a bunch of metafictional flim-flam, including two separate endings. Yes, Lenny gets two endings, to Muni’s one! Yet, I suspect that I could’ve skipped every bit of Lenny and not missed out on anything of importance. But I can still recommend The Pinch. And I do recommend it. At least half of it. Jeopardy! Well, That Was Fun… My Jeopardy! Experience Is there some way I can make this animated GIF my business card? I didn’t realize I was on camera when removing my glasses, but I like the effect. I’m nearsighted, but I usually only wear my glasses to drive at night. At the Jeopardy! audition, the first thing I asked was, “How far away is the board from the contestants?” At home, I’m able to answer quickly because I can read through the question quickly, and I worried I wouldn’t be able to do that on stage. It turns out the board is fairly legible from the podiums, but I was still anxious enough about it that I left my glasses on during the game. I wanted to take them off for the photo with Alex Trebek, but he snuck up behind me before I could. At the end of the game, when I was sure that I won, I didn’t want them in the celebratory shot. Just a little game show vanity. And after the win, I was comfortable enough to leave them off in games two and three. The morning of the taping, the other contestants and I gathered in the hotel lobby to wait for the shuttle to Sony Studios. Everyone was excited, and the mood was jovial. Then Alex Schraff, who I faced in my second game, arrived. Alex had been at the previous day’s taping. He was supposed to play on that day, except Alex Jacob had swept all five games, and they won’t allow two people with the same name to face off against one another. I can’t imagine how frustrating that must have been for him. Alex S. told us all about Alex J. That he was a six-day champion. That his buzzer timing was impeccable. That he’d won over $100,000 dollars. That he’d bet big on Daily Doubles and pull it off. The mood among the group darkened considerably. Interestingly, I didn’t even notice when Alex Jacob joined us—I didn’t see him until he got out of the shuttle at the studio. He was listening to his iPhone and was wearing a bright red shirt that he’d had to buy the night before. He’d run out of new outfits. The new shirt still had the creases in it from where it was folded for display. On the ride over, I sat next to Rachel Pepe, who I faced in my first game. We talked about our training—both of us had used the J-Archive to study. Interestingly, though I’d spent an inordinate amount of time drilling myself on opera, U.S. presidents, and state and world capitals, only one question across my three games related to something I had learned from studying: that Sucre is one of the two capitals of Bolivia. So studying the J-Archive in the weeks before the show gave me just as much of an advantage as watching Animaniacs as a child did. In Alex Jacob’s last game, he hit true a Daily Double with the answer “Blomfontein,” one of the three capitals of South Africa. That’s also something I had picked up from the J-Archive. When the question came up, Greg Seroka (who defeated me in my last game) and I both shook our heads because we knew Alex would get it. Nobody wanted to face him, and thankfully Todd Lovell took care of that for us. I was really unhappy with the categories in the first round of game one. Hodgepodge? Come on. That discomfort, along with general jitters, threw me off a bit. Thankfully, Todd and Rachel seemed to have just as much trouble as I did, and the first round was a bit of a bloodbath. Low scores all around. But in the break between round one and Double Jeopardy, when I saw how close we all were still, it calmed me down. Also, the fact that my Jeopardy experience was (potentially) half over in what seemed to me like seconds helped me refocus. For whatever reason, I felt in that moment that I was going to win. Daily Doubles If you had asked me before the shows aired on TV how I had done with Daily Doubles, I would’ve told you I got more wrong than I got right. In my memory, I missed four or five, and hit maybe two or three. So imagine my surprise now, having seen the episodes, that I went four for eight. The speed of the games and the general excitement really make it hard to remember anything accurately. I’d psyched myself up going in to bet big on Daily Doubles; everything I’d read said it was the right strategy, and obviously Alex Jacob was case in point. But when I got on stage and the scores were so close and the categories were so random seeming, I got conservative. In Game 1, yes, I was thinking of The Usual Suspects when I said Quartet for the Skokie, Illinois company. It was a wild guess, and I had no expectation that it would be even close to correct. When I bet $2,001 on the Spanish Daily Double, I got the answer right (“Franco”), but the math wrong. I though the bet would give me just over twice Rachel’s score, but I was off. In Game 2, my J-Archive studying worked against me on the Bach Daily Double. With the category, “Dedications,” I simply couldn’t dislodge The Goldberg Variations from my head, even though I knew they wanted a city. Alex Trebek was right to scold me for missing Brandenburg. Should’ve been a lay-up. In Game 3, there was no hope for me on the “Nonfiction” Daily Double. Carl’s Jr. is just not something we have in Massachusetts. Thwarted by regionalism! And I know my small bet on the “Calendars” Daily Double has been controversial on JBoard, but I have to stand by it. That category had been all over the place, and I didn’t feel comfortable going big and potentially knocking myself out of contention in Final Jeopardy. I had no reason to believe the Daily Double would be so easy. I decided I’d take my chances and hope the Final category was something that would give me an edge. I know it’s a Jeopardy! cliché, but the game really is all about the buzzer. What’s interesting is that the better a player gets at buzzing in, the worse the other players get. For example, when Greg Seroka got on that streak in round one of game three, my buzzer skills deteriorated. Because instead of trying to time my buzzing to Alex’s voice, or the light that tells you it’s alright to buzz in, I started trying to beat Greg at buzzing. So of course, I ended up ringing in too early and getting locked out. Thankfully, I was able to break out of that in Double Jeopardy and get back into play. Alex S. and Ashley Alley basically told me the same thing happened to them during game two, when I got on a streak. Occasionally, I found myself trying to win the buzzer game and forgetting that I was in a trivia game. At least once, maybe twice, I was excited to have successfully rung in, only to realize I had no answer. If you ever wondered what players are talking about in the silent chat with Alex that happens beneath the closing credits of the show, they’re talking about the buzzer. Beyond the first round game-one categories, which were dismal, I was disappointed I didn’t get to show off all the great things I’d learned about opera. There weren’t a lot of classic Jeopardy! categories to contend with, and frankly, I think a category like “Airports” is just really lame. But then again, I was blessed to be offered up some real comfortable ones, too: Authors: Born & Died; Plays & Playwrights; Irish Songs; Maps; I’m All About That Bassist. I’ll never get over Greg denying me the chance to run a full category by swooping in and stealing “Spinal Tap!” Final Jeopardy I won’t spend much time on game one. The clue was straightforward and the bet was basically predetermined by Rachel’s score. In game two, I had a lock game already, and was actually disappointed that American Poetry was the category because I know I’m strong on it and would’ve rather had it turn up in a competitive game where I needed it. I could’ve bet $3,999 safely, but my conservative nature took over. $3,999 in the hand is worth an extra $3,999 in the bush. Rather than risk losing $3,999, I bet a buck and moved on. Game three, I also thought this bet was pretty straightforward, but some people seem confused. Basically, I knew that in order to win, Greg had to get the question wrong. If he got it right, he had enough money to cover me if I bet everything. He had to make that bet. And if he got it wrong, I didn’t really need to do anything, because his bet to cover me would lose him enough money that I’d be on top. So I bet a little just in case he got skittish about the category, but not enough to put me in danger of missing if he lost. The J-Archive wagering calculator basically predicts our bets, based off of our scores at that time. Maybe you wouldn’t have done it that way. At the time, it’s what felt right. The best part of the whole thing (aside from the money and the minor fame) was how nice everyone was. The other contestants were so great, and everyone is so excited to be there. It takes a lot just to get on the show; it’s an achievement in and of itself. And while it’s great to win, it’s hard knowing that two other people are going home disappointed. The contestant coordinators and the rest of the staff on Jeopardy! were incredible, and really made you feel like you were part of something special. And Alex Trebek was incredibly friendly and approachable. It was fun to see him interact with the audience during the commercial breaks, too. In the first game, you can see I’m nervous. But after I won, I loosened up so much. You can see how much fun I’m having in the second game. And when I lost to Greg, I wasn’t even upset. He played a great game, and I’d kept it competitive. I was happy for Greg! He just got to fulfill his dream, just like I had. I was thrilled that I’d gotten all three Final Jeopardy clues correct—it was probably my biggest concern going in. As I left the stage, I shook Alex’s hand and told him that the whole thing had been a dream come true. It really was. Post Script: The Accent This is a subject I’ve addressed in another post, “Regarding the Accent.” Most people have been very kind about it, and a few are suspicious of how genuine my way of speaking is. I can only assure you that it is, and hope that the contents of the other post can serve to put it in the proper context. And anyway, who would fake such a thing? I’m not sure what advantage it would provide. I mean, in the Vine below, I think it’s clear that I was just speaking off the top of my head. I was getting ready to clarify myself, cause Alex’s confusion was so apparent. I was glad that Alex seemed to enjoy it, and I don’t mind a little gentle ribbing. I like my accent, weird as it may be. Jeopardy! Regarding the Accent So this dude on #Jeopardy has no accent 90% of the time, and the strongest Boston accent EVER 10% of the time. I'm confused. — Claire Little (@isolinearchick) April 23, 2015 The accent is not fake, but I understand why people think it’s weird. It’s definitely spotty. I’m originally from Dorchester, and grew up with a pretty traditional Boston accent. Occasionally I’d get teased by non-accented peers in school about the way I pronounced certain things, but not a lot, because pretty much everybody in the area is familiar with the Boston accent. But when I went to college (still in Boston, mind you!) I mixed with a lot of people from other places who simply could not understand what I was saying. Or, when they could, couldn’t keep a straight face. If I wanted to get through a sentence without having to stop and wait for everybody to have a good laugh about it, I had to adjust and over articulate. This was not entirely a conscious thing. There’s actually a linguistic term for this process. What’s funny is, I would come home from school and my parents would then say I sounded strange. But my friends at school always knew when I’d just been at home, because my accent would be stronger when I returned. So a lot of the time my accent is subtle or maybe not immediately obvious. But I never lost the classic non-rhoticity (the dropped Rs) and the combination and contrast between the the moments when you can’t tell and the moments when you can make it seem very harsh and jarring. My accent is most prominent, I find, when I’m not thinking about what I’m saying. And in Jeopardy, the game moves so fast and you’re concentrating on buzzing in and thinking up the right response–there really isn’t time to think about how you’re saying it. Which is also probably why you hear it more in the answers than in the interview portion. Basically, as I got older and had to interact more and more with people who didn’t have a Boston accent, in school and in my professional life, my own speech drifted simply because I needed to communicate with them more clearly. So, if anything, if any part of my accent is “fake,” it’s the part that sounds like it isn’t from Boston. Watch Me on Jeopardy!, April 21st, 2015 It’s true, I’ll be realizing a lifelong dream on Tuesday, April 21st. Check your local listings. I’ll probably follow up with a write-up about the whole experience once it airs, and maybe I’ll do some live tweeting to make excuses for certain incorrect responses. Find Me | Laura van den Berg My review of Find Me by Laura van den Berg appeared today in the Boston Globe. Last year, when I was trying to psych myself up to write some fiction, I picked up a few lit mags from the Harvard Book Store. I was looking for inspiration–by which I mean I was hoping to find stories that were kind of lame and underwhelming, to make writing and getting a short story published seem like an attainable goal. Unfortunately, the very first story I read was Laura van den Berg’s “Antarctica,” from Glimmer Train #88. (The story also appears in her collection The Isle of Youth.) It was way too good; so when I saw that she had a novel coming out this winter, I jumped at the chance to review it. Find Me is a little bit of a bait-and-switch. Promoted as a story about a devastating pandemic, it is, in fact, a very subtle exploration of a troubled woman’s inner turmoil. Van den Berg spends the first third of the book setting up a rather scary and ominous scenario in a remote quarantine hospital, with hints of menace that echo the unease and mystery that made “Antarctica” so engaging. But despite what seems like a long buildup toward a conflict between the stir-crazy patients and the controlling staff, this story line peters out, and the protagonist, Joy Jones, slips away to take up the book’s real main thread: the search for her long lost biological mother. I’ll admit, this development bummed me out. I’d gotten really invested in the detailed world of the hospital van den Berg had created, and to see it dismissed so quickly seemed like a real shame. And that disappointment made it hard for me to really latch on to Joy’s cross-country travels, or her time spent in the kooky “Mansion.” But after a few days away from the book, I began to appreciate the whole of the story, and the connections between the disparate sections started to become more apparent. Basically, once I got over that Find Me wasn’t what I thought it should be, I was able to appreciate it for what it actually was. Refund: Stories | Karen E. Bender My review of Karen E. Bender’s short story collection, Refund ran today in the Boston Globe. When I visited Milan and Venice last year, I noticed that both cities were rife with graffiti, most of it with a political bent. Milan’s graffiti was loopy, messy, and from what I could tell, it was mostly aimed at expressing displeasure with a planned high-speed train project in the region (“NO TAV“). In Venice, I saw more stenciling than tagging, and the political objectives were broader and more philosophical. One of the spraypainted stencils read: PRECARIETA’ = SCHIAVITU. When I got home and looked it up, I discovered it translated to “Insecurity = Slavery,” with “insecurity” more specifically denoting temporary worker status. The premise of the slogan is that those who toil in temporary jobs, with no benefits and no job protections or security, are slaves, beholden to the whims of their employers, who can threaten them into compliance with the prospect of unemployment and certain ruin. These workers are known among economists as the precariat, which is a portmanteau of “precarious” and “proletariat.” There’s nothing explicitly political about Refund (aside from the fact that it’s being published by Counterpoint). But it concerns characters who clearly fit into the “precariat” class, who struggle to understand their value as people in a world that measures everything in money. Bender’s prose is light and unassuming. Prosaic. At first, I found myself bored by the simplicity, and bored by the rather mundane happenings that her stories detailed. But by the end, I realized that the things that seemed so boring about the stories were, in fact, deeply tragic. It’s just that we’ve become inured to the indignities that people have had to endure during the latest recession: the layoffs, the loss of benefits, the underwater mortgages, and the predatory scammers who seek to take advantage of those who are at the end of their rope. Refund reflects our struggling world back at us, and dares us to take a step back and really consider that things haven’t always been this way. And that maybe they don’t have to be. Against the Country | Ben Metcalf My review of Ben Metcalf’s Against the Country ran today in the Boston Globe. In college, I once received a note from a professor: “Embrace the beauty of the simple sentence.” I laughed. I knew what he meant. I also had no intention of taking his note. I love rich, complex sentences that pack a lot of ideas into a single thought. I like them in the literature I read, and, perhaps unwisely, I like to use them in the writing I do (though in recent years, I’ve tried to be more mindful of my professor’s words). Ben Metcalf clearly loves thick, complex prose. And he’s pretty good at writing it, too. Looking back at his essays for Harpers, they’re full of the same kind of long, elaborate sentences and descriptions that make up the core of his first novel, Against the Country. But it’s one thing to make that style (and its accompanying cynical tone) work over the course of a 5,000 word essay. It’s quite another to keep it up for several hundred pages. Against the Country is the story of an unnamed narrator’s difficult childhood in Goochland County, Virginia, a rural backwater depicted in the most hyperbolic manner imaginable, to better express the protagonist’s belief that it is hell on Earth. Metcalf’s prose is the star of the book. Far more so than the main character, who comes off as relentlessly grim and unlikeable, or the general thrust of the narrative, which is that rural communities are full of barely human idiots. But after two-hundred pages or so, it becomes tiring to fight your way through his admittedly fascinating prose only to end up at some dismal dead end, rewarded only with another sullen conclusion that someone is a moron. At least in the beginning, the examination of Goochland’s strange folkways is interesting, in much the same way that gawking at a car crash has some macabre appeal. Once the book narrowed its focus, however, to the relationship between the narrator and his father, the stylized prose wasn’t enough to maintain my interest. The book closes with a ponderous appendix that gives short biographies of all the dogs owned by the narrator’s family. I wasn’t sure if it was meant to be a parody of Faulkner’s appendix to The Sound and the Fury, but I figure it must be. It felt really superfluous, so I found myself reaching for some rationale for its inclusion. That’s the best I could come up with. “Here, Hereafter” in Smokelong Quarterly I’m excited to announce that Smokelong Quarterly has selected my (very) short story, “Here, Hereafter” for publication. It’s something of a ghost story. Something like that. And it’s only 318 words, so it won’t take you long to read. After wrestling with a few seven-to-ten thousand word stories for the last several months, it was refreshing to do something so short, and I’m glad it struck a nerve with the editors at Smokelong. As an added bonus, the story is accompanied by an excellent illustration by my very own sister, Laura Lee Brady. No Future for You: Salvos from The Baffler My review of No Future for You, the latest collection of essays from The Baffler ran today in the Boston Globe. It’s nineteen essays of highly literate doom and gloom from some of the left’s heaviest hitters, like Rick Perlstein and Barbara Ehrenreich, representing the best of The Baffler‘s new era. Now, a lot of people were probably introduced to The Baffler via Steve Albini’s epic “The Problem With Music,” but the article that made me a believer was Joshua Glenn’s “I’d Like to Force the World to Sing,” a fanciful, paranoid examination of how OK Soda was a CIA plot to instill conservative values in ’90s youth. In their impossible quest to conjure up a cadre of conservative youth who’d rebel against a Sixties they’d never known, [William] Kristol and Co., the theory maintains, conspired to dose Generation X with the concentrated essence of what they called “OK-ness.” Now, as ridiculous as this may seem, I was actually somewhat receptive to this argument. In 1993, I was 10 years old and had just gone to my very first Red Sox game with my father. On the way home, we stopped in a convenience store. The old man behind the counter greeted us and mentioned in passing that he had recently received two new beverages from Coca Cola that were being tested in the Boston market: OK Soda and Fruitopia. He offered me one of each, for free. Only after reading the essay did I consider the sinister undertones of this “free” gift. Frutopia was fine, but I really took to OK Soda (despite the playground rumor that it was simply a mixture of the runoff of every other Coca Cola drink). I was very taken with the can art, which I would later discover was designed by Ghost World‘s Daniel Clowes. The whole marketing campaign was expertly crafted to appeal to little kids like me, who had an interest in the underground but were far too young to participate or even know where to begin. Hidden in Glenn’s inventive theorizing is a thorough dismantling of that marketing campaign, a great example of how you can effectively merge creative non-fiction and serious criticism. Now, there’s nothing nearly that entertaining in No Future for You. The tone and style of the contemporary Baffler is much harsher and more downcast. But, you know, so are the times we live in. And the criticism in the book, of our mercenary media, of the Silicon Valley charlatans, and other guardians of entrenched privilege, is as incisive as ever. You can’t blame the magazine for not having as much of a sense of humor about it anymore. Reissue: Cover Commentary I’ve taken my old article about the comment stickers from WZBC’s vinyl archive (originally published in Stylus Magazine) and given it the Medium treatment. Hard to believe it’s over 10 years old. I’ve enhanced the article with the actual scans of the comment stickers described throughout, and added several bonus covers, including scans of the comments for Sonic Youth’s Bad Moon Rising and Daydream Nation. Seemed like a nice way to breathe some new life into the piece and get familiar with the Medium platform. I'm a Boston-based writer, editor, and content strategist. My work has appeared in The Boston Globe, The Boston Phoenix, and Forbes.com. I'm also a two-day Jeopardy! champion. Notations » “Practically speaking, plutocratic insurgency takes the form of efforts to lower taxes, which necessitates cutting spending on public goods…” “We should remember that the key drivers of growth are science, education and innovation, not low taxes, lax regulations or greater exploitation of natural resources.” “He said Moses didn’t want poor people, particularly poor people of color, to use Jones Beach, so they had legislation passed forbidding the use of buses on parkways.” “To assume the Hillary Clinton of 1994 would be an accurate reflection of the Hillary Clinton of 2017 is to fundamentally misunderstand how politics works.” “Clinton had sounded like a scold, the disciplinarian, the mean mommy, the pragmatic downer — all versions of a feminized role that she and many, many women have long found it incredibly difficult to escape.” The Library at Mount CharScott Hawkins The PinchSteve Stern Find MeLaura van den Berg Refund: StoriesKaren E. Bender Against the CountryBen Metcalf Favorite Books of 2013 Jeopardy! » Well, That Was Fun: A Recap

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WHAT'S BECOME OF CHILE by SUZANNE RUTA; Suzanne Ruta is the author of ''Stalin in the Bronx: And Other Stories.'' CURFEW By Jose Donoso. Translated by Alfred MacAdam. 310 pp. New York: Weidenfeld & Nicolson. $18.95. The exile's return to his native land is the subject of some of the best writing from Latin America in recent years. Julio Cortazar in ''Hopscotch'' and Alejo Carpentier in ''The Lost Steps'' have played brilliant variations on the theme ''you can't go home again.'' Jose Donoso returned to Chile in 1980 after 15 years in Europe. He now lives in Santiago. In ''Curfew'' he has created a small masterpiece in the familiar genre. The book's protagonist is a famous singer of protest songs named Manungo Vera, just returned to Chile after 13 years in Paris. He hasn't been off the plane an hour when someone asks him the inevitable question: ''How does it feel to be living under a dictatorship?'' We already know by then that ''Curfew'' is both the story of a man's search for his roots and a portrait of Chile in the second decade of a military dictatorship no one knows how to get rid of. Behind Mr. Donoso's engaging fictional hero stands, unmentioned but unmistakable, the shadow of Victor Jara, the young Chilean songwriter, voice of the Allende years, murdered within days of the 1973 anti-Allende coup. With such a ghost at his side, the invented hero Manungo Vera links those the Pinochet regime destroyed and those it has allowed to go on living, maimed in body and spirit. ''Curfew'' examines the many ways politics mutilate and distort the private lives of the generation that was confronted by Pinochet head-on. But the historical figure who haunts the book is the late, great poet Pablo Neruda. Neruda and Pinochet, art and repression, are the immovable landmarks around which the fictive characters must find their way. Known for the lavishly Gothic imagination of his earlier works (like ''The Obscene Bird of Night''), Mr. Donoso doesn't have to invent in his new novel. It's enough simply to record the facts of life in a country under a state of siege, where not the sleep of reason but the apparatus of state terror breeds monsters. The pivotal events in the plot are the funeral of an old woman - Neruda's widow - and a young man's death by torture. And yet this is not a grim book. To turn somber politics into lively art is some kind of triumph over the politicians. ''Curfew'' is a political novel that is also an urbane comedy of manners, a love story, a fairy tale, a thriller, a lyric evocation of landscapes. The large cast of characters spans three generations, both sides of the political spectrum and the whole social scale. Chilean place names, legends, food, class accents, literary fads - Mr. Donoso describes it all with the appalled and loving Rip Van Winkle eye of someone just back from a long time away. The action is concentrated into the 24 hours following the death of Neruda's widow, Matilde, in January 1985. The book divides, like a sonata, into three sections - ''Evening,'' ''Night'' and ''Morning'' - each with its own tempo and tone and complement of gripping scenes. ''Evening'' takes place in the civilized atmosphere of Neruda's house in Santiago, during the wake for Matilde. Mr. Donoso goes into chatty detail about Neruda's tastes in furniture, foods, women, landscapes, friends. He contrasts the poet's humanity and breadth with the shrunken, joyless lives of the next generation. Was Neruda mixed up in a plot to kill Trotsky in some way? One of the characters raises the question and answers in the negative. To underscore the point and to rescue Neruda from sectarian claims, Jose Donoso spins an intrigue about the poet's wife's death that is a sly allusion to the plot to kill Trotsky. A Communist Party official plants his mistress in the Neruda household to make sure the party will draw full benefit from Matilde's impending death. The funeral of Neruda's wife will provide a rare opportunity for a show of opposition to the regime. Rather than lose control of the event, the party hack overrides the dying woman's last wishes, blackmails his mistress and sabotages a chance for unity among groups opposed to the Pinochet regime. The party hack has an unwitting ally in a member of Pinochet's inner circle, a greedy culture vulture who collects - a lovely comic touch - Trotsky memorabilia, but who, when push comes to shove, resorts to violence. Repression on the right and stagnation on the left combine to shore up the intolerable status quo in Chile. There is a sense, Mr. Donoso suggests, in which all politicians, in or out of power, are buffoons. This satirical strand of the plot is urbane and slightly dated comedy, 1920's Evelyn Waugh or 1950's Anthony Powell. But then, one effect of dictatorship in Chile is to have made the country a graveyard of old fashions, political, literary and sartorial. Another strand of the plot romantically involves the singer Vera with Judit Torre, a former revolutionary who is a daughter of one of Chile's most powerful oligarchical families. If Vera is a singer whose repertory and public image have grown stale and stifling, Judit is an activist who, after arrest, torture, exile and return to clandestinity, finds herself a burnt-out case. Hatred takes the place in her life that love might have occupied in kinder times. She prowls the city at night looking for the man who tortured her cellmate in jail, in order to seduce and perhaps kill him. 1

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Readers Guide: Caleb Carr’s ‘The Legend of Broken’ at Library Western enthusiast and Pulitzer Prize-winning author Larry McMurtry has put together a new biography of George Armstrong Custer. by Susie Stooksbury/Special to The Oak Ridger Western enthusiast and Pulitzer Prize-winning author Larry McMurtry has put together a new biography of George Armstrong Custer. Filled with paintings by noted Western artists such as Frederic Remington and photographs by Matthew Brady, “Custer” (921.000) offers an engaging look at the flamboyant general, his fatal performance at the Little Big Horn, and the legends surrounding him which were fostered by his wife, Libbie, and Buffalo Bill Cody.The always surprising Caleb Carr returns with an incredibly imaginative work set in Germany during the Dark Ages. “The Legend of Broken,” Carr explains in his prologue, is an ancient document he discovered while going through the papers of the late historian Edward Gibbon. It tells of Broken, a city carved out of granite and surrounded by the Davon Wood, where a race of diminutive beings called the Bane live. Sorcery and science begin to mesh as the people of Broken and the Bane must put aside their age old hatred to find the source of the pestilence that is slowly killing them all.Siblings Grace and Andrew Easton inherit their grandmother's house in London and decide it is large enough for them to live in comfortably and separately. That works well until Andrew's boyfriend, James Derain, moves in. When Andrew and James witness a friend's murder, the trauma they each suffer shakes up the household. Somewhat unsympathetic, Grace decides to lose herself in a good book. She chooses an unpublished work by a once popular novelist that strangely echoes her own situation. Things always get a little edgier when Ruth Rendell writes as Barbara Vine. “The Child’s Child” is Vine’s latest.Parenting today is challenging and often difficult even under the best of circumstances, but what of parents who have children that fall outside the mainstream? How do you deal with a child who is autistic or born with Dwarfism or is gay or goes on a shooting rampage? National Book Award winner Andrew Solomon spent 10 years researching these questions, interviewing thousands of people along the way, to present “Far From the Tree: Parents, Children, and the Search for Identity” (362.400).Donald Bain, who took on the guise of Jessica Fletcher to produce a ton of “Murder She Wrote” mysteries, now takes over the “Capital Crimes” series begun by the late Margaret Truman. When Sheila Klauss is arrested for running down her psychiatrist Mark Sedgwick, Dr. Nicholas Tatum, who works with the Criminal Behavior Unit, asks Mackensie Smith to represent her. Tatum believes Klauss was under hypnosis when she killed Sedgwick — a theory that leads them to an elaborate scheme to assassinate presidential candidate George Martinson. “Margaret Truman’s Experiment in Murder” (M) is the title.With Peter Jackson's rendition of J.R.R. Tolkien's “The Hobbit” filling movie theaters this season, playwright Noble Smith explores the lessons we can all learn from Bilbo Baggins and his people. “The Wisdom of the Shire: a Short Guide to a Long and Happy Life” (823.000) highlights the way of life of the brave, unassuming Hobbits who seem to find happiness in the simplest of things.Other new titles:Fiction — “Two Graves,” by Douglas Preston and Lincoln Child;“Agenda 21,” by Glenn Beck;“A Place in Time: Twenty Stories of the Port William Membership” (SS), by Wendell Berry;“Shadow Creek: a Novel,” by Joy Fielding.Non-fiction — “Meet Me at Emotional Baggage Claim” (814.000), by Lisa Scottoline and Francesca Serritella;“Hallucinations” (616.900), by Oliver Sacks.

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The Kingdom of Bones Wrongly accused of the slaughter of pauper children, Tom Sayers is forced to disappear into a twilight world of music halls and travelling boxing booths. As Sayers seeks the truth behind the killings, he is pursued in turn by the tireless Detective Inspector Sebastian Becker. Sayers calls on an old friend, Bram Stoker, for help. Stephen Gallagher is a novelist, screenwriter and director specialising in suspense. Born in Salford, Lancashire, his original TV/ film credits include: Chimera, Chiller,Bugs, Oktober, Crusoe for NBC, Eleventh Hour and The Forgotten; he's also written for long-term series including Doctor Who and Silent Witness. "Vividly set in England and America during the booming industrial era of the late 19th and early 20th centuries, this stylish thriller conjures a perfect demon to symbolize the age and its appetites..." The New York Times "From its attention-grabbing opening, this period thriller moves back and forth in time to tell a compelling story of a man battling against what he believes to be demonic forces . [Gallagher] is brilliantly successful at evoking the shifting, transient world of travelling theatres and cheap carnivals that provide the backdrop to his twisting tale" Sunday Times "If thriller-reading were a sin, Stephen Gallagher would be responsible for my ultimate damnation." Dean R. Koontz "Only bad thing about his books is that they eventually end. Brilliant." Jonny Lee Miller The Falcon Throne

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Philadelphia Museum of Art - Exhibitions - Dreaming in Black and White: Photography at the Julien Levy Gallery OverviewAbout Julien LevyFilm SeriesPublicationDreaming in Black and White: Photography at the Julien Levy GalleryJune 17, 2006 - September 17, 2006Léonor Fini Dora Maar (French, 1907-1997) Philadelphia Museum of Art: The Lynne and Harold Honickman Gift of the Julien Levy Collection, 2001 © 2005 Artists Rights Society (ARS), New York / ADAGP, ParisDreaming in Black and White: Photography at the Julien Levy GalleryJune 17, 2006 - September 17, 2006This exhibition celebrates the centenary of the birth of prominent art dealer Julien Levy (1906–1981), one of the most influential and colorful proponents of modern art and photography and an impassioned champion of Surrealism, with a survey of his collection of photographs. Levy's lifelong devotion to the art of photography is represented in more than 230 photographs, many of which are being exhibited for the first time in more than five decades. In conjunction with the exhibition, the Museum is presenting a series of films made by artists affiliated with the Julien Levy Gallery. Exhibition Minutes A centenary survey of Levy's collection… Listen to or download curators Katherine Ware & Peter Barberie's 4-part Podcast. Available in Works by more than sixty photographers exhibited by Levy are represented, including American masters Walker Evans, George Platt Lynes, Lee Miller, Man Ray, Charles Sheeler, and Ralph Steiner. Artists working in France and Germany are particularly well represented, including Henri Cartier-Bresson, Dora Maar, Roger Parry, Maurice Tabard, László Moholy-Nagy, and Umbo. Mexican artists Manuel Álvarez Bravo and Emilio Amero round out the international roster. One of the pleasures of the exhibition is work by little-known artists Arthur Gerlach, Samuel Gottscho, William Rittase, Thurman Rotan, and Luke Swank. Levy’s collection also includes a cache of ephemeral pictures of every sort, from bygone celebrity portraits and press photos to film stills and everyday snapshots. While he honored the tradition of serious artistic work fostered by Alfred Stieglitz and others, these photographs clearly show he also valued anonymous images and "found objects.” Another of Levy’s interests—applied photography—is represented in the exhibition in several of its aspects. Examples are on view from the selection of photomurals he organized for the Museum of Modern Art’s 1932 exhibition Murals by American Painters and Photographers. Levy also developed a sample line of household products decorated with photographic designs—including wastebaskets, lamps, and cigarette boxes—with the idea of providing images for textiles and a variety of manufactured goods. Other images were presumably made for advertising or graphic design use, and while their intended context may be lost to us, they stand alone as strong images. One of Levy’s most famous exhibitions at the gallery was the 1932 show Surréalisme (at the time, he felt that the word could not be translated properly into English). Levy’s offering of Surrealist works, the first to be presented in New York, included paintings, objects, journals, and photographs. While some of the photographs were by artists closely affiliated with the Surrealist movement in Europe, Levy added pieces by those he considered American Surrealists and by others whose work he felt resonated with Surrealist ideas. “Surrealism is a point of view, and as such applies to painting, literature, play, behaviour, politics, architecture, photography, and cinema.” — Julien Levy, Surrealism, 1936 Selections from Levy’s survey exhibitions, including American Photography Retrospective; Photographs of New York by New York Photographers; and Exhibition of Portrait Photography, Old and New are on view in conjunction with works that appeared in solo and group exhibitions at the gallery in the 1930s and early 1940s. A highlight of the exhibition is three small boxes by American assemblage artist Joseph Cornell, made to emulate daguerreotypes, an early form of photography. These magnificent objects are one-of-a-kind, made especially for Levy and including portraits of him and his first mother-in-law, Mina Loy. Also on view at the Museum for the first time is a bronze portrait of Levy by sculptor Isamu Noguchi. Letters and photographs documenting the gallery’s heyday (on loan from the Julien Levy Archive) further enliven the exhibition. The works of art in Dreaming in Black and White are drawn from more than 2,500 images from Levy’s holdings, acquired by the Museum in 2001; in part as a gift from Levy’s widow, Jean Farley Levy, and with a major contribution from longtime Philadelphia residents and philanthropists Lynne and Harold Honickman. A combination of his personal selections amassed over two decades and the remaining inventory from the gallery, these images reflect Levy's adventurous eye and his vanguard contributions to the field of photography. Sponsors The exhibition and the accompanying book, co-published with Yale University Press, are made possible by The Horace W. Goldsmith Foundation with additional support from Furthermore: a program of the J. M. Kaplan Fund. The book is also supported by The Andrew W. Mellon Fund for Scholarly Publications. Katherine Ware • Curator of Photographs, Alfred Stieglitz Center Peter Barberie • Horace W. Goldsmith Curatorial Fellow in Photography Berman and Stieglitz Galleries, ground floor

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Kieron Williamson's extraordinary gift as a painter has been likened by our own art critic to that of the Old Masters. But he's still only nine. What does the future hold for such a prodigy? Guardian 15 november 2011 This article titled “Kieron Williamson: Boy wonder” was written by Patrick Barkham, for The Guardian on Friday 11th November 2011 19.20 UTC Maroon tie flying from his pale blue school shirt, Kieron Williamson hurtles along the lane outside his new home wearing a pair of hand-me-down inline skates. It is not how you might expect to find an artistic prodigy on the cusp of an exhibition that will earn in excess of £100,000. Two years ago, when I first met Kieron, he was a sweetly monosyllabic seven-year-old whose unusually proficient pastels and acrylics of the countryside around his Norfolk home had attracted praise and a waiting list of 680 buyers. Now there is a waiting list of 6,000, as Americans, Chinese and Germans clamour for a Kieron original. Paintings he sold for £2,000 have been resold for £10,000. His fifth exhibition opened yesterday at his local gallery in Holt and sold out in 10-and-a-half minutes, one painting fetching £15,595. Two years is a long time for any child, let alone a prodigy. I wondered how nine-year-old Kieron would have changed, and how this unhealthy concoction of money and media hype might affect him. “Oh, he’s a little lord of the manor now,” laughs his mother over the phone when I first call. Kieron, his sister Billie Jo, mum Michelle and dad Keith were squeezed into a two-bedroom flat next to a petrol station but, thanks to sales of his paintings, Kieron this year bought the family a detached house, an attractive former post office by a village church on the Norfolk Broads. Kieron wanted to move close to the home of his hero, the 20th-century landscape painter Edward Seago, so they did, and Kieron will take possession of the house when he is 18. This is a major life change for the family, so it is a relief to find Kieron skating outside with Billie Jo and friends after school, like any country village kid. He is polite but also nicely self-contained; he has grown in confidence but is not unnervingly eloquent. His “yeps” of two years ago have been replaced by agreeable “uh-hums” and it is still a surprise when he suddenly offers three or four carefully considered sentences about his work. The wellspring of prodigious gifts is endlessly fascinating. From Mozart to Picasso, we have debated whether genius is born or made, and how. Kieron’s talent seems particularly miraculous. His parents worked as an electrician and a nutritionist, neither remotely artistic, and Kieron was an energetic five-year-old until they visited Cornwall on their first family holiday. As they admired the view of a bay, Kieron asked for pencils and produced a striking drawing. But perhaps Kieron’s passion for landscapes had been quietly ignited by all the paintings collected by Keith and hung on their walls at home. “You can’t see gifted children in isolation. It’s all within the context of the family,” says educational psychologist Susan Lee-Kelland. “Picasso always used to say it’s very important not to teach a child how to draw, which is interesting, because his father was a renowned artist, so Picasso learned at home, perhaps without realising it. The same is true of musical prodigies – they often come from parents who may be choir masters, or musical in some way.” Kieron used to paint on the kitchen table. Now, step inside his cosy, low-beamed home and the first room is his studio, cluttered with easels and paints precariously balanced on palettes. “I like painting stormy skies and I’ve painted lots of the marshes, and I like painting the windmills,” says Kieron. His work looks freer and more sophisticated than two years ago. He points to a painting of a huddle of marshland cattle under a glowering sky. “This is my favourite picture. I like the sky. That’s the favourite sky I’ve done. I did a watercolour out on location and that night I wanted to do an oil. It’s just down the road. The cows were tucked behind the tree so I decided to move them over there. I don’t like moving things around because I don’t like to do made-up things. I like painting what I see.” I assume the painting is a few months old. When did he finish it? “Yesterday,” he nods. As well as filling books with intricate sketches, he is painting in oils, pastels and watercolours. “I couldn’t stop painting with pastels, but then I had started a picture and I didn’t feel like doing it, and that tells me to do something different,” he says. He paints most days. “I have to do something every day,” he says, although life gets in the way. “I have this school project to learn about the planets and I have to do 68 star constellations, and that is taking up a lot of my time.” He wishes he could wake up earlier than he does (6am) so he could paint more. “Painting is like my best friend,” he says. Kieron calls his media duties “fun” – he is being filmed by German, Danish and French TV crews this week – and if it wasn’t, Michelle and Keith would stop it. In fact, they tried. Stressed and struggling to come to terms with the fact that Kieron had created a proper business – and needed his own specialist children’s solicitor and accountant – Keith became ill. They asked Kieron if he would consider continuing painting but stop selling his work for a bit. “Kieron said, ‘If dad is not well enough to support me, then can you support me mum?'” says Michelle. So she is now his full-time manager. They have resisted agents that could lock Kieron into contracts and are determined that he only paints when he wants to, and is not forced to paint on demand. Do they worry about protecting Kieron’s gifts while ensuring a “normal” childhood? “As parents, you’re running through those ethical debates every day. Other people have the luxury of dipping into this with judgments and opinions,” says Michelle wryly, “which they freely share.” Keiron is in Year 5 at the village primary school, and he fancies being home-schooled so he could devote more time to painting, but Michelle disagrees: “I don’t think that would be fair to him, because he has to relate to people and school offers a huge amount in terms of social networking and things like that.” If a talented child is determined to pursue their talent to the exclusion of all else, how much of their development should be decided by them? Should parents allow a gifted child to choose their own school? “The child’s voice is really important. It’s got to be part of the process but that’s the key word – ‘part’,” says educational psychologist Dr Kairen Cullen. “The child is able to communicate what they need, but they’ve not had the life experience that others bring to the table.” Parents may be concerned that early promise does not fizzle away, but Lee-Kelland cautions against accelerating the intellectually gifted through their education, a popular view reinforced by the desperately sad experiences of various prepubescent Oxbridge geniuses from recent decades. Peter Congdon, an educational psychologist who has been assessing gifted children for more than 30 years, says research shows acceleration or “premature promotion” is overwhelmingly positive for children. Many young people with high IQs “relate better to adults and older children”, he argues. However, Congdon agrees that “accelerating mental development is sometimes bought at the expense of social and emotional growth”. “Try to keep things as normal as possible,” is Lee-Kelland’s advice. “Not to keep the talents under wraps, but don’t make it the be-all and end-all. It doesn’t do the person any good at all to be deprived of their childhood.” She cautions against gifted children becoming too specialised – a talented musician or footballer who suffers an accident may never be able to play again. “It’s about creating a rounded person and giving them lots of opportunities. An artist is fostered by the whole of their lives and experiences. When you look at a great painting – or a piece of music – it contains emotions and feelings,” she says. Kieron, it is clear, has an acute sensitivity towards the countryside around him, and is profoundly aware of the shape and the order of things. His current enthusiasms are Romantic: wild landscapes and ruins. His parents took him to How Hill, a beautifully preserved historic house nearby, and Kieron “was mortified, it was so well maintained,” says Michelle. He prefers St Benets Abbey, a desolate relic on the Norfolk Broads. Kieron meticulously notes the changes in the sky, air and autumn colours when walking – and taking photographs – in their neighbourhood. “Everyone keeps saying there’s no wildlife on the Broads but there’s marsh harriers and kestrels and deer,” says Keith. “Chinese water deer,” adds Kieron. He loves the changing of seasons. What’s his favourite? “Winter,” he says decisively. He can’t wait to see the marshes flood and the snow fall. At nine, this artistic intensity is still combined with complete normality. Kieron loves football and watches Formula 1 with his dad. What would Kieron like for Christmas? “The new Leeds away kit,” he says. “I want ‘4’ and ‘Kieron’ on the back as well.” (His dad is a huge Leeds and Billy Bremner fan.) “We don’t want art to be his only passion,” says Michelle, turning to Kieron. “I think you will have a varied life, because you’ll want that.” “Uh-hum,” nods Kieron. Is he excited about his exhibition? “Yep,” he says. “I don’t mind what will happen as long as people like my work and they give some comments.” And with that, Kieron hits the button on the remote control and settles down to watch The Simpsons. The expert view: Jonathan Jones Kieron Williamson is the kind of child prodigy who makes us marvel at the miracle that is human creativity. In the week that an exhibition of Leonardo da Vinci’s works opened in Britain, here’s a homegrown example of the kind of gift that made Leonardo’s 16th-century biographer Vasari call him a “truly celestial”. Williamson’s paintings are triumphs of observation, skill and imagination. For a child of nine to paint such sensitive and accomplished landscapes is an awe-inspiring achievement. He displays not just a stunning mastery of drawing and painting but an emotional maturity, which is still more staggering. Prodigies are rare in the arts because to write a poem or compose a symphony requires emotional maturity. Children who excel at the highest level are, for this reason, often musicians, because the technical mastery of an instrument does not in itself demand a diverse experience of life. Yet even Mozart, the most famous of all musical prodigies, evolved audibly from his youthful compositions to his truly great and profound adult works: his art gained power as it gained sadness, darkness, dread; all the adult things. What makes Williamson so impressive is, therefore, the passion as well as technique of his art. He responds intensely to the landmarks and light of his native Norfolk, just as great East Anglian predecessors such as Gainsborough and Constable did. St Benets Sunset is a wonderful painting, with its brooding tower against a reddening sky. At nine, he’s a Romantic. He seems fully aware of such comparisons, intimate with the masters of landscape painting: he has looked hard at Turner. To respond to such art at his age is in itself amazing – to emulate it, sublime. But he is not painting pastiches. His interpretations of the masters are creative, his vision genuine. What happens to child prodigies when they grow up? In medieval Italy, according to Vasari in his 1550 book The Lives of the Artists, the famous painter Cimabue met a shepherd boy drawing with a stick in the dirt. He was so impressed with the boy’s dirt drawings that he took him to Florence to train. The child was Giotto. He grew up to become one of the greatest painters of all time. Giotto, and Leonardo for that matter, could rely on the unique training system for artists offered by an apprenticeship to a Florentine master. Let’s hope our education system serves Williamson as well, for he is a very special talent. • This article was amended on 14 November 2011. The original caption referred to Ludham, Suffolk. This has been corrected. guardian.co.uk © Guardian News & Media Limited 2010 Published via the Guardian News Feed plugin for WordPress. Ed Bakos Arts & Culture, Design, Electronics & Gadgets, Future of Light, Future of Light, Sports & Fitness, Technology, Work & Business, Architecure

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Search You are hereHome < Editions Electronic Editions Romantic Circles Electronic Editions offers a searchable archive of texts of the Romantic era, enhanced by technology made possible in an online environment. Each edition is based on the highest scholarly standards and is peer-reviewed. Section Editor: Tilar J. Mazzeo Items per page 20- All - The Collected Letters of Robert Southey, Part Five | 1816 to 1818 Robert Southey Based on extensive new archival research, The Collected Letters of Robert Southey. Part Five: 1816-1818 publishes for the first time Southey’s surviving letters from a period of considerable upheaval in his own life and in wider society. These were years that saw Southey get to grips with the ambiguities inherent in his role as an ambitious, reforming Poet Laureate, face public controversy and the ghost of his younger, radical self with the illicit publication of Wat Tyler in 1817, and combat private despair over the death of his son. The 537 letters published here are proof that, despite the numerous demands on his time, Southey remained in mid life a vigorous and indefatigable correspondent. They cover a massive variety of subjects – literary and non-literary, public and private, local and global. They shed new light on Southey’s views on literature, politics, religion and society; his work as Poet Laureate and his engagement in public life and public controversy; his relationships with his contemporaries, including Coleridge, Caroline Bowles, Hazlitt, Leigh Hunt, Samuel Rogers, William Wilberforce and Wordsworth; his domestic life in Keswick; his extended family and social networks; his extensive reading; his working practices; his prolific output of poetry and prose; and his interactions with publishers and negotiation of the literary marketplace. The letters show Southey’s career in progress, reveal that it was more complex than has previously been thought, and provide compelling evidence about how his works were shaped and reshaped by external pressures that he could not always control or defeat. They thus make it possible to refine our understanding both of Southey and of the ways in which Romantic writers came to terms with the complex and contentious culture of the mid-late 1810s. Edited by: Lynda Pratt Ian Packer April 2015 Wordsworth's Guide to the Lakes | 1810,1835 William Wordsworth First published in 1810 and then revised over three decades, Wordsworth’s Guide has long been recognized as a crucial text for students of Romantic-era landscape aesthetics, ecology, travel writing, and tourism. The Romantic Circles edition provides access to the rare 1810 text and its images, an extensively annotated and illustrated version of the 1835 text (the last edition revised by Wordsworth), a parallel-text feature that allows readers to track and visualize the evolution of the book across its various editions, excerpts from letters by Wordsworth and his circle that shed light on the work’s genesis and development, an annotated bibliography of previous scholarly editions and criticism on the Guide, and a mapping feature that allows readers to identify and explore virtually the many locations mentioned by Wordsworth. The edition’s introduction offers fresh information on the Guide’s publication and reception history and situates it in the larger context of Lakeland writing and the development of the Lake District as tourist terrain. Edited by: Paul Westover Nicholas A. Mason Shannon Stimpson Billy M. Hall Jarom McDonald February 2015 Verses Transcribed for H.T. | 1805 Mary Tighe Published here for the first time, Verses Transcribed for H.T. is a manuscript collection of 121 original lyric poems with 72 original illustrations that Mary Tighe prepared in 1805 as she was contemplating publishing a volume of poetry that would feature her epic romance "Psyche; or, the Legend of Love" accompanied by a selection of her lyrics. Instead she opted to print 50 copies of Psyche; or, The Legend of Love (London, 1805) without any additions from Verses in a small private edition that she dedicated and distributed to family and friends (her only publication). After she died her family published Psyche, with Other Poems (London, 1811), which offered a carefully culled and re-ordered selection of 29 lyrics from Verses (with 10 additional lyrics). Verses Transcribed for H.T. provides a truly unique opportunity to see Tighe as the determining editor of her own collected poems. Organized in deliberate clusters, Verses is a self-consciously constructed aesthetic artifact that radically revises prior knowledge of Tighe's literary, visual, and material production: 65 of the 121 poems had not appeared in any known print sources as of yet; 17 of the 121 poems contain significant variants from the published versions; at least 15 of the poems are written in the voice of characters from Tighe's 1803 manuscript novel Selena, versus the 11 that are printed in the novel; dozens attest to Tighe's full-scale engagement with contemporary poetics and politics: the discourse of sensibility, Della Cruscan poetry, coterie culture, the sonnet revival, Romantic antiquarianism, the 1794 Treason Trials, the 1798 Irish Rebellion, the 1801 Act of Union, and more. This edition contains a comprehensive introduction by the editor, a fully annotated and searchable transcription of the manuscript, and digital images of the manuscript pages, made available through the kind courtesy of the National Library of Ireland. Edited by: Harriet Kramer Linkin August 2014 An Uninteresting Detail of a Journey to Rome | 1787 to 1789 Ann Flaxman Ann Flaxman's An Uninteresting Detail of a Journey to Rome tells the story of a female Grand Tour, something quite rare, and of an extended artist's visit to Italy, something quite common. In 1787 Flaxman set out for France and Italy with her husband, the sculptor John Flaxman, and a small company of fellow travellers. During her journey and in the months that followed her arrival in Rome, Flaxman kept a perceptive and entertaining journal for the benefit of friends at home, a group that included William and Catherine Blake. Personal yet nonetheless typical of its genre, Flaxman's previously unpublished Journey serves as an excellent introduction to English travel writing just before the French Revolution, and to the late-eighteenth-century international arts scene. It also reveals the challenges and rewards of being an atypically poor traveller and an aspiring woman writer. Edited by: Marie E. McAllister July 2014 Fables Ancient and Modern, by Edward Baldwin, Esq. | 1805,1807 William Godwin This is the first installment of a complete critical edition of Godwin’s ten contributions to his Juvenile Library. It makes available for the first time since 1824 the first text that Godwin both authored and published under his own imprint, Fables Ancient and Modern. Adapted for the Use of Children from Three to Eight Years of Age (1805), along with a comprehensive introduction and extensive notes by the editors. While literary historians have long been aware that radical author William Godwin wrote and published children's books, these works are substantially less visible than his novels and philosophical writings. Yet, the profound cultural impact of Godwin's children's literature—especially as an expression of his social politics—necessitates their reproduction and welcomes further critical inquiry. Edited by: Suzanne L. Barnett Katherine Bennett Gustafson August 2013 The Collected Letters of Robert Southey, Part Four | 1810 to 1815 Robert Southey Part Four, covering the period 1810-1815, was a crucial one for Southey’s career and reputation. It has, however, never before been fully documented or fully understood. By 1810 he was established in Keswick – a Lake Poet by residence if not by inclination and one whose interests and connections engaged him in global networks and exchanges. The years 1810-1815 were exceptionally busy ones for Southey. His output was, even by his own standards, prodigious and diverse, encompassing history, reviews, biography, polemics and chronicles of contemporary events. A productive time for Southey the prose writer, the period also saw the revitalisation of his poetic career with the publication of two long poems (The Curse of Kehama in 1810 and Roderick, the Last of the Goths in 1814), new editions of earlier works and plans for new verses aplenty. A distinctive feature of Southey’s shorter poems from this time is a move towards and investment in the contemporary. It was a move prompted by his controversial decision, in November 1813, to accept the Poet Laureateship. The letters we publish here make it possible for the first time to chart how and why that decision was made, how the resulting disputes were ignited, and how Southey responded to them. In so doing, they show how Southey’s high hopes for the Laureateship foundered on the rocks of reality and thus provide new insights into the vexatious relationship between Romantic poets and the public sphere. Note: With the publication of Parts 3 and 4, Technical Editor Dr. Laura Mandell has added indexes that allow finding all letters by names of addresees, names of people mentioned in them, and names of places mentioned in them. Visit the Correspondents, Biographies, and Places files to see these indexes at work. A dynamic graphing tool called "Relate" indicates relationships among members of the Southey Circle, and an article by Mandell and Pratt describing how to use that tool will be available in the next few days at Digital Studies / Le Champ Numérique, a special issue concerning data visualization. Edited by: Lynda Pratt Ian Packer The Collected Letters of Robert Southey, Part Three | 1804 to 1809 Robert Southey Part Three is the first-ever collected edition of the surviving letters written by Southey between 1804 and 1809. The letters published here begin with Southey writing to his brother with a draft of his epic poem Madoc; they end on New Year’s Eve 1809, with him discussing Coleridge’s The Friend and his own new writing in the Quarterly Review and The Curse of Kehama (published in 1810). The years 1804–1809 saw the consolidation of important relationships and correspondences, notably with the statistician John Rickman, the translator William Taylor, and the writer Mary Barker. New correspondences of lasting significance were begun: with Neville White, brother of Henry Kirke White, leading to Southey’s editing of Henry’s Remains; with Matilda Betham, who would paint Southey’s and his family’s portraits in London and Keswick; with Anna Seward, who would support his poetry in the press and to whom he would make an hilarious visit; with Walter Savage Landor, whose enthusiasm for his poetry inspired him to return to writing verse in The Curse of Kehama and Roderick, the Last of the Goths (1814); with Walter Scott, whose good offices led Southey to a new career writing for the Quarterly Review and the Edinburgh Annual Register, and to the Laureateship. Edited by: Tim Fulford Carol Bolton March 2013 Nobody: A Comedy in Two Acts | 1794 Mary Darby Robinson This electronic edition of Mary Robinson’s Nobody (Drury Lane, 1794), based on the only surviving manuscript of the play (LA 1046) housed in the Larpent collection at the Henry E. Huntington Library, is the first to present a widely-available and searchable transcript of the play along with a comprehensive introduction, extensive notes by the editor, and contexts of the drama, including contemporary commentaries, poems, puffs, and reviews, an account of the public reaction to the play from the Memoirs of the Late Mrs. Robinson (1801), and relevant excerpts from Mary Robinson’s 'Present State of the Manners, Society, &c. &c. of the Metropolis of England' (1800) and James Boaden’s The Life of Mrs. Jordan (1831). Edited by: Terry F. Robinson October 2012 The Gipsy Prince | 1801 Thomas Moore Published here for the first time, The Gipsy Prince (Haymarket, 24 July 1801), was the collaboration of Thomas Moore who composed the libretto and lyrics and Michael Kelly who provided the musical score. Though it had the second longest run of Haymarket's summer season, the censoring authorities had not recognized the ploy of introducing the Irish under English rule as Gipsies during the Spanish Inquisition. Although the play could not be revived the following season, publisher John Roach supported Moore by publishing the hoaxing "source," a prose narrative from which Moore pretended to have derived his play. With an introduction by Frederick Burwick, this edition includes his transcription of the previously unpublished manuscript, the prose narrative ostensibly translated from the Spanish, the sheet music as published by Michael Kelly, recordings of the overture and songs as performed under the musical direction of Stephen Pu, and a variorum of the lyrics to facilitate side-by-side comparisons of all versions of the songs. The edition also provides page-by-page images of the original materials. Edited by: Frederick Burwick July 2012 The Banks of Wye | 1811,1813,1823 Robert Bloomfield An edition of Robert Bloomfield's multimedia picturesque tour of the Wye valley. Poem, tour journal, sketchbook. This edition presents a rare surviving example of the kind of multimedia production that arose from one of the new cultural activities of the late eighteenth century—the picturesque and antiquarian tour. It comprises a facsimile of the manuscript sketch- and scrap-book that Robert Bloomfield made after his 1807 tour of the Wye, an annotated transcription of the prose tour-journal that he incorporated into his scrap book, and a collated and annotated text of the poetic versions of the tour that were published (as The Banks of Wye) in 1811, 1813, and 1823. Also included are reproductions of the engravings that illustrated the 1811 and 1813 publications, deleted or unadopted passages from the manuscript of the poem, and a selection of reviews from journals of the time. Edited by: Tim Fulford Robert Southey and Millenarianism: Documents Concerning the Prophetic Movements of the Romantic Era Robert Southey This edition presents the first scholarly edition of Robert Southey’s various writings about the prophetic movements of Romantic-era Britain. Its aim is to throw new light on two related areas: the nature and history of millenarian prophecy in the late eighteenth and early nineteenth centuries—especially William Bryan, Richard Brothers, and Joanna Southcott—, and the significance of prophecy in Southey’s social, political analysis of his times. A fascinated commentator upon what he termed ‘enthusiasm’, Southey published two of the earliest accounts of Southcott and her predecessors ever written, accounts derived both from personal acquaintance with some of the major figures involved and from a detailed study of their writings. These accounts are reproduced here, collated with the manuscripts on which they were based, and with explanatory notes. In addition, a selection of Southey’s remarks on millenarians in his private manuscript correspondence is presented, and an introduction comprising a brief history of the prophetic movements in the Romantic era and a critical discussion of Southey’s writings on the subject. Edited by: Tim Fulford March 2012 Norse Romanticism This edition collects twenty-one British writers from c. 1760–1830, a period which is today associated with the rise of Romantic sensibilities. A number of literary works in Britain were inspired by Old Norse manuscripts, collections of Danish folklore or similar such texts from Scandinavia. This electronic edition is a selection of these by canonical authors (such as Thomas Gray, William Blake, William Wordsworth, Robert Southey, Walter Scott, and Ann Radcliffe), as well as selections by lesser known writers, whose texts have not previously been available to modern readers. This edition provides the contextual framework and necessary commentary to explain the ways in which these writers repurpose Norse material. Edited by: Robert W. Rix August 2011 The Collected Letters of Robert Southey, Part Two | 1798 to 1803 Robert Southey Robert Southey was one of the best-known, controversial and innovative writers in late eighteenth- and early nineteenth-century Britain. Based upon extensive new archival research, this Collected edition makes available for the first time all his surviving letters, freshly edited, annotated and introduced. Part Two covers 1798-1803, a turbulent and crucial time for Southey. It encompasses his public and private responses to Lyrical Ballads (1798); his reaction to the rise of Napoleon and the continuing conflict between Britain and revolutionary France; his second and final visit to Portugal and the resultant hardening of his anti-Catholicism; his unhappy stint as a secretary to the Irish Chancellor Isaac Corry, and his emotional bludgeoning by the deaths in relentless succession between 1801-1803 of three Margarets, his cousin, mother and first child. Edited by: Lynda Pratt Ian Packer October 2010 Thoughts in Prison | 1777 William Dodd Romantic Circles is pleased to announce the publication of William Dodd's long poem Thoughts in Prison (1777). Written while he was awaiting execution for forgery in his Newgate prison cell, the poem is unique among prison writings and in the history of English literature: none of the many reflections, stories, essays, ballads, and broadside "Confessions" originating—or purporting to have originated—in a jail cell over the last few hundred years can begin to match it in length, in the irony of its author's notoriety, or in the completeness of its erasure from history after a meteoric career in print that began to wane only at the turn of the nineteenth century. An appendix presents manuscript versions of Samuel Taylor Coleridge's "This Lime-Tree Bower, my Prison," by way of suggesting a reliance, at least metaphorically, on this major work of prison literature by Romantic writers. Edited by: Charles J. Rzepka September 2009 The Letters of Robert Bloomfield and His Circle Robert Bloomfield This edition builds upon new scholarship on Romantic rural poet Robert Bloomfield, collecting all his extant letters plus a selection of those written to him by literary correspondents, with the hope that by presenting a properly edited and annotated collected letters we might enable the poet to be a significant figure for all those studying early nineteenth-century literature and culture. Edited by: Tim Fulford Lynda Pratt May 2009 Frankenstein | 1818,1831 Mary Wollstonecraft Shelley This edition of Frankenstein, in gestation for over fifteen years, provides the texts of both the 1818 and 1831 editions, as well as copious annotations that emphasize the novel's strong inter- and intra-textual connections. Edited by: Stuart Curran March 2009 The Collected Letters of Robert Southey, Part One | 1791 to 1797 Robert Southey Robert Southey was one of the best-known, controversial and innovative writers in late eighteenth- and early nineteenth-century Britain. Based upon extensive new archival research, this Collected edition makes available for the first time all his surviving letters, freshly edited, annotated and introduced. Part One covers 1791-1797, turbulent years which saw the forging of Southey's career and reputation, his involvement in radical politics, and the beginning of his friendships with Wordsworth and Coleridge. Edited by: Lynda Pratt The Collected Letters of Robert Southey Robert Southey was one of the best-known, controversial and innovative writers in late eighteenth- and early nineteenth-century Britain. Based upon extensive new archival research, this Collected edition makes available for the first time all his surviving letters, freshly edited, annotated and introduced. Edited by: Ian Packer Tim Fulford Lynda Pratt March 2008 The Fall of Robespierre | 1794 Samuel Taylor Coleridge Robert Southey This edition provides an annotated text of the play, supplemented by a wide range of literary and journalistic materials that offer contexts in which to understand the work's place in relation to the authors' politics, the transmission and reception of news, and the role of Robespierre within English political culture. Edited by: Daniel E. White December 2007 New Letters from Charles Brown to Joseph Severn Charles Brown A collection of 46 letters published in full for the first time, shedding new light on the life and character of Charles Brown and the most important friendship in the Keats Circle, as well as Keats’s complex legacy to his friends. Edited by: Grant F. Scott Sue Brown Pages12next ›last » About Romantic CirclesAdvisory BoardArchivesHistory of the SiteIndex of ContributorsContact Us

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Musicians Hall Ceremony Honors Players, Producers By Peter Cooper NASHVILLE -- Keith Richards held court backstage Tuesday night at the Musicians Hall of Fame induction ceremony, guffawing with old friends who first were heroes. He'd flown in to pay tribute to The Crickets, the group that began as Buddy Holly's backing band and wound up an enduring force in pop and rock. "See, what you cats in America don't realize is that this is the first global, international rock band of all time," Richards said. "It so impressed us in England. There would probably be no Beatles or Rolling Stones without them." Onstage, Duane Eddy's monstrous electric guitar rumbled through Rebel Rouser. Booker T. and the MG's offered a stinging and soulful Green Onions. And Richards smiled through a mini-set with The Crickets, playing That'll Be the Day, Peggy Sue and Not Fade Away. The star-powered event at Schermerhorn Symphony Center found Eddie Floyd, Lee Ann Womack, Phil Everly, George Jones, Percy Sledge, Kid Rock and a slew of others paying tribute to some of the finest studio and touring musicians on the planet. Richards is right that most in America don't know about The Crickets, though many do know the name of the group's late bandleader. ("Hey, I've worked with a pretty heavy frontman, too," Richards said.) And most don't know the names Jerry Allison, Joe B. Mauldin and Sonny Curtis. They don't know Wayne Jackson or Andrew Love, or Steve Cropper or Billy Sherrill. The Musicians Hall of Fame is not devoted to the famous. But the induction of Booker T., the Memphis Horns, the Muscle Shoals Rhythm Section, The Crickets, Al Kooper, Sherrill and Eddy put the spotlight on the players and producers behind the hits. The night is about Cropper's electric guitar on Sam & Dave's Soul Man, and Kooper's keyboard part on Bob Dylan's Like a Rolling Stone and Sherrill's stately production on George Jones' He Stopped Loving Her Today. Richards spoke of his days as a teen in England, mesmerized by the sounds coming from the radio. When he heard That'll Be the Day, he thought "these guys are streets ahead of us. We have to catch up." Peter Cooper writes daily for The (Nashville) Tennessean (c) Copyright 2008 USA TODAY, a division of Gannett Co. Inc. <>

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Nietzsche and the State Column by Michael Kleen, posted on July 15, 2010 in Statism By Michael Kleen. “Where the state ends—look there, my brothers! Do you not see it, the rainbow and the bridges of the overman?” Friedrich Nietzsche (1844-1900) is one of the most famous of the modern philosophers. A prolific writer on just about every subject, his views on the modern state have been largely overshadowed by his critique of morality, which is a shame because despite the adoption of his philosophy by political movements after his death, Nietzsche held a very clear and consistently critical view of the subject throughout his adult life. In his more sober moments, he saw the modern state as nothing more than a vehicle for mass power and as a squanderer of exceptional talent. In his most feverish moods, the state was “a cold monster” and a base falsehood. During his lifetime, Nietzsche bore witness to the rise of statism in central Europe, and his disgust with nationalism, liberalism, and mass politics led him to live most of his life in self-imposed exile in Switzerland and northern Italy. Even after resigning from the University of Basel in 1879, he took to living in cheap boarding houses rather than return to his native land, which had undergone a dramatic transformation. When Nietzsche was born in Saxony in 1844, the German Confederation consisted of 43 duchies, principalities, kingdoms, and free cities. He was only four years old when liberals and nationalists began to agitate for the creation of one unified German state. They succeeded in 1871, when Prussia defeated France in the Franco-Prussian War (in which Nietzsche briefly served as a medical orderly). In less than a decade, the German Confederation went from a motley collection of different dialects, customs, and political associations to a fully modern welfare state driven by mass politics. Contrary to the wartime image of the German Empire, Otto von Bismarck’s Germany was just as liberal—if not more so—than the other great European powers. Members of the German bund traded away their regional independence for universal manhood suffrage, national healthcare, accident insurance, and old age insurance. A common criminal code, as well as court, civil, and criminal procedures, replaced a cornucopia of local legal systems. During his Kulturkampf, Bismarck attempted to erase the last vestiges of the old order by promoting one way of “Germanness,” much like “Americanism” sought to unify the United States around the federal government after the American Civil War. This political and social consolidation is key to understanding Nietzsche’s criticism of the state, because he drew a sharp distinction between a “people” and the “state.” “’I, the state, am the people!’ That is a lie!” he wrote in Thus Spake Zarathustra (1881). “Where there is still a people, it does not understand the state and hates it...” By a “people” he meant an organic body of persons who constitute a community by virtue of a common culture, history, and religion, while the “state” is an artificial construction; a yoke placed over peoples. “It was creators who created peoples and hung a faith and a love over them: thus they served life,” he wrote. “Every people speaks its tongue of good and evil, which the neighbor does not understand.” As a classical philologist, Nietzsche undoubtedly thought of ancient Greece as he wrote those words. Like that of Germany, the story of Greece was the story of the unification of dozens of independent civic bodies, each with their own customs, laws, and traditions. “Greece” was a modern creation. In the ancient world, there were only the city-states (polis) of Athens, Sparta, Corinth, etc., and even those political bodies enslaved a dozen different peoples in their hinterlands. It was only later, during the Romanic Period, that the organization of common language speakers around the nation-state became a popular notion. Therefore, Nietzsche believed the state was an artifice invented to serve a political class, based on the myth of a shared culture and past. Who did the state serve? “The history of the state is the history of the egoism of the masses and of the blind desire to exist,” Nietzsche wrote in his notes in 1873. He again echoed those sentiments in Thus Spake Zarathustra, writing, “All-too-many are born: for the superfluous the state was invented.” Everything about the modern state was corrupt: education (“they steal the works of the inventors and the treasures of the sages for themselves”), the media (“they vomit their gall and call it a newspaper”), and most of all, politics. Nietzsche characterized politics as a mad rush for power, which squandered the talents of great men, who were forced to pander to the lowest common denominator. Nietzsche was most concerned with the effect statism had on culture. “Culture and the state—one should not deceive oneself about this—are antagonists... All great ages of culture are ages of political decline: what is great culturally has always been unpolitical, even anti-political,” he wrote in Twilight of the Idols (1888). Because, in the modern state, the energy of a people is used up in power politics, economics, parliamentarianism, and “military interests,” its geniuses lack the energy for artistic and cultural creation; their energies are squandered and dragged down into the muck. As the German state rose to prominence in Europe, Nietzsche saw a decline in the number of great cultural figures. Mozart, Beethoven, Schiller, Goethe, and Schopenhauer had all come and gone during a period when the German reich was virtually moribund and consisted of a loose collection of over a hundred different regions. Unfortunately, Nietzsche did not leave a well thought out alternative to the modern state. Instead, he left his readers to infer his preference based on the political arrangements he criticized. In Human, All-Too Human (1878), however, he touched on nationalism and the nation state, proposing that it would be a benefit to Europeans to abolish nations and breed a “European man” that would contain the best qualities of all peoples living on the continent. He envisioned a noble class that freely exchanged ideas across Europe. Based on his other arguments, we can surmise that Nietzsche was not advocating something along the lines of a European Union or a transnational state, but perhaps a collection of thousands of municipalities along the lines of the ancient Greek polis. The state was not created to uplift the individual, but to satisfy the many. “It will give you everything if you will adore it,” Nietzsche warned. “Rather break the windows and leap to freedom.” He saw the modern state, with its mass media, politics, and culture, as a retardant to human progress, and he preferred to live in places where there was as little central authority as possible. For Nietzsche, it seems, it was not the type of government that concerned him, but who that government served: mass or individual? Unequivocally, he held that statism, such as it was in the 19th Century, served the former, and laid traps for all who desired to rise to new heights. Further Reading: Nietzsche’s most colorful, and lengthy, discussion of the state can be found in Part 1 of Thus Spake Zarathustra, in the aphorism “On the New Idol.” In Part 2, he discusses how famous wise men have been put in the service of the people in “On the Famous Wise Men.” Other passages on the state can be found in The Dawn (or Daybreak), aphorism #179 “As Little State as Possible.” He describes his idea for a stateless Europe in Human, All-Too Human, aphorism #475 “European Man and the Abolition of Nations.” In his Notes of 1873, “On the Mythology of the Historical” proves enlightening. Average: 8.66667 Michael Kleen Columns on STR: 36 Michael Kleen is the Editor-in-Chief of Untimely Meditations, publisher of Black Oak Presents, and proprietor of Black Oak Media. He holds a M.A. in History and a M.S. in Education, and is the author of Statism and its Discontents, a collection of columns on the topics of Statism, liberty, and their conflict. His columns have appeared in a variety of publications and websites, including Strike-the-Root. Mark Davis, posted on July 15, 2010 Good article Michael. An excellent point on how Nietzsche's ideas are cherry picked by so many in order to abuse them. 'Anarchy or Minarchy' Is Only Half the Question In Politics, There Is No Murder Ortega and the State Historical Sabotage of Italian Fascism and Liberalism

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from the January 2004 issue: The Balkans February Sky Poetry by Luljeta Lleshanaku Large, gray, sprawled like an old elephant. Winter is ending. Low, sloping roofs are overturned boats slumbering along the shores of drowsiness.Twenty years of an oak tree's life is burned instantly in a stove. And eyes meet only by accident like suburban roads that intersect in grassy meadows, like streams that swell their banks, like hairs on a pillow after a long illness.The old elephant's hoof tramples the ground sowing poisonous yellow flowers in its path flowers that have no scent at all. January 2004The Balkans Luljeta Lleshanaku Luljeta Lleshanaku is one of Albania's foremost younger poets. Born in Elbasan in 1968, she grew up under virtual house arrest because of her family's opposition to the Stalinist dictatorship of Enver Hoxha. She was not permitted to attend college or publish her poetry until the weakening and eventual collapse of the Communist regime in the early 1990s. She is among the first generation of poets to emerge out of the cultural wasteland of enforced socialist realism in the arts, reinventing Albanian poetry almost entirely from scratch. Her published books include The Sleepwalker's Eyes, 1992; Sunday Bells, 1994; Half-Cubism, 1996; and Antipastoral, 1999). from Albanian Shpresa Qatipi Henry Israeli Shpresa Qatipi is a professor of English at Tirana University. In addition to many poems by Luljeta Lleshanaku, she has translated and published short stories, essays, and articles for the Eurolindja Publishing House in Albania and the Soros Foundation. Henry Israeli is a poet and playwright, educated at the University of Iowa's Writers Workshop and Theater Arts Department. His books include a collection of poetry, New Messiahs (Four Way Books, 2002) and Fresco: The Selected Poetry of Luljeta Lleshanaku (New Directions, 2002), which he edited and co-translated. He has been awarded fellowship grants from the National Endowment for the Arts, Canada Council on the Arts, Ontario Arts Council, and Toronto Arts Council, as well as a residency at the MacDowell Colony. His poetry and translations have appeared in numerous journals, including Grand Street, The Iowa Review, Quarterly West, Tin House, Fence, Verse, and elsewhere. He is currently at work on a second collection of poetry, tentatively titled Tristesse Derogate. Henry Israeli is also the founder of Saturnalia Books, a small press dedicated to poetry and art books. » More by this translator

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LAFZ Urdu Poetry and Texts Urdu & Hindi Cinema Urdu Musings Urdu Mehfils Urdu Events urduwallahs ~ Woh kare baat toh har lafz se khushboo aaye, Aisi boli wohi bole jise Urdu aaye. -Poet Ahmed Wasi- Noor 10 Posted by Urduwallahs in LAFZ, Urdu & Hindi Cinema ≈ 1 Comment TagsJehangir, Kajol, Karan Johar, Mughal, Mumtaz Mahal, My Name is Khan, Noor Jehan, Nur Jehan, Shahrukh Khan, Taj Mahal Noor (also spelled Nur, Nor, or Nour, Arabic: نور‎, Hindi: नूर) is a lafz of Arabic origins meaning light. An-Nur, meaning “the light” in Arabic, is also the 24th sura of the Qur’an. In Dutch and Flemish, Noor can be a form of Eleonore cognate to the English name Eleanor, the first bearer of which was Eleanor of Aquitaine and is probably Occitan in origin Nur Jahan (1577 –1645) born as Mehr-un-Nissa, was Empress of the Mughal Empire as the chief consort of Emperor Jahangir. A strong, charismatic and well-educated woman, she is considered to be one of the most powerful and influential women of the 17th century Mughal Empire. She was the twentieth and favourite wife of the Emperor Jahangir who ruled the Mughal Empire at the peak of its power and supremacy. The story of the couple’s infatuation for each other and the relationship that developed between them has been the stuff of many (often apocryphal) legends. As a result of her second husband’s, the Emperor Jahangir’s, serious battle with alcohol and opium addiction, Nur Jahan was able to wield a significant amount of imperial influence and was often considered at the time to be the real power behind the throne. She remains historically significant for not only the sheer political power she maintained (a feat no Mughal women before her had ever achieved) but also for her contribution to Indian culture, charity work, commercial trade and her ability to rule with an iron fist. She was the aunt of the Empress Mumtaz Mahal for whom the future Emperor Shah Jahan built the Taj Mahal. Furthermore she is the only Mughal empress to have her name struck in silver coins. Noor Jahan was also the adopted stage name for Allah Wasai (1926 – 2000) who was a legendary singer and actress in British India and Pakistan. Her career spanned seven decades. She was renowned as one of the greatest and most influential singers of her time in South Asia and was given the honorific title of Malika-e-Tarannum (the queen of melody). Born in a Punjabi family of musicians, Wasai was pushed by her parents to follow in their musical footsteps and become a singer but she was more interested in acting in films and graced the earliest Pakistani films with her performances. She has recorded about 10,000 songs in various languages of India and Pakistan including Urdu, Hindi, Punjabi and Sindhi languages. Along with Ahmed Rushdi, she holds the highest record of film songs in the history of Pakistani cinema. She is also considered to be the first female Pakistani film director. In 1957, Jahan was awarded the President’s Award for her acting and singing capabilities. Noor-e-Khuda (meaning the light of God) was a popular song from the 2009 Bollywood movie, My Name is Khan, directed by Karan Johar, starring Shahrukh Khan and Kajol in the lead. Here is a link to the song: 1 thought on “Noor” yogesh parihar said: November 11, 2013 at 8:27 am Worth to read….very informative Urdu Events In Mumbai

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example: life, funny (comma separated)example: Einsteinexample: one small step for manSearch HelpAdvanced Search Chris Powell 12nextAll quotes by Chris Powell (19 quotes found) “The National Short Story Prize will address this by filling a gap in the awards market and breathing life into this once great British literary form, helping it to identify and reward a new generation of talented UK writers.” Chris Powell “Our hearts go out to all of those people who have been affected by the storm. It seems that with every news report that comes in there is another heartbreaking story. We want to do our part to assist in the relief efforts, and we hope that we are just one of thousands of organizations that will help in the relief effort.” “Journalists don't need a get-out-of-jail-free card, ... Instead we should be given more access to information.” “This is going to be a tricky task because this particular individual apparently infected four people, but did not infect his four grown-up children who live with him.” “Our company has announced it is going to make a significant capital expense investment at Las Vegas Motor Speedway, but on the specifics of those projects I'm not ready to comment.” “Everybody had a lot of hopes for growth in the company and there were a lot of changes at that time.” “I don't think courts will ever let someone be convicted on secret evidence, no matter how conservative the judge, ... The tape eventually going public was very anticipatable and indeed it did.” “Today is the first I became aware of it, and that was when I read a press release.” “This area will offer a perspective on the sport of auto racing that never has been available to the average race fan. And the fan interactive area will bring an element of entertainment that is befitting of the culture of Las Vegas. The possibilities will be limitless.” “It's going to give our speedway one of the most competitive tracks on the circuit.” 12next Popular Quotes Widgets

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Fenetre Gallery opens its doors in midtown Harrisburg This photograph by Lydia Estes is being shown at the Fenetre Gallery in Harrisburg.A new window has opened into the art world. Fenetre Gallery is the latest Harrisburg Area Community College art gallery. Aiming to showcase new and innovative artists, the gallery will celebrate its opening with a reception on Friday as part of Third in the Burg festivities. The first exhibition is devoted to work by students in seventh through 12th grades from Adams, Cumberland, Dauphin, Franklin, Juniata, Lebanon, Perry and York counties. The students were honored by the Commonwealth Connections Academy in the online public school’s 2012 South Central Pennsylvania Scholastic Art and Writing Awards. Gallery coordinator Kim Banister hopes to feature emerging artists at Fenetre, whether they specialize in photography, mixed media or sculpting. “I’m hoping that [Fenetre Gallery] will be innovative and that it’s going to give artists who haven’t had as much experience showing more experience,” she said. “In that way, it’s going to be more developmental for them and experimental.” IF YOU GO WHEN: 6-8 p.m. Friday WHERE: Fenetre Gallery on the second floor of Midtown 2, Third and Reily streets, Harrisburg. COST: Free INFO: facebook.com/fenetregallery; 717-780-2435 PENNLIVE ON SOCIAL MEDIA

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Home / Books / Book Reviews / Book Review: House Of Cash: The Legacies Of My Father Johnny Cash by John Carter Cash Book Review: House Of Cash: The Legacies Of My Father Johnny Cash by John Carter Cash Posted by: Richard Marcus December 16, 2012 in Book Reviews, Books Please Share...000000As the only child of the marriage between two music icons, Johnny Cash and June Carter Cash, John Carter Cash grew up in what must have been a rarified atmosphere. When your parents’ house guests range from Billy Graham to Bono and you spend much of your early childhood on the road it’s fair to say that your upbringing isn’t going to be what anyone would call normal. However, your parents are still your parents no matter who they are, and you see them differently from the way anyone else does. Seeing them before they have their morning coffee or at home out of the spotlight gives you a far different perspective. Since Cash’s death in September 2003, only four months after his wife’s, Carter Cash has been combing through the family archives. As the release of four compilations of previously unreleased Cash material in the form of multi-disc sets through the Legacy label show he has proven to be a careful and meticulous caretaker of his parent’s memory. The musical treasures he has unearthed have reminded the world of not only the diversity of Cash’s musical interests but the depth and breadth of his world view. Now in an attempt to shine a light on the man he knew as his father, Carter Cash has opened the family vault a little wider. In a new book, House Of Cash: The Legacies Of My Father, Johnny Cash, published by Insight Editions, he has combined his memories of his father with an intriguing collection of Cash’s personal papers and photographs to bring the man behind the myth to life. You might wonder what there left to tell about Cash’s life. What with him having written two autobiographies, a movie having been made about his early life and courtship of June Carter, and him always being so open about his struggles with addictions and the other demons in his life, it’s hard to imagine there’s anything left to add to the story. If you’re reading the book in the hopes of finding some startling revelations or unearthing new tidbits about Cash then you will be disappointed. However, this is a son’s view of a very public figure, and as such we see the man from a far different perspective than any that’s been offered before. In and of itself, the close family tie lends House Of Cash a validity it would otherwise lack if it were merely another biography looking to mine already overworked material. Over the course of the book the picture Carter Cash draws of his father shows that in spite of his complexities, contradictions, and celebrity, he was still very much the down home country boy. In spite of living in fancy houses and being driven around in a limousine, he still would go squirrel hunting and cook them up for supper. On Valentine’s Day he might buy his wife fancy jewellery, but he’d also always make her a rough handmade card each year as well. A family shopping list included in the book reads much like any household’s, including such staples as white bread, bologna, and lard. True, that would change latter in life as he and his wife became more health conscious (among the items included in the book are family recipes for among other things the Cash family version of a vegetarian burger), but that doesn’t change the fact Johnny seemed to make a special effort to keep his family life as homespun as possible. Part of that attempt at keeping his family life grounded in the common place was both his and his wife’s refusal to become attached to material items. While some might say the trappings of celebrity don’t mean much to them, in the Carter Cash household those weren’t just words. They would do things like sell their classic Rolls Royce in order to pay for a trip to Israel for their employees and their families. After his wife died, Cash started giving away everything he owned. He had always claimed she was what was most precious to him, and once she was gone nothing else seemed to have much value for him anymore. Of course things weren’t always idyllic in the Cash family home. In the early 1980s Cash fell back into drug addiction again and Carter Cash tells about fearing his parents would end up divorcing, the fights at home being so bad. One of the letters included in the book is a copy of one Cash wrote to his son from the Betty Ford Clinic during this time. He doesn’t try to apologize or explain himself to his son. Instead he tells him what his days consist of, including how he’s attending a lecture on meditation, and that’s he learning how to meditate. He then goes on to define meditation as the listening half of prayer adding the codicil of “Isn’t that neat?” As you might expect from our public knowledge of Cash and his wife their faith played a very large role in their lives. While they were good friends with Billy Graham and Cash was never shy about stepping up and “testifying” about his beliefs, his son also remembers his father being completely without judgement about other people’s beliefs and practices. When his eldest daughter Rosanne, from his first marriage, was interested in astrology, he–instead of disapproving–told her to read as much as she could and find out all about it. What comes clear in this book is that while Cash might have been a devout Christian he believed in every individual’s freedom to find their own way. No matter how much success Cash achieved musically he continued to remain an outsider and something of a rebel. Without a record contract in the 1990s and looking to record again, he was reluctant to work with established Nashville producers. Which was when Rick Rubin walked into his dressing room and said, “Come into the studio with me and make the music you’ve always wanted to make. Sit in front of the microphone and sing your songs they way you want”. According to Carter Cash nobody had ever offered his father this opportunity before. When one of the resulting recordings, Unchained, won the 1996 Grammy award for best country album without any support from Nashville or country music stations Cash and Rubin took out a full page advertisement in music magazines. Featuring the infamous “finger photo” the copy read “American Recordings (Rubin’s label) and Johnny Cash would like to acknowledge the Nashville Music Establishment and country radio for your support”. Aside from his own memories of his father, Carter Cash has also solicited others close to his father for their recollections of his dad for inclusion in the House of Cash. These include friends of the family, Johnny Cash’s daughters from his first marriage, and friends like Kris Kristofferson and others from the music industry. Each of them comment on Cash’s generosity and kindness to both them personally and others. While this was never something Cash spoke about when he was alive, both he and his wife dedicated themselves to helping others as much as they were able. Unlike others who might see these types of acts as photo opportunities, they did these things because they were in a position to do them. From giving a drunk on the street a hundred dollar bill to visiting sick people in the hospital, it was all one in the same thing to them. The memorabilia included in this book, ranging from copies of everything from song lyrics in Cash’s handwriting, examples of his homemade Valentines for his wife, to samples of his photography and his dabbles in painting and sketching, are more than just curiosities. Each of them, no matter how seemingly trivial, are another little piece in the overall picture that was Johnny Cash. They also add to the highly personal flavour the author has created by telling the story of his father’s life as seen through his eyes growing up in the House Of Cash. It’s a tale told from the small boy who sees his father as a giant to be worshipped, to the slightly older boy worried about the wonderful world of his father and mother falling apart for reasons he doesn’t understand, to the young man and adult who realizes the amazing lessons his father taught him. Each stage in his parents’ life together is examined with honesty, and while Carter Cash never lost his respect for his father, he isn’t blind to his faults. In fact it says more about the artist than anything else, that in spite of his flaws and the hard times he put them through, his children still can love him unconditionally. Johnny Cash’s legacy as a musician has long been established. In House of Cash Carter Cash lets us know more about the man and the parent behind the guitar and out of the limelight. What comes clear is there wasn’t really much difference between the two. What we saw on stage, for good and for bad, was Johnny Cash. As it turns out, while there were some hard times, the good won out in the end. As Carter Cash puts it so succinctly in describing his parents’ marriage, “Their life was not necessarily ‘happily ever after’, but rather ‘happy after all’. Life isn’t always easy and isn’t always glamourous, but it’s what you do with what you have that makes it worthwhile. Carter Cash shows us how his father always did his best to make life for both himself and his family worthwhile. Like this:Like Loading... Biography book country music eds-pick House Of Cash: The Legacies Of My Father John John Carter Cash Johnny Cash June Carter Cash 2012-12-16 +Richard Marcus Tagged with: Biography book country music eds-pick House Of Cash: The Legacies Of My Father John John Carter Cash Johnny Cash June Carter Cash About Richard Marcus Richard Marcus is the author of two books commissioned by Ulysses Press, "What Will Happen In Eragon IV?" (2009) and "The Unofficial Heroes Of Olympus Companion". Aside from Blogcritics his work has appeared around the world in publications like the German edition of Rolling Stone Magazine and the multilingual web site Qantara.de. He has been writing for Blogcritics.org since 2005 and has published around 1900 articles at the site. Previous: TV Review: Glee – “Glee, Actually” Next: Christmas Episodes Exciting new fiction hitting the shelves in November Book Review: “Valkyrie on Planet Fury,” A Short S-F Novel by Lynne Murray Book Review: ‘No Such Thing as Death’ by Sarmina Rutter

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A Considerable Speck Everything we wanted to tell you about books, movies and music but were afraid you'd never ask The power of fragility Yasunari Kawabata's Thousand Cranesnothing which we are to perceive in this world equalsthe power of your intense fragility:whose texturecompels me with the color of its countries,rendering death and forever with each breathing- e e cummingsAmong all the great writers of the last century, there is no one quite like Kawabata. No other writer combines such a glorious sparseness of line with so exquisite a delicacy of tone. No other writer can write prose that is at once so simple, so unadorned, and yet so aching. Kawabata is at once the most poetic of writers and the least lyrical - no other author could write novels hundreds of pages long, and still have them deliver the emotional and aesthetic impact of a fine haiku. Kawabata's novels take your breath away with the very fragility of their persistence, the very thinness of their translucence. The beauty of his novels is that they are at once timeless and tremblingly alive, so that reading them, it is difficult to believe that they will survive, let alone conquer. Kawabata's prose is like fine, ancient porcelain, it is not simply the aching skill of his craftsmanship, it is the miracle that something so easily broken could have lasted through the centuries.Thousand Cranes, Kawabata's passionate, moving novel about young love tainted by old ghosts is a good example of this. The novel centres around a young bachelor, whose search for love is haunted by the memory of his father's infidelity, and the suffering and guilt that lingers on in the young man's heart from those days. As the novel progresses, this young man comes into contact with two of his father's former mistresses, one of whom he ends up having an affair with (and who helps him to achieve a better understanding of the happiness and passion that his father sought), the other who repeatedly insinuates himself into her life, trying to take control of it, and poisoning his young life by becoming the embodiment of his own tortured conscience. At the heart of the novel, though, is the relationship between this young man and a young woman who he comes to fall in love with, the daughter of one of his wife's mistresses, and the struggle of these two young people to break free of their common past, of the ghosts of their parents, that threaten to stifle them with shame and disgust.In many ways, then, Thousand Cranes is a ghost story. It is a novel about the permanence of the past, about the insistent gravity that it exercises on us, of how we, struggling to be our own selves, slip inevitably back into the old disguises, the old forms, the old conceits. History, in Kawabata, has the inevitably of ritual; ghosts are not things we remember but things we inherit, ceremonies of longing and desire that even the strongest among us may prove too weak to escape. As the novel flows inexorably towards its conclusion, you come to slowly appreciate the patience, the infinite delicacy with which Kawabata has laid his snares. Behind the cunning simplicity of his plot lies a great depth of psychological determinism. Things turn out the way they do in Thousand Cranes because that is the way they must, yet this is far from being a predictable novel - rather the inevitably of what happens is only obvious after the fact; the novel constantly surprises you, but after you get over your surprise you can see why things had to be that way.What makes Thousand Cranes such an exquisite read is that it is virtual palimpsest of metaphor and symbolism. Like a great miniaturist, Kawabata is a master of implicit meanings, capable of imbuing the most mundane objects with infinite consequence. Thus the novel turns the pristine simplicity of the tea ceremony into both a metaphor for the delicate maneouverings of desire and a symbol of the past that the two young people are trying to escape from, trying not to relive - a contradiction that is not restricted only to the tea ceremony, but lies at the very centre of the book's dramatic tension. Again and again, these young people deny their interest in the ceremony, again and again they claim to have given it up, yet their own emotions prove this a false denial, and the power of the ceremony proves too much for them to escape. The utensils used for the ceremony are also metaphors - passed down from generation to generation, they are symbols of the timelessness of the human versus the mortality of man, of the way the universal survives and repeats itself in the specific. In this sense, the tea ceremony is a symbolic mirror for the situation of the two young people, but this situation itself is an allegory for the larger relationship between the individual and the timeless, between the ubiquity of desire and the specificity of each man's love. What ultimately taints and destroys the young lovers is their knowledge of this contradiction - that the things we own and consider special to us, may be little more than keepsakes bequeathed to us by time, magical forms that will survive beyond us, continuing their endless journey with other masters when we have turned to dust. In Thousand Cranes, the lovers try to break away from this cycle, and end up being destroyed by it.What's amazing about all this is that Thousand Cranes is not even Kawabata's finest book. Of the ones I have read, I would place both Snow Country and Beauty and Sadness above it, and I have a special fondness for the Master of Go. Thousand Cranes may be the most expressive and impassioned of Kawabata's work, but for that reason it seems to me to lack the almost zen-like calmness of some of his other work. For all that, this is an astonishingly graceful, almost pristine novel. Kawabata is a line-artist, his novels are not great baroque paintings adorned with passionate colours, but rather sketches of hypnotic power, drawings where the simple accuracy of the line makes the figures come alive, so that the merest hint is enough for you to imagine the rest.Bottomline: Read Kawabata. If you haven't read him already, then Thousand Cranes is as good a place as any to start (better perhaps, given that it's shorter and perhaps a little more accessible). If you have read some of his other work but haven't got around to Thousand Cranes, then you already know what I'm talking about and I can only say that Thousand Cranes won't disappoint you. All this is not important though. What's important is only that you read this man, because he is one of the greatest artists of the last century, a true master of his form, and a writer your life will be poorer for for not having read. posted by Falstaff at 6:14 PM Mrudula said... Kawabata's prose is like ikebana, simple,very difficult to achieve and breathtakingly beautiful. I have read Beauty and Sadness, Master of Go and Snow Country. Neel said... after reading Snow Country and Thousand Cranes, I am deeply touched by Kawabata's writings. I feel, I am reading not Kawabata but a civilization where the central theme is Beauty and repose. Just a correction. It was the daughter of one of his father's mistresses, not wife. Thank you for a perceptive summary of the plot and nuances, and the subtle nuances are what the story is about. I just finished reading the story and found the atmosphere to build quietly and ultimately with force. studiocirq said... This is one of the most beautiful novels I have read. Having crammed up on Japanese culture before my vacation here, I am sitting on the 18th floor of a Shinjuku hotel with the sliding doors open to a bright, crowded, noisy city below and recalling Juni'ichiro Tanizaki's "In Praise of Shadows", about how the Japanese aesthetic is for interiors that are dark and old, as of ages. And Donald Ritchie's description of "wabi sabi" - defined as something that creates a "spiritual longing, a sense of transience, a tragic melancholy". Thousand Cranes seems to be the embodiment of wabi sabi. speckone Speck 42 A fine imbalance The soul selects her own society With malice towards none, with charity for all The Fondest Heart Human, all too human A Dream Betrayed A brush with death Rabbit, Rabbit, Were-fore art thou Rabid? Making your blood run cold Sweet though in sadness

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Driving Lessons by Catherine Dexter When she is sent to the small town in South Dakota where she had lived briefly with her great-grandmother after her father's death, fourteen-year-old Mattie must sort out her confused feelings about why she is there, her mother's possible remarriage, and the free-spirited seventeen-year-old she has just met. About Catherine Dexter Dexter as a child spent many happy summers at her grandmother's big, old house in South Dakota, a gathering place for aunts and uncles and cousins from all over. by Candlewick. Young Adult, Children's Books, Literature & Fiction. Unrated Critic Reviews for Driving Lessons Mattie Lewis, 14, has been banished to South Dakota for the summer in a story that perfectly captures the voice, the thoughts, and the personality of an unhappy teenager. | Read Full Review of Driving Lessons In her struggle to recover memories of her father, who died 10 years ago, Mattie opens up to Lester's uncle Philip, a town librarian who shows her historical primary documents of Mattie's great-grandfather.

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May Swenson: Collected Poems, edited by Langdon Hammer by Alfred Corn from Poetry, May Swenson’s centenary was marked this past year by a Library of America edition of her seven published volumes, with the addition of five prose pieces and more than a hundred pages of poems not collected before now. As editor, Langdon Hammer includes a chronology of her life and a brief, useful set of notes. Clearly it’s time for a close look at Swenson’s achievements, which have never been clearly defined. Definition won’t be easy, and it has to begin by taking her biography into account. The profile of the provincial who comes to New York in hopes of becoming a celebrated artist is standard enough, but in Swenson’s case several non-routine factors should also be considered. Her parents were Swedish immigrants, Mormon converts come to the Utah homeland, who brought her up in their adopted faith. But at some point she realized she was a lesbian. This was one more reason to leave behind the Latter-Day Saints, a decision she made without ever publicly denouncing or deriding them. For her, leading a semi-bohemian life as a lesbian in Greenwich Village seemed to be a sufficient repudiation. And yet, despite her long residence in New York, where career affiliations are common, she never joined any poetic movement or literary coterie. It’s as though she was determined not to give up her individual perspective or be neatly pigeonholed. One consistent, almost obsessive interest she displayed was in the person and the work of Elizabeth Bishop, whom she met at Yaddo in 1950. The pamphlet Dear Elizabeth: Five Poems & Three Letters to Elizabeth Bishop, published a decade after Swenson’s death, traces the contour of this relationship, which was conducted more or less at arm’s length, and not merely because Bishop moved to Brazil soon after they became friends. North & South had already been published when the two met, whereas Swenson’s debut had to wait four more years. Bishop was well connected to important poets of the day, she was a Vassar graduate, and her background was upper middle class. The letters between them, though friendly, at first show Swenson as the disciple and Bishop as the mentor. On at least one occasion Swenson typed a manuscript for the older poet, but there is no record of Bishop reciprocating. Would they have become fellow literary travelers at all if they hadn’t both been lesbians? In a letter to a friend, Bishop early on described Swenson as “awfully cute” and said she wrote “extraordinary poems.” There was never a love affair, but both the pamphlet mentioned above and the new volume give us an unpublished draft (“Somebody Who’s Somebody”) in which Swenson states her attraction in these terms: I was nuts about you. And I couldn’t say a word. And you never said the word that would have loosened all my doggy love and let me jump you like a suddenly unhobbled hound wild for love. This is an unpublished, unpolished work, but the onrush of sincerity is unmistakable. I’m guessing that the unmentioned word is “lesbian,” and in all fairness to Bishop, the word never appears in Swenson’s work either. She wrote many love poems, always managing to leave the gender of the beloved vague. That will seem less bizarre once it’s recalled that, in the first part of Swenson’s life, same-sex acts were still listed in the law books as felonies. In later years, after Swenson had some success, Bishop’s epistolary tone changes, and she writes to Swenson as one does to a peer. Yet in a letter to Lowell, she said of Swenson’s poetry that she liked it “in spots.” On her side, Swenson says she admires Bishop’s poem “The Shampoo,” but says she doesn’t quite understand what is going on in it. Clearly the two poets were not each other’s ideal audience. Both were fascinated by the animal kingdom, both liked to use visual description in composing their poems, and both were able to hint in their poems at lesbian relationships. But the resemblance goes no further. The other influence on Swenson was E.E. Cummings—not so much his content as his playfulness with typography, as well as his predilection for word fracture and reassembly. There is also a relationship to Gertrude Stein’s prose. Swenson clearly admired Stein, too, and adapted Steinian repetition and phrasal massage for many of her poems. If we keep these two influences in mind, a poem like “I’ll Be” will seem less eccentric: to see and think and say: am too to see and think, and say: “I I'll to see, and think, and say: “I was I'll be to . . . I'll to . . . Dead The nonstandard formatting of this poem emphasizes its Steinian incantatory quality, an effect attained by recycling identical words in slightly varied phrasing. It may produce a feeling of tedium, but Swenson’s poem is staking a claim to something as grand as post-mortem survival, and our routine resistance to that idea is scrambled and beaten down by the disorienting presentation. The obstacle course of lineation induces an uncertainty that numbs what I’ll call the reflex of disagreement, the basic skepticism we bring to any new text. We can read the poem left to right (sometimes following an enjambment) and not be deterred by the anomalous spacing as we discover normal sense; or we can read the columns vertically down and be entertained by nonsemantic repetition and variations of sound. We may even be persuaded by the poem’s argument that the author, once dead, still continues to “be.” It’s also possible that some readers will hear the poem as an echo of a verse from the Book of Mormon (2 Nephi 2:25), which says, “Adam fell that men might be; and men are, that they might have joy.” The placement of words on the page in “I’ll Be” isn’t wildly eccentric, but many of Swenson’s poems are a typesetter’s headache, particularly those in the volume titled Iconographs (1970). That book appeared one year after John Hollander’s Types of Shape, a series of poems conformed to the silhouette of various objects. The traditional term for this genre is carmen figuratum (shaped lyric), and we find examples of it in classical Greek, in poems of George Herbert’s like “Easter-wings,” Apollinaire’s Calligrammes, and the concrete poetry of the mid-twentieth century. Swenson’s shapes seldom correspond strictly (as Hollander’s do) to the silhouette of the objects being treated. The poems’ zigzags and gaps, deploying something that might be called lexical kinesis, suggest, rather than photocopy, their subject phenomena. R.R. Knudson, Swenson’s last life companion, assembled (with Suzzanne Bigelow), a posthumous volume titled May Swenson: A Poet’s Life in Photos, gathering photographs, a summary of the main life events of the poet, and citations from some of her letters. In one of these, Swenson speaks of the Iconographs volume this way: “I get bored with the conventional stanza-and-verse look of poetry.... I wanted to make my poems do what they say.... The spaces between the lines are actively and visually important, too.” And so they are, in clever ways. But then, in her selected poems volume, Swenson recast a few of the shaped poems, giving them “the conventional stanza-and-verse look of poetry.” No explanation is given for the decision, leaving us with a question: Which is the true version of the poem? Here’s one opinion: The poem “Feel Me,” an account of her father’s death, is better in the traditional format because the implication of game-playing in the iconograph clashes a little with the seriousness of the narrative. On the other hand, “The James Bond Movie,” a wicked satire of 007’s machismo, is even funnier in her shaped format, where it is made to suggest the female pelvic region. I should mention that not all the iconographs are printed exactly as they originally appeared. A separate section of the volume gives facsimiles of several originals, typed in the Courier font of the traditional typewriter, which assigns an equal space to each letter and character. This makes for a graphic precision not perfectly reproducible in modern computer typesetting. Also, the page dimensions of the Library of America edition don’t work well for some of the iconographs. If you want to have all of Swenson and have it in perfect form, you will have to acquire Iconographs separately. That book might be considered an aberration, yet some mild typographical experiments appear in her very first, where we find poems whose right-hand margin is justified and the left is not. Or poems whose left-hand margins slant at an angle down the page. Typographical play, word fractures, and homophonic punning recur throughout Swenson’s oeuvre, but seem to decrease in frequency over the decades. I speculate that, as public poetry readings became more and more common, Swenson came to view vocal performance of typographical poems as not fully effective and in some cases impossible. Her early poems mostly avoid traditional meter and end rhyme but ad hoc interlinear rhymes arrive often enough to constitute an earmark of her style. Toward the end of her career she occasionally tackled a poem in meter and rhyme, though the results sound a little offbeat, lacking the lyric inevitability of, say, Andrew Marvell or Heinrich Heine. Swenson’s default approach is to allow for split-second impulses, digressions, and disruptions, mental habits that can’t easily be made to harmonize with a sonic template established in advance. As for her persistent preoccupations, the poem “An Unknown Island” seems to propose what Harold Bloom has called the internalization of quest romance—at least, to judge by a line that says, “The frontiers are internal now” and others invoking “the oceanic span of thought/the soul’s geography.” But this is an early work, and the bulk of Swenson’s later poetry instead takes up the task of describing the external world: landscapes, seascapes, fauna, and flora. She was a keen birdwatcher, and many of the poems describe avian species that appeal to her. She departs from the tradition of using birds as emblems for some human virtue or moral quality, content to render them simply as they are. Doing so implies that the mere appearance of natural phenomena is a sufficient subject. In such poems, the Aesop’s fables “moral” is successfully avoided, along with the Marianne Moore equivalent, but inevitably a question about the effectiveness of pure description arises. Wouldn’t a photograph or video convey visual information more completely and accurately? Traditionally, poetry incorporated description only as part of a more general argument. Most poets have felt that description is valuable when it involves surprising metaphors, engaging sonic texture, and unfamiliar combinations of words. A verbal art requires more than saying that, for example, a cardinal is bright red and has a fat beak. Sometimes Swenson gives us that overplus and sometimes not. Most effective of all are those Swenson poems that combine detailed observation, philosophical reflection, and autobiography. One example is “October,” which begins by describing the sea on a rainy autumn day and returns to the poet’s seaside house, the evocation supported by consonantal repetition and astute enjambment: Knuckles of the rain on the roof, chuckles into the drain- pipe, spatters on the leaves that litter the grass. Melancholy morning, the tide full in the bay, an overflowing bowl. Memories of childhood and her father wash in on the tide of memory: Dad used to darn our socks when we were small, and cut our hair and toenails. . . . . . . . . . . . . . . . . . . . . . . . . . . He built our dining table, chairs, the buffet, the bay window seat, my little desk of cherry wood where I wrote my first poems. She goes on to recall how he sliced off the tip of his thumb with an electric saw, the scar still visible at his funeral. The sense of service and obligation is comparable to what Robert Hayden recalls in “Those Winter Sundays.” The poem concludes by observing a red-winged blackbird, lingering near her house because it is too old to join in the seasonal migration. Swenson doesn’t say so directly, but we sense that she intends a symbolic fusion of her father and the bird, one sign of which is the patch of red on the bird’s wings. It’s a reminder of paternal sacrifice in a blend of observation and memory summoning up the first stirrings of a poet’s vocation. Just possibly the elder Swenson’s faith affects the poet’s portrayal of him. A passage in the Book of Mormon, in the thirty-seventh chapter of Alma, says, “by small and simple things are great things brought to pass.” This is said when the figure of Alma urges his son Helaman to keep an accurate record of his people and their doings. Much of Swenson’s poetry can be described as accurate record keeping, though secular and comparable to the work of a natural scientist or psychologist. Her fascination with bird flight takes on an aeronautic inflection in a number of poems that deal with airships and the exploration of space. In his preface to the Knudson book cited previously, Richard Wilbur recalls his friendship with the poet and says, “Like Emily Dickinson, who much influenced her, May lived in the universe. No poet of our day has said and conjectured so much about stars and space.” An early poem speculated about the possibility of a moon landing, and a later one described that event from the astronauts’ point of view. Swenson poems describe no less than four space shuttle launches, and in exciting terms (“an elongated Taj Mahal jumps upward”). One of these is the disastrous Challenger launch of 1986, which exploded with the teacher Christa McAuliffe on board. Swenson had already registered some disenchantment regarding the previous launch, noting its pollution of the atmosphere and the accumulation of space debris in orbit around the planet. Also its sinister, macho role as propaganda in the Cold War: We will equip (and expose) ourselves in space, the High Frontier, half of Earth showing the other half who’s biggest, stiffest, most macho, who can get it UP, can get it OFF, the quickest. Once Challenger has crashed, she never returns to the subject of space launches, content thereafter to observe celestial bodies from the viewing platform of Earth. More often, her subject is Terra itself and its living inhabitants. Given that most of her poems are less than two pages long, I’m guessing that the desire to have tried everything led her to write “Banyan,” a twenty-six-page fantasy sequence mixing prose and poetry as it narrates the adventures of two animal characters exploring a huge, labyrinthine banyan tree. The narrator is named Tanto, and his companion is Blondi, a white cockatoo he has liberated from its cage in a library. The tale has a certain whimsical charm, despite its wackiness and narrative incoherence. Unlike other Swenson poems, it concludes with a “moral,” the tag lines of the last book she published. The purpose of life is To find the purpose of life To find the purpose Of life is The purpose A statement too bald for poetry, maybe, but echoing the beliefs of many sages. The word “invention” is from Latin—“invenire”—“to find.” Not as well known as other poets of her generation, May Swenson and her surprising inventions take us to new territory: earthly, lunar, or psychological. She is a good find. * * * About the Author Alfred Corn's tenth book of poems is Tables (Press 53, 2013). Unions (Barrow Street Press) is forthcoming in March 2014. Poetry Editor: Don Share Art Director: Fred Sasaki Managing Editor: Valerie Jean Johnson Copyright © 2013 by Alfred Corn All rights reserved. Reproduced by Poetry Daily with permission For previous PD Prose Features, visit our Prose Archive Today's Poem | About PD | PD News | Archives | Support PD | Contact Us | HOME

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36 COM 8B.34 Cultural Properties - Garrison Border Town of Elvas and its Fortifications (Portugal) 1. Having examined Documents WHC-12/36.COM/8B and WHC-12/36.COM/INF.8B1, 2. Inscribes the Garrison Border Town of Elvas and its Fortifications, Portugal,on the World Heritage List on the basis of criterion (iv); 3. Adopts the following Statement of Outstanding Universal Value: Guarding the key border crossing between Portugal’s capital Lisbon and Spain’s capital Madrid, in an undulating, riverine landscape, the Garrison Town of Elvas was fortified extensively from the 17th to the 19th centuries to become the largest bulwarked dry ditch system in the world, with outlying forts built on surrounding hills to accommodate the changing needs of defensive warfare. The town was supplied with water by the 7km-long Amoreira Aqueduct, built in the late 16th and early 17th centuries and a key feature enabling the stronghold to withstand a lengthy siege. Within the walls, the town contains extensive barracks and other military buildings, as well as churches and monasteries, some adapted to military functions. The property includes seven components: the Historic Centre, the Amoreira Aqueduct, the Fort of Santa Luzia, and the covered way linking it to the Historic Centre, the Fort of Graça, and the Fortlets of São Mamede, São Pedro and São Domingos. The historic centre with its castle, remnant walls and civil and religious buildings demonstrate the development of Elvas as three successive walled towns from the 10th to the 14th century and its subsequent incorporation into the major fortification works of the Portuguese War of the Restoration period (1641-68), when a wide range of military buildings were built for its role as a garrison town. The bulwarked fortifications of the town and the outlying Fort of Santa Luzia and Graça and fortlets of São Mamede, São Pedro and São Domingos reflect the evolution of the Dutch system of fortification into an outstanding dry-ditch defence system. These surviving fortifications were begun in 1643 and comprise twelve forts inserted in an irregular polygon, roughly centred on the castle and making use of a landscape of hills. The bulwarks are battered, surrounded by a dry ditch and counterscarp and further protected by a number of ravelins. The fortifications were designed by the Dutch Jesuit Cosmander, based on the treaties of fortification engineer Samuel Marolois, whose work together with that of Simon Stevin and Adam Fritach launched the Dutch school of fortification worldwide. Cosmander applied the geometric theory of Marolois to the irregular topography of Elvas, to produce a defensive system considered a masterpiece of its time. In the 18th century the Fort of Graça was constructed in response to the development of longer-range artillery, as well as four fortlets to the west. As the remains of an enormous war fortress, Elvas is exceptional as a military landscape with visual and functional relationships between its fortifications, representing developments in military architecture and technology drawn from Dutch, Italian, French and English military theory and practice. Elvas is an outstanding demonstration of Portugal’s desire for land and autonomy, and the universal aspirations of European nation States in the 16th-17th centuries. Criterion (iv): Elvas is an outstanding example of a garrison town and its dry-ditched bulwarked defence system, which developed in response to disruptions in the balance of power within 17th century Europe. Elvas can thus be seen as representing the universal aspirations of European nation States in the 16th-17th centuries for autonomy and land. All elements necessary to express the Outstanding Universal Value of the property are included within the property boundary. A number of buildings are unoccupied and are closed up against squatters and vandalism, and are subject to encroachment by vegetation. In particular the Fort of Graça, being relatively isolated and unused is vulnerable to vandalism. Views of the fortifications from a distance and between each other are vulnerable to new development and the visual integrity of the property needs to be protected by a slightly enlarged buffer zone with adequate controls. The large collection of original plans and drawings, military reports, photographs and descriptions testify to the authenticity of the property. Overall, the form and materials of the fortifications are still in virtually the same state as when they were rendered obsolete in the 19th century. The military and religious buildings have largely retained their function or another appropriate use until the present. The authenticity of the setting is impacted by large communication masts and is vulnerable to new development. The property will be declared a National Monument subject to the National Law No. 107/2001 on Cultural Heritage by the end of 2012. The buffer zone will be declared a Special Protection Area subject to controls in the Municipal Master Plan by the end of 2012. This whole area including the property will then be managed by the Municipality with input from the Ministry of Culture through IGESPAR. There is a need to slightly enlarge the buffer zone to protect the views between the Fortlet of Sāo Domingo and the Fort of Graça. The Integrated Management Plan for the Fortifications of Elvas (IMPFE) aims to bring all stakeholders together to ensure the integrity of the property and enhance its potential use. It aims to control the buffer zone area as well as the area of the property, focusing on institutional cooperation, involvement of private stakeholders, educational, scientific and cultural initiatives and dissemination of information. The Management Plan will be implemented by the Office for the Fortifications of Elvas within the city of Elvas, once this is appointed by the Mayor. In order to underpin the Plan there is a need to establish a full inventory of the features and structures as a basis for management and monitoring. There is also a need for the preparation of guidance on appropriate design for new and infill buildings. 4. Recommends that the State Party give consideration to the following: a) Advancing as soon as possible in the identification of financial resources and new uses for the unoccupied buildings, particularly the Fort of Graça, b) Establishing a full inventory of features and structures for the property as a basis for conservation, and extending the monitoring system to cover this as part of the Management Plan. The inventory should be incorporated in the Municipal Master Plan, c) Including guidelines in the Management Plan on appropriate design for new or infill buildings within the historic centre and outside the walls, and incorporating these in the Municipal Master Plan. WHC-12/36.COM/8B WHC-12/36.COM/INF.8B1 Themes: Inscriptions on the World Heritage List, Outstanding Universal Value States Parties: Portugal Properties: Garrison Border Town of Elvas and its Fortifications Session: 36COM The Convention

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Home > Tribute to 20th Century Author J.D. Salinger Tribute: Private Life of J.D. Salinger by Scott Laming Letters to J.D. Salinger Chris Kubica Letters to J.D.Salinger includes more than 150 personal letters addressed to Salinger from well-known writers, editors, critics, journalists, and other luminaries, as well as from students, teachers, and readers around the world, some of whom have just discovered Salinger for the first time. Their voices testify to the lasting impressions Salinger�s ideas and emotions have made on so many diverse lives. Did you know? Salinger viewed himself as the successor to F. Scott Fitzgerald and Ernest Hemingway who also wrote great short stories. Salinger vowed that none of his works would be adapted to film after Uncle Wiggily in Connecticut was released as the 1950 tear-jerker, My Foolish Heart. During WWII, Salinger served in the Counter Intelligence Corps. J.D. Salinger worked as an apprentice in a Polish slaughterhouse while in Europe in 1937. The title The Catcher in the Rye was inspired by Robert Burns' poem Coming Through the Rye. The Catcher in the Rye has been both one of the most taught and one of the most banned books. The short story Blue Melody was originally called Scratchy Needle on a Phonograph Record but was renamed by Cosmopolitan Magazine prior to publication. Salinger dated Oona O'Neill, daughter of playwright Eugene O'Neill but the relationship ended when Oona began seeing Charlie Chaplin. In 1941, Salinger did a brief stint on a Caribbean cruise ship as an activity director. A 53-year-old Salinger had a year-long relationship with 18-year-old Joyce Maynard who later told of the relationship in her autobiography, At Home in the World: A Memoir. In Lemony Snicket's A Series of Unfortunate Events series, the character Esmé Squalor is referenced. Salinger Quotes I'm quite illiterate, but I read a lot. I'm sick of not having the courage to be an absolute nobody. The worst thing that being an artist could do to you would be that it would make you slightly unhappy constantly. An artist's only concern is to shoot for some kind of perfection, and on his own terms, not anyone else's. I am a kind of paranoid in reverse. I suspect people of plotting to make me happy. You take somebody that cries their goddam eyes out over phoney stuff in the movies, and nine times out of ten they're mean bastards at heart. All morons hate it when you call them a moron. I don't exactly know what I mean by that, but I mean it. Goddam money. It always ends up making you blue as hell. I'm sick of just liking people. I wish to God I could meet somebody I could respect. What really knocks me out is a book that, when you're all done reading it, you wish the author that wrote it was a terrific friend of yours and you could call him up on the phone whenever you felt like it. Signed, First Edition Find All First Editions J.D. Salinger – literature’s most famous recluse - died on January 27th, 2010, at age 91. What exactly was his crime? He wrote one of the most popular and influential novels of the 20th century and then decided he hated publishing. He decided he preferred his own company and the quiet life in small-town New Hampshire rather than hustle and bustle of editors messing with his work, long lines of fans at book signings, interview after interview where the journalists keep asking the same questions about Holden Caulfield, and all the other demands of being a top-flight author. And you know what? Salinger didn’t have to do anything because

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Web Showcase Mail Desk Animefringe table of contents in your e-mail every month! (100% spam-free) Details / FAQ animefringe april 2003 / feature Animefringe Coverage: Argentosoma - Putting the "Frank" in Frankenstein By Patrick King Just as in Neo Ranga (also featured this month), Argentosoma (or Argent Soma, as it is known in Japan) shows what happens when different races collide. Rather than a gigantic island-god, however, the other race in Argentosoma is from outer space. This series unfolds slowly and relies heavily upon the use of flashbacks to flesh out the story, so early-on details are a bit sketchy. From what the first volume seems to suggest, some time before the chronological setting of the show, an alien race descended to Earth, wreaking havoc with superior destructive technology. Many humans lost their lives and whole cities were destroyed as these beings had their way with the Earth. They still come down and take lives when they get the chance, though their motivation or desires remain unknown to the general public. In an effort to better understand these creatures, Dr. Noguchi, a noted scientist and professor, spent all of his spare time researching their race. Not too long prior to the start of the show, he recovered parts of a ruined invader after an attack and began to study the corpse in detail within the subterranean lab he named "Morgue." Maki Agata, the love interest of Takuto Kaneshiro -- the main character -- helped Dr. Noguchi conduct his experiments on the possible reconstruction of the alien parts into a whole being once again. Takuto's expertise in chemical engineering caught Noguchi's interest, enough so that he brought the college student in to aid him and Maki. Tragically, the day Takuto arrived as a member of the scientific team was a day that would effectively end his life, as he knew it. When Takuto arrived at the underground lab, Dr. Noguchi was ready to bring the alien back to life. However, in the middle of the revival process, a government group stormed the compound and sent a power surge through the equipment. This didn't sit well with the alien, dubbed "Frank" by Noguchi, who awoke enraged. Frank promptly destroyed Morgue and escaped. Takuto was the sole survivor. As the story unfolds, the writers present many interesting twists and turns. While in the hospital, a man who looks and acts like the devil himself contacts Takuto, planting the seeds of fury that will sprout into the broken man's desire for revenge against the monster that took Maki away from him. Far away from the city, Frank meets a young girl by the name of Harriet Bartholomew who looks remarkably similar to Maki. Her gentle nature helps her come to the conclusion that the grotesque alien is in fact an Elf from a magical realm. She quickly befriends the behemoth and in so doing binds her fate to that of Takuto. When Takuto finally recovers from his wounds, half his body is left irrevocably scarred. Since everything in his life was destroyed the night of the revival, he decides to kill his former persona and take on a new name -- Ryu Soma. As Ryu Soma, he vows to hunt down the beast that soured his existence. He quickly discovers that the most practical way to such an end would be to join the paramilitary force known as "Funeral." However, the members of Funeral want to do more to Frank than simply destroy him -- he may be the key to defeating the alien forces once and for all, if they can find a way to control his power. This series is full of intrigue and drama, and if the first bunch of episodes is any indication, there's going to be quite a bit of sorrow to come. Yet, even though it's gritty and somewhat of a downer at times, it can also be funny thanks to the input of Harriet and some of the friendlier teammates of Funeral. So far, the show has balanced its darker elements admirably with the lighter side of things, and it seems likely that future episodes will continue that trend. Put together on the top end of things by Hajime Yatate (the team behind a number of other popular anime series, perhaps most notably Cowboy Bebop), this is a very solid show with a plot anyone can follow. For the mech enthusiasts, there's plenty of interesting technology to drool over -- in particular the well-animated SARG units employed by Funeral -- and for the conspiracy fiends, it's hard to tell who's doing what for the good of whom. Overall, I have a feeling that this is going to be an interesting show that stays mysterious without being annoyingly cloudy in the story department. The first volume can be purchased alone or with a lovely art box from Bandai, which is a practice I'd like to see continue in the future. I wonder if anime companies know how many first volumes I've purchased just to get a hold of a limited edition collector's box. When it comes to things like that, I guess I just have no willpower. 6

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Let My People Go: Bible Stories Told by a Freeman of Color by Patricia C. McKissack, Fredrick L. McKissack Jr., James E. Ransome (Illustrator), James Ransome (Illustrator), Fredrick McKissack Overview "Come join me as I take you back to Charleston, South Carolina, to my father's forge in the early 1800's. Sit with me on the woodpile as he tells a tale of faith, hope, or love." In this extraordinary collection, Charlotte Jefferies and her father Price, a former slave, introduce us to twelve best loved Bible tales, from Genesis to Daniel, and reveal their significance in the lives of African Americans—and indeed of all oppressed peoples. ... The Numberlys Only $8.99 with the Purchase of Any Kids' Book details Hardcover (1 ED) Let My People Go: Bible Stories Told by a Freeman of Color (eBook) Publisher: Atheneum Books for Young Readers Let My People Go: Bible Stories Told by a Freeman of Color (1 ED) Kids' Club Eligible. See More Details. Uncle Jed's Barber ShopJames E. Ransome Satchel PaigeLesa Cline-Ransome The Song of Francis and the...Pat Mora All the Trouble You NeedJervey Tervalon Quilt AlphabetLesa Cline-Ransome Dirty Joe, the Pirate: A True...Bill Harley Skinny Brown DogKimberly Willis Holt I Face the WindVicki Cobb Doña Flor: A Tall Tale about a...Pat Mora Under the Quilt of NightDeborah Hopkinson "Come join me as I take you back to Charleston, South Carolina, to my father's forge in the early 1800's. Sit with me on the woodpile as he tells a tale of faith, hope, or love." In this extraordinary collection, Charlotte Jefferies and her father Price, a former slave, introduce us to twelve best loved Bible tales, from Genesis to Daniel, and reveal their significance in the lives of African Americans—and indeed of all oppressed peoples. When Charlotte wants to understand the cruel injustices of her time, she turns to her father. Does the powerful slaveholder, Mr. Sam Riley, who seems to own all that surrounds them, also own the sun and moon? she wonders. Price's answer is to tell the story of Creation. How can God allow an evil like slavery to exist? she asks. Price responds by telling the story of the Hebrews' Exodus — and shows Charlotte that someday their people, too, will be free. With exquisite clarity, Patricia and Fredrick McKissack and James Ransome — a Newbery Honor winner and all Coretta Scott King Award winners — brilliantly illuminate the parallels between the stories of the Jews and African-American history. Let My People Go is a triumphant celebration of both the human spirit and the enduring power of story as a source of strength. Our hope is that this book will be like a lighthouse that can guide young readers through good times and bad....The ideas that these ancient stories hold are not for one people, at one time, in one place. They are for all of us, for all times, everywhere. —from the Authors' Note to Let My People Go The daughter of a free black man who worked as a blacksmith in Charleston, South Carolina, in the early 1800s recalls the stories from the Bible that her father shared with her, relating them to the experiences of African Americans. In this stunning achievement, the renowned husband-and-wife team sets 12 Old Testament stories in the context of early 19th-century South Carolina, illustrated with Ransome's glorious paintings. As the McKissacks state in their introduction, "The stories are timeless treasures, universally read and honored, but no group embraced the Hebrew heroes of old more than African Americans during slavery times." The dozen tales unfold as Price Jeffries, who won his freedom in a seaman's lottery, tells them to his daughter in answer to her questions about what she sees happening in the world around her. The collection opens as father and daughter encounter a constable for wealthy slaveholder Mr. Riley and Charlotte asks her father, "Do Mr. Sam Riley own the moon?" He responds with the story of creation and tells her, "Nobody can make a slave of the moon, the sun, the stars, or any part of what God created, no matter how rich they may be. God made something wonderful out of nothing. What human being can do that?" Through the characters of Charlotte and Price Jeffries, based on historical abolitionists, the McKissacks answer the toughest questions of this troubling period of American history with stories of faith. When Charlotte witnesses an African child's death on the auction block, she asks her father, "Why is it God lets one person buy and own another person?" He answers with the story of Eden and "how God let the first people make their own choices." The story of the courtship of Charlotte's parents ("a love worth waiting for") leads the way to that of Jacob and Rachel. Each Old Testament story builds upon the one before it, weaving the development of Charlotte's personal history and the Biblical stories into a seamless whole. The volume's design further integrates the interlacing elements: Charlotte's story is set in warm bluish type, the Biblical retellings in classic black. Ransome's remarkable portraits capture the full range of Charlotte's and Price's emotions, as well as the serene dignity of leaders such as Solomon and Moses and of Daniel in the lion's den. His version of dramatic Old Testament events, particularly his vision of the creation, are captivating. Readers will likely return to this extraordinary volume again and again, knowing that the answers to life's painful questions reside in the stories of faith that have comforted others for thousands of years. All ages. (Oct.) - Marilyn Courtot Twelve Bible tales are retold by a freeman of color, Price Jefferies, to his daughter Charlotte. The stories clearly show the similarities between the plight of the African-American slaves and the Jews. The approach the McKissacks have taken allows them to relate the Biblical stories that were the solace of many slaves and to delve as well into the issues of slavery and life in Charleston during the early 1800s. Ransome's illustrations beautifully depict Jefferies at his forge and in other facets of his life. In addition, he has painted glorious illustrations of scenes from the Bible-such as Joseph, at thirty, standing on the steps of Pharaoh's palace with his brothers kneeling before him, and dramatic pictures of Queen Esther. The stories are told in the speech of the day, yet there is no problem understanding the text. Notes and references round out the book. School Library JournalGr 3 Up-A masterful combination of Bible stories and African-American history. Price Jefferies, a former slave but now a freeman of color, interprets the ways of God. He compares the experiences of slaves and their masters in early 19th-century Charleston, SC, to those of well-known figures of the Old Testament. Jefferies, a blacksmith, has a close and loving relationship with his daughter, Charlotte, and tells her, in his own simple but eloquent manner, the various Bible stories that help to connect the trials of the Hebrew people with their own. Every tale has an uplifting, hopeful, yet realistic moral: good and bad choices (Adam and Eve and Cain and Abel), forgiveness (Joseph), patient love (Jacob and Rachel), courage (Esther), and so on. Each one is beautifully intertwined with a problem or situation that the girl observes and about which she questions her father. The poignant juxtaposition of the Biblical characters and Charlotte's personal narrative is authentic and moving. Written in a straightforward style, the text alternates between blue typography (Charlotte's words) and black (her father's), in a handsome format. Unfortunately, in the story of Ruth and Naomi, the tribes of Israel are mistakenly described as being the ancestors rather than the descendants of the 12 sons of Jacob. The occasional illustrations are powerful oil paintings in rich colors, emotional and evocative. Included are introductory words from the authors, illustrator, and fictitious narrator; notes; and both historical and Biblical bibliographies. This fresh view of how the eternal truths of life span the centuries gives this work a special place among Bible story collections, books of virtue, and the history of American slavery, appropriate for any collection.-Patricia Pearl Dole, formerly at First Presbyterian School, Martinsville, VA Edition description: 1 EDEdition number: 1Pages: 144Age range: 12 - 13 Years Lexile: 930L Product dimensions: 8.80 (w) x 11.20 (h) x 0.70 (d) Children - Religion & Beliefs Children - Fiction & Literature Fiction - People, Places & Cultures Patricia C. McKissack is the author of many highly acclaimed books for children, including Goin' Someplace Special, a Coretta Scott King Award winner; The Honest-to-Goodness Truth; Let My People Go, written with her husband, Fredrick, and recipient of the NAACP Image Award; The Dark-Thirty, a Newbery Honor Book and Coretta Scott King Award winner; and Mirandy and Brother Wind, recipient of the Caldecott Medal and a Coretta Scott King Honor Book. She lives in St. Louis, Missouri. Fredrick McKissack has nearly 20 years experience as a writer and an editor. His articles, op-eds, and reviews have been published in The Washington Post, Vibe Magazine, and others. He lives in Ft. Wayne, Ind. with his wife, Lisa and their son, Mark. James E. Ransome’s highly acclaimed illustrations for Knock, Knock: My Dad’s Dream for Me won the 2014 Coretta Scott King Award for Illustration. His other award-winning titles include Coretta Scott King Honor Book Uncle Jed’s Barbershop by Margaree King Mitchell; Deborah Hopkinson’s Sweet Clara and the Freedom Quilt; Let My People Go, winner of the NAACP Image Award; and Satchel Paige, written by his wife, Lesa. Mr. Ransome teaches illustration at Pratt Institute and lives in upstate New York with his family. Visit James at JamesRansome.com. From Chapter To Slay a Giant But thou hast saved us from our enemies, and hast put them to shame that hated us. In God we boast all the day long, and praise thy name for ever." The boy took careful aim and rushed toward the giant. He let the stone fly. Swoooooooh! It hit Goliath square in the middle of his forehead. Goliath shook from head to toe, blinked his eyes, and keeled over like a rootless tree. Quickly, David rushed for a sword and chopped off the giant's head. The Philistines scattered like snakes fleeing from fire when they saw that a mere boy had defeated the best among them. Word spread quickly that David had killed the Philistine giant. The Israelites loved him and sang songs 'bout him. But David gave God the glory. David the shepherd boy was a natural-born leader who would go on to become one of the greatest kings of Israel. During his long and glorious life, he had to slay many giants that loomed tall in the form of big, big troubles and great mistakes. How did he do it? Hear King David's voice, singing to us from the ages: "Blessed is the man that walketh not in the counsel of the ungodly, nor standeth in the way of sinners, nor sitteth in the seat of the scornful. But his delight is in the law of the Lord; and in his law doth he mediate day and night. And he shall be like a tree, planted by the river water, that bringeth forth his fruit in his season; his leaf also shall not wither and whatsoever he doeth shall prosper... the way of the ungodly shall perish." Text copyright © 1998 by Patricia and Fredrick McKissack Illustrations copyright © 1998 by James Ransome Authors' Note Illustrator's Note Charlotte's Introduction Something Wonderful Out of Nothing The Creation The Fall and Cain and Abel The Big Water Noah and the Flood A Love Worth Waiting For Jacob and Rachel How Can You Forgive? The Story of Joseph God Will Not Hold With Wrong Moses and the Exodus The bible is very imparant to us in our lifes and yes god is real and you can go to heaven to be with god forever and ever EGHunter01 Old Testament. *Beautiful color illustrations *Words that will capture your heart and mind *Good for evening storytelling for youth or anytime for storytelling to youth **Must be careful of certain "artistic license" in which the stories have been altered from the Bible to suit the storytelling fashion. For example, on page 16 "Eve when she was alone, ..." - The Bible states Adam was by Eve when the serpent spoke to Eve. *A wonderful way to listen to the Bible stories

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VFX Artist Alp Altiner Returns to Comics with "Team 14" Wed, May 7th, 2008 at 12:36pm PDT Updated: May 7th, 2008 at 9:00pm Comic Books Jami Philbrick, Staff Writer "Team 14" one-shot on sale in JulyAlp Altiner has lived every fanboy’s dream. He’s drawn comics professionally, designed video games and worked on some of the most high profile comic book films of all time. “Superman Returns,” “Spider-Man 3,” “X-Men: The Last Stand,” “Fantastic Four: Rise Of The Silver Surfer” and “300” just to name a few. Starting his career back in 2000 at Image Comics and then moving to Top Cow, Altiner left comics to work on video games as a freelance concept artist and shortly after that become a successful VFX concept artist and matte painter on feature films. But now, after years away Altiner has retuned to the medium that he loves with “Team-14,” a new one-shot written, drawn and financed by himself, hitting stands in June from Digital Webbing. Set in San Francisco and described by Altiner as a cross between “Ghostbusters” and “The X-Files,” “Team 14” tells the story of a secret division of the FBI tasked with investigating crimes committed by supernatural beings like ghosts, which in the story have been scientifically proven to exist. CBR News spoke with Altiner about “Team 14," his passion for comics and what it’s like to help bring his childhood heroes to life on the big screen. Story continues below Alp, what more can you tell us about the back-story of “Team 14?” In the late ‘80s in San Francisco, local authorities were running into a large number of mysterious and strange crime scenes with no witnesses or clues left behind. With a rapidly growing number of these crimes and dead bodies around the world, the FBI decides to form this Top Secret division called Team 14. The department is named after the fourteen chemicals unknown to mankind, which they discovered at these crime scenes. Art from "Team 14"After a few years, a secret underground facility has been constructed outside of San Francisco with hundreds of employees. They have scientists, biologists and mediums working together creating weapons, advanced tracking technologies and studying four of the creatures they managed to capture. Team 14 discovers scientific proof of the existence of ghosts and the hidden truth about them. Is that where the story starts off? The story basically starts with the first issue, which is a one-off. This is kind of like a pilot issue. John McHenry, the FBI Agent who formed this secret division within the agency and has been leading the project for over twenty years, narrates the story. He tells you how it all started so by the time you get to the last page you’ll know what he means when he says his final line, “Our fight has just started and it will never end. Our fight against the supernatural.” So if there is a demand for it, will you do more? Yes, I would love to. However, I may not have the time to illustrate the pages myself because of my busy schedule in the film business. I will probably hire a team of freelance artists to continue it as a miniseries. I will still be heavily involved in creating layouts as well as art direction for future issues. But a few film studios that have shown interest in purchasing the rights to the story have all ready approached me.Art from "Team 14"Did you create the comic in order to sell the idea as a film/TV project or because you wanted to get back into the comic book industry? I certainly did not make this comic book just so I could use it as a marketing tool. Comic books shouldn’t be seen as a marketing tool but rather as a great opportunity for the right projects to become established properties in Hollywood. Regardless of your goals, Hollywood will always show interest in good ideas and exciting visual properties. I made “Team 14” because I wanted the opportunity to tell this story and illustrate it. I penciled all the pages and inked most of the book myself. I hired a few inkers and colorists, and I directed every step to make sure that the level of quality was high. Creating my own comic book gives me an opportunity as an artist to illustrate a project in a traditional fashion, as well as develop my story ideas into detailed scripts that may have an opportunity to translate into film, TV or even a video game. It certainly is my passion for the comic book medium and the art form that made me want to publish “Team 14” myself. You created all the artwork in the book yourself. Who are some of your influences? Over the years my style has changed but my influences have always been Mark Silvestri, Mike Mignola and David Finch. I also studied many inkers such as Joe Weems, Matt Banning, Scott Williams and Tim Townsend. They bring so much more to a project then just inked lines. They’re able to add an artistic style and enhance the artist’s indications. Art from "Team 14"But since I left the comic book industry to pursue a career in video games and eventually film, my reference library for general art has changed. Now I study traditional Hudson River oil painters and other related illustrators that created fine art in the mid and late 1800’s. While illustrating “Team 14,” I was thrilled to be drawing in this traditional style again. If you look at the first issue, its main influence is definitely Silvestri. What was it like working at Top Cow? It was always my dream to work at Top Cow someday. Back in ’99, while I was living in Seattle, I would send samples of my work to Top Cow’s Joe Weems. After he had seen some of my work at Comic-Con International in San Diego, he gave me an opportunity to work on Michael Turner’s “Fathom.” I think it was issue number two which was my first credit in a Top Cow book. Eventually, I started getting a lot of work from other companies like Marvel and DC. A few years later I ended up back at Top Cow when Matt Hawkins offered me work on various titles with them as an in-house artist. I learned the most while I was at Top Cow studios working and interacting with the other artists there. I was exposed to some of the best comic book artists in the industry. It was more like a Comic Book College. Marc Silvestri was kind enough to share his knowledge with many of us and guide anyone who had the drive and enthusiasm to become a great artist. So the knowledge and experience that I gained working at Top Cow, I still use in my Film related conceptual work today. I believe that it is very important to be able to draw well, before jumping on the computer and digitally producing painted concepts. As fan of comics yourself, of all the comic book films you’ve worked on, which was the most fun or exciting for you? Alp Altiner designed concepts and artwork for "Spider-Man 3" and "Superman Returns"When I was growing up I was a huge fan of Superman as well as Spider-Man. I remember the first comic my Dad bought me was a Spider-Man book. I was eight-years-old and it changed my life. So to eventually have worked on “Spider-Man 3” was a great opportunity and a child dream come true. I helped design the look and feel for one of the fight sequences in the film. It was the sequence where he was fighting Sandman in the train station. I also created various concept paintings that were used as reference for lighting and texturing of the digital environments. I also truly enjoyed working on “X-Men: The Last Stand.” I designed a tremendous amount of concepts for that film including Phoenix’s power fields, designs for new mutants and the destruction of the Golden Gate Bridge. On “Superman Returns,” I worked on several 2D and 3D matte paintings for the scene where Luthor entered the cave and activated the crystal console. The biggest thrill for me was probably working on “Alien vs. Predator: Requiem.” I provided art direction, conceptual designs and digital paintings for the Predator Planet and the spaceship. I even built some of the concept spaceships in 3D for the directors to look at early in the development stage. It was a great opportunity and very exciting for me to work on that film especially because I am a huge “Alien” fan. Can you tell us what other projects you’re working on right now? I established my own small press and development studio, Bionic Unit Media and Publishing in Los Angeles a few years ago. My focus will continue to be establishing properties in the form of comic books, art books and toy/collectibles. I’ve already created various proto-type collectibles from my other project, “The Unknown.” “The Unknown” is a sci-fi, action/thriller hitting stores as an art book, this July. I plan to produce a toy line of this project in the near future. Currently, I am still heavily involved in both 2D and 3D development for feature films. I am the Visual FX Art Director at Caf� FX, a respected VFX production house with offices both in Santa Monica and Santa Maria. Some of the recent film projects I’ve worked on include, “The Spirit,” “Speed Racer” and “ Dragonball.”Now discuss this story in CBR’s Indie Comics forum. TAGS: team 14, alp altiner, digital webbing, spider-man 3, x-men 3: the last stand

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Nick Spencer's "T.H.U.N.D.E.R. Agents" Goes Underground Tue, November 8th, 2011 at 10:58am PST Nick Spencer's "T.H.U.N.D.E.R. Agents" return in November In Volume 1 of Nick Spencer's DC Comics reintroduction of the classic "T.H.U.N.D.E.R. Agents" series, readers were taken on a maddening ride through the heart of one of the medium's most celebrated cult titles. This month, the writer takes the curse of his fractured superheroes even deeper. After introducing fans to second generation agents Toby Heston and Colleen Franklin, over the course of the acclaimed ten-issue run, Toby was revealed to be a double agent for prime series bad guys S.P.I.D.E.R. (only to have his status scrambled by the power of Methor's helmet) while Colleen discovered she was in fact the daughter of original T.H.U.N.D.E.R. Agent Dynamo and long hidden villain Iron Maiden (only to offer her mother up for execution). Spencer told CBR News that in November 30's issue #1 of his second go round with the team, those heartbreaking character turns will again be front and center. "What I would say is that in the book, from day one, Toby and Colleen have been our leads. And I don't think that that changes here, but at the same time, Dynamo, NoMan and Lightning all have fundamental roles to play in the story," the writer said. "This book has always been a unique juggling act. I think that we did a pretty solid job in the first arc of setting up who these characters are, but there's still more to do in that regard. There's still a lot to learn about them. The book is, for me at least, more about exploring these characters than it is about massive plot movements. I've always felt that we succeeded most when we were explaining what was going on in their heads and what was making them tick. I think that's the stuff readers have liked about the story so far too." Longtime fans of Wally Wood's original "T.H.U.N.D.E.R. Agents" run will have plenty of old school elements to sink their teeth into for this miniseries as well, as Spencer and core series artist Wes Craig bring back underground menace the Subterraneans. "This is all connected to the original Tower run," Spencer explained. "Especially in this second volume, so much of this book has been about connecting these characters with that classic book. This follows up on things we've seen in the original books. The Subterraneans were the primary villains of 'T.H.U.N.D.E.R. Agents' in its beginnings, and S.P.I.D.E.R. came along later. My decision was to flip that and start with S.P.I.D.E.R. because I felt like for the new reader that was a bit easier to grab onto. We've then slowly gone to little green men who live underground -- not that little green men are out of place in comics! "I wanted this to be a book about a government agency -- a political thriller and a spy thriller. It was important to establish that first, and I think that the Subterraneans made sense as a final villain rather than something to start things off with. The Subterraneans were the kind of thing you wait for." All in all, the writer said that the book has often been about impact of crazy science fiction technology on human lives, and Volume 2 will continue that tradition as it delves into the mind of NoMan, the secret of the Dynamo belt and the truth behind the Agents' living computer Daniel. "The technology and its creation through the years is a major part of this story. In the first issue, we start seeing what some of these things are, and Daniel in particular has a very big role to play in this story. All of those threads we set up, in the first issue especially, are all things that will be wrapped up here." This volume of "T.H.U.N.D.E.R. Agents" continues the path Spencer laid out in the previous series And one of the biggest teases from Volume 1 -- Iron Maiden's declaration of "He's still alive!" before her execution -- will play a significant role as well. But could the lady villain really have meant her former foe/lover Dynamo? "Again, a big part of the story is connecting the beginnings of the book to this cast and this world. A lot of things will come full circle here. Certainly what Rusty yelled at the end of issue #10 is a very big moment. It's pretty overt foreshadowing, and something important is right around the corner. When everybody sees it, it will hopefully be a big, stunning, emotional moment for the book," Spencer said. Joining the writer and modern era artist Craig on the book (aside from cover artists like Andy Kubert, Frazer Irving and Dustin Nguyen, of course) will be another string of classic comics creators who will help tell flashback stories of the Agents' original adventures. Jerry Ordway tackles those duties on issues #1 and 2 followed by Walter Simonson on issue #3. "This book has been one of the greatest opportunities of my career, in large part because I've gotten to work with most of my favorite artists from decades past," Spencer said. "It's really incredible what the list is at this point. I can't reveal them all yet, but what I can say is that my editor, Wil Moss, has really outdone himself for this volume. Last time, I got to work with Howard Chaykin and George Perez and Mike Grell. The second time out, I thought there was no way we could match that, but Wil has worked night and day to find some more incredible, legendary guest artists for the book. For me, there are dreams you think are never going to come true, but the fact that Walt Simonson is drawing my next book is still blowing my mind. It's part of what makes this book special. I think pound for pound, this book has got the strongest artistic lineup of any book I can name. You're just talking about A-list legend after legend being a part of this. These guys don't get to do monthly comics as often anymore, and to see the pages come in from them is pretty fantastic." Ultimately, the writer said the legacy he's most proud to carry on in his final run with the series is continuing "T.H.U.N.D.E.R. Agents" status as a comic revered for its artistic prowess. "I think that's part of what has gotten artists to come on. This book has such an artist's pedigree. It was nice that we could come up with a storytelling format to make that possible, and we've got a group of characters that are key to be drawn in a classic style. I can't think of another book like this where you'd have this opportunity." "T.H.U.N.D.E.R. Agents" Volume 2 #1 ships on November 30 from DC Comics. TAGS: preview, dc comics, thunder agents, nick spencer, walt simonson, jerry ordway, wes craig Spencer Takes "T.H.U.N.D.E.R. Agents" From Past To Future Wednesday, May 18th, 2011 Bringing The "T.H.U.N.D.E.R." Agents" Tuesday, November 30th, 2010

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Susquehanna Art Museum needs $900K for construction A rendering shows the planned Susquehanna Art Museum at North Third and Calder streets in Harrisburg. Illustration/Submitted The Susquehanna Art Museum expects to break ground in the next 90 days on its permanent home along North Third and Calder streets in Midtown Harrisburg, officials said today. SAM has $6.1 million of a needed $7 million to start construction, including $5.5 million from the state Redevelopment Assistance Capital Program, also known as RCAP, and Growing Greener funds.The public phase of a capital campaign kicked off today in search of the remaining $900,000. The museum’s board also is hoping to raise an additional $5 million for an endowment, said M. David Hughes, a museum spokesman.Once construction begins, it should take about 10 to 12 months to complete, he said.“It invigorates the area even more so,” said Hughes, citing recently completed projects in Midtown, including the mixed-use 1500 Project and nearby COBA Apartments. “What GreenWorks (Development) has been able to do is amazing.”GreenWorks has invested more than $50 million in Midtown since it was founded in 2005, CEO Doug Neidich said. The Harrisburg-based company’s projects include the Midtown Cinema, Evangelical Press Building and Campus Square Building.Harrisburg’s first dedicated art museum will be a two-story, roughly 17,000-square-foot building.The museum will serve as a borrowing institution from other major art museums. Previously, SAM operated galleries with local artwork at its Third and Market streets location in the Kunkel building. It also hosted rented, traveling exhibits and hosted art programs.GreenWorks bought the new museum site a few years ago when a Fulton Bank branch moved down the street to Third and Reily streets. GreenWorks redeveloped a Civil War-era building for Fulton, then reinvested in the bank’s former site to develop in the future.The developer is part of the construction team, Hughes said. Chester County-based Carrollton Design Build is the construction manager on the project. EwingCole, a Philadelphia-based architecture and engineering firm, is the architect.

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Roots to the Earth Poems and a Story, by Berry, Wendell; Bates, Wesley SummaryAuthor BiographyIn 1995, Wendell Berry’s Roots to the Earth was published in portfolio form by West Meadow Press. The wood etchings of celebrated artist and wood engraver, Wesley Bates, were printed from the original wood blocks on handmade Japanese paper.In 2014, this work was reprinted along with additional poems. Together with Bates’ original wood engravings, and designed by Gray Zeitz, Larkspur Press printed just one hundred copies of this book in a stunning limited edition.Now it is with great pleasure that Counterpoint is reproducing this collaborative work for trade publication, as well as expanding it with the inclusion of a short story, “The Branch Way of Doing,” with additional engravings by Bates.In his introduction to the 2014 collection, Bates wrote: “As our society moves toward urbanization, the majority of the population views agriculture from an increasingly detached position… In his poetry [Berry] reveals tenderness and love as well as anger and uncertainty… The wood engravings in this collection are intended to be companion pieces to… the way he expresses what it is to be a farmer.” Wendell Berry is the author of more than fifty books of poetry, fiction and essays. He was awarded the National Humanities Medal by Barack Obama (2010) and in 2012 delivered the 41st annual Jefferson Lecture in the Humanities, the highest honor the federal government has for distinguished intellectual achievement in the humanities. He lives and works with his wife, Tanya Berry, on their farm in Port Royal, Kentucky.Wesley Bates has had a long association with Mr. Berry. He is an acclaimed artist who is primarily known for his brilliant wood engravings, but also works in various other mediums. Bates was born in the Yukon Territory and for many years has had a studio in Ontario where he operates the West Meadow Press.Gray Zeitz is the founder and operator of Larkspur Press, producing dozens of fine, letterpress, hand-bound editions of works by Kentucky poets and writers for nearly 40 years. Zeitz is the most important designer and printer working in Kentucky and has published at least a dozen beautiful, handmade chapbooks by his friend, Wendell Berry.

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David Nicholls Books In Order Publication Order of Standalone Novels Starter for Ten David Nicholls, a Briton, is an English writer who is also a screen writer. He is 48 years old. He attended college in Hampshire and acted different roles in various productions in college. He later graduated from college and trained as an actor in the USA. Afterwards, he proceeded to act professionally in his 20s, something he kept at for a while. His early acting career wasn’t without challenges though he later discovered his talent in writing. He contributed scripts for television series and miniseries, an engagement he undertook quite seriously. When the show of one of the television series was canceled, his anger over it made him confine himself to writing. Later on, one of his books, the novel ‘One day’ was shown as a film. He adapted his novel, ‘Starter for 10′, for film which was shown in cinemas in 2006. He also made several film adaptations which were released for Cinemas in 2005, 2006, 2008 and 2014. His most notable books are ‘One Day’ and ‘Starter for 10′. Nicholls also wrote plays for theater and was given an award for Author of the year in 2014 for the book ‘Us”. The Book, “One Day” (Vintage Contemporaries) In this book, the main characters Dexter Mayhew meets Emma Morley. After that initial meeting, their thoughts about each other never seem to leave them. These thoughts remain with them for the entire stretch of 20 years.The setting of this book is in the year 1988 where the author chooses the 15th day of July to be the focal point of the story between these two characters. The author artfully tells the readers about the various changing times of Dexter and Emma within 20 years but each landmark of these highlights happens to be that same day, 15th July of every year down the line. Emma has loved Dexter secretly. She has a particular position about how things should be done. Dexter on the other hand is a free spirit and is portrayed as one with a carefree attitude. They retain their friendship even when circumstances cause them to go their separate ways. They both get jobs at some point in their lives. Dexter is portrayed as an individual living recklessly and while at it, bedding as many women as he can. Negative things happening to him do not deter him from his waywardness of drinking, using drugs and sleeping around. He was simply a pack of negative energy on the move. On the other hand, Emma also has her fair share of misfortunes and as if that is not all,including low self esteem. Additionally, none of her relationships seem to work. Eventually, Dexter comes to terms with the fact that his best friend all along is just the one woman he should love and spend his life with. Reader will be interested to know what else transpires in this intriguing story. The Book, “Us” The book tells the story of a married couple Douglas Petersen and his wife Connie. Douglas managed to seduce Connie and eventually get her to marry him. They settled down happily and got a son named Albie. It has been almost 30 years since they first met in London when one night, Connie drops the bombshell on Douglas by announcing that their marriage has come to an end and that she wanted a divorce. Douglas is taken aback because his love for her is still immense. The timing of this sad news is also awful considering their immediate future plans of touring Europe even as their son Albie plans to leave for college. Connie is willing to go for the trip anyway, her divorce plans notwithstanding. She did not want to cancel the trip and also felt that the experience would do her son good. Douglas, on the other hand, secretly hopes that he can dissuade his wife from pursuing this unpalatable chosen end to their marriage while they are on their trip and possibly have some quality time with his son. This is a story of a man who is indeed optimistic that things will turn around for the better so that he does not have to lose the love of his life. He also hopes that he can get to know his son better while on the trip now that the two have not been so close. This book masterfully uses the characters of Douglas and Connie to paint a real and practical image of marriage, its ups and downs, challenges of mid-life crisis and the delicate balancing act between what goes on in the heart and that which the head logically thinks and concludes on. This book brings to fore the challenges of marriage, parenting and changes through the varying stages of life including raising children and growing up. It is a story that many couples and parents alike will quickly identify with. The readers will have to find out if the intended trip really does accomplish Douglas’ desire and fulfills his dreams of reclaiming his wife and son or not. Does Douglas get any life changing experiences that will lead to a rediscovery of himself? Nicholls tells stories that bring to mind the nostalgic memories of youthful energy, love at first sight, regrets and disappointments of wrong decision making, the clumsiness of youth as they grow up and the immaturity that must give way to adulthood eventually and then the ups and downs of experiences that are commonplace between couples in married life. His stories are examples of real life experiences which can be found among people at your next stop in one village, town or city. It is not in contention that Nicholls is a writer who is gifted at writing classic novels with detailed descriptions and which also treat readers to a glimpse into the emotions of his characters and their lives in a way that is uniquely his own. Once one gets a hold of any of his books, they quickly get engrossed and find it hard to put them down. The story lines literally jump out of the pages and acquire lives of their own which take the readers on an all-absorbing, emotional journey. It is no wonder that once one of those books is in one’s hand, it can only be put down upon reaching the last full stop. Book Series In Order » Authors » David Nicholls Did You Know…Due to the mass controversy involving the ending to The Divergent Trilogy, author Veronica Roth had to post a large blog post, both explaining and defending the ending of the series.

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What the Butler Winked At: Being the Life and Adventures of Eric Horne, Butler Eric Horne. Westholme Publishing Coming from a humble Southampton family, Eric Horne excelled in school and wished to go to sea, but lacking his parents' support, he instead took a position as a footboy for a local household. Horne went on to serve as a butler in some of the great English country manors from the 1860s until just after World War I, and came very near to serving the king of England. Horne's fascinating and essential memoir offers a unique voice; not only did he have intimate contact with his employers and the household staff, he also possessed literary talent, so that his account provides authentic detail as well as shrewd and often witty views of the aristocracy, the servants, and their activities. Horne is not sentimental, however; he does not judge that he used his life wisely, having never learned a true trade. He reveals the plight of the servant class, where once a butler lost his employment (as happened often following the devastation of the war), he was likely to end up in a poorhouse, as employers did not usually provide pensions, and servants were rarely able to save enough money to retire. "A first-rate book. The world is treated to one more of those human documents, written without guile or pretension. Eric Horne is a keen student of human life."�NYWorld

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Entertainment Books Elmore Leonard: Michael Connelly hails the book world's king of cool Elmore Leonard Kirk McKoy / Los Angeles Times Elmore Leonard was a bestselling author and a favorite of Hollywood. Elmore Leonard was a bestselling author and a favorite of Hollywood. (Kirk McKoy / Los Angeles Times) Michael Connelly I never wanted to be Raymond Chandler. I wanted to be Philip Marlowe. I never wanted to be Ross Macdonald. I wanted to be Lew Archer. Elmore Leonard was the only author I ever wanted to be. Leonard outsized his characters with his easy charm, sardonic humor and seen-it-all-before eyes. When it came to books, Elmore Leonard was the king of cool. Who wouldn't want to be him?I didn't know him well enough to call him Dutch. But I knew him. I loved his work and was inspired by it. We did some book gigs together over the years and I cherish the memories now that he's passed. I think, though, I was intimidated by his cool. He had worked so hard and for so long in obscurity before getting his due, before ending up on the cover of Time magazine and in American Express ads. There was nothing that could rock him, no moment for which he didn't have a line. It was like he was one of those jazz masters who had come out of a long stay in San Quentin. You knew there were dark times back there but he had to go through them to play the music he made now. I never could bring myself to ask about those times. By the time I knew him he was an elder statesman of sorts. He was reviewed and revered, having left obscurity in the dust.PHOTOS: Elmore Leonard | Career in pictures I was working as a journalist in South Florida when his novel, "LaBrava," came out in 1983. It was the first of his books I read. I loved it and thought it captured with a journalist's eye for detail and ear for dialogue the sights and sounds of Miami Beach on the precipice of great social change. Its verisimilitude was inspiring; the book was a lesson. It was also a damn fine crime novel and character study. I still read it again every five or six years or so. Each time it's new — 30 years old and it still stands up. Maybe that's the true measure of a writer. Do the stories stand the test of time? With Elmore Leonard there is no doubt. He may be gone now but his stories are staying.That same year of "LaBrava" they were making a movie up in Fort Lauderdale of another of his novels, this one called "Stick" with Burt Reynolds in the lead and in the director's seat. I tried to use my press card to get on the set one day. I wanted to find Elmore and tell him thanks for "LaBrava," that I hoped to be doing what he was doing one day. It was a stalker move and luckily my effort to meet him failed. Years later he told me he probably wasn't even on the set.Hollywood made many forgettable adaptations of his work until common sense came into play with the realization that the greatest asset in an Elmore Leonard story was Elmore Leonard himself. Once he was invited to sit at the table we ended up with films like "Get Shorty," "Out of Sight" and "Jackie Brown," not to mention the fine television show "Justified."PHOTOS: Notable deaths of 2013 After my rejection at the movie set, it would be another 10 years before I actually met the man. It was at an awards banquet. He handed me a trophy for my first novel and some free advice came with it. He told me not to rest on my laurels. He said one novel was only just a start. I nodded and said "Thanks, Mr. Leonard." I later regretted that I didn't call him Dutch like everybody else.About 20 years later I sat with him in a barbecue joint in Missouri. He and I and another fine writer, George Pelecanos, had gotten together to tape a radio show. George is a friend and a nice guy but the only reason I would fly to Missouri for a radio show was Elmore Leonard.We talked about dialogue on the show and how important it was in our writing, that how people talk and what they do and don't say was the doorway to character. It was awkward because the guy George and I had learned that from was sitting right there with us. The recording went well and we went out for barbecue after. Elmore, in his 80s, ordered red wine and lit up a smoke in the restaurant even though that was against the rules. George and I looked at each other. Elmore had not been known to us as a drinker or a smoker. Those were vices from those dark times before Time magazine.Elmore looked at us and said he had never really quit either habit; he had only just paused. George and I agreed; we were sitting there eating barbecue with the king of cool.Connelly is the bestselling author of many novels, including the Hieronymus Bosch detective series and the upcoming "The Gods of Guilt." Justified (tv program) American Express Company Elmore Leonard: From print to screen Elmore Leonard dies at 87; master of the hard-boiled crime novel Elmore Leonard: Writers pay tribute

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HOME > ARTISTS > V > JOHANNES VERMEER > PAPER PRINTS Johannes Vermeer, Girl with a Red Hat Tags: portraits, womens portraits, baroque, traditional portraits Share the Art: Johannes VermeerWoman with a Water Jug Frans HalsHille Bobbe Mary CassattFrancoise Holding a Little Black Dog Winslow HomerWoman with a Rose Sir Thomas LawrenceA Double Portrait of The Fullerton Sisters William-Adolphe BouguereauUne Petite Fille Joseph WrightBenjamin Franklin Giuseppe MolteniMadonna In Prayer American SchoolA Portrait of a Family Jean-Baptiste PerronneauCharles-Francois Pinceloup de la Grange Hippolyte-Casimir GourseUne Femme Elegante Rogier van der WeydenPortrait of Isabella of Portugal 1632-75, Dutch genre and landscape painter. He was born in Delft, where he spent his entire life. He was also known as Vermeer of Delft and as Jan or Johannes van der Meer. Carel Fabritius is presumed to have influenced him greatly. In 1653 he was admitted to the painters' guild, of which he was twice made dean. He enjoyed only slight recognition during his short life, and his work was forgotten or confused with that of others during the following century.Today he is ranked among the greatest Dutch masters and considered one of the foremost of all colorists. His most frequent subjects were intimate interiors, often with the solitary figure of a woman. Although his paintings are modest in theme, they exhibit a profound serenity and a splendor of execution that are unsurpassed. No painter has depicted more exquisitely luminous blues and yellows, pearly highlights, and the subtle gradations of reflected light, all perfectly integrated within a strictly ordered composition. Vermeer apparently produced only one or two pictures a year during his period of greatest activity.His career is a mystery to art historians because, although his work was of the finest quality, his output was too small to have been the sole support of his family of 11 children. Only about 35 paintings can be attributed to him with any certainty. Among them are The Milkmaid and The Letter (Rijks Mus.); The Procuress (Dresden); Artist and Model (Vienna); View of Delft (The Hague); Soldier and Laughing Girl (Frick Coll., New York City); Girl Asleep and Young Woman with a Water Jug (Metropolitan Mus.); Woman Weighing Gold and Young Girl with a Flute (National Gall., Washington, D.C.); and The Concert (Gardner Mus., Boston). Forgeries of Vermeer's work have been frequent, Hans van Meegeren's being the most successful.Used with permission. The Columbia Encyclopedia, Sixth Edition.Copyright © 2001 Columbia University Press SUPPORT

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Atkinson tipped for Costa Prize Kate Atkinson is the favourite among five authors shortlisted for the Costa Prize Best-selling novelist Kate Atkinson is favourite to win tonight's Costa Prize and become only the third person to win it twice. The writer - whose debut, Behind The Scenes At The Museum, won in 1995 - is one of five contenders for the prestigious prize. Her novel, Life After Life, follows a woman through the 20th century as she is born, dies, and is born again several times. Also nominated are Lucy Hughes-Hallet t for The Pike, an account of the life of Italian poet Gabriele D'Annunzio, and poet Michael Symmons Roberts for his sixth collection Drysalter. The shortlist is completed by Chris Riddell, nominated for his children's book Goth Girl And The Ghost Of A Mouse, and Nathan Filer for his debut T he Shock Of The Fall. The novel by t he former mental health nurse, who now teaches creative writing, is the story of a teenagers's descent into madness as he confronts his role in the boyhood death of his older brother. It was snapped up by HarperCollins for a "substantial" six-figure sum. Bookmakers William Hill made Atkinson the 11-8 favourite, followed by Hughes-Hallett at 9-4 and Symmons Roberts at 7-2. Filer is 11-2 with Riddell the 7-1 outsider. If Atkinson wins, she will be the first female author to do so twice, with Seamus Heaney and Ted Hughes the only authors to have won the overall prize twice. All five shortlisted authors receive £5,000 with the overall winner getting a further £30,000 at tonight's ceremony in central London. The Costa Book Awards, formerly known as the Whitbread, is open to authors resident in the UK and Ireland.

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Free Humanity's Thought-Provoking Star Wars Street Art at DesignerCon Liz Ohanesian Monday, November 22, 2010 at 1:37 p.m. By Liz Ohanesian Booth 105 at DesignerCon was a little different from most of the vending stations at last Saturday's toy and art convention when we passed it. There was no one standing behind the table to answer questions or sign autographs, no huge crowd looking for discounted items. There was, however, a lot of thought-provoking art dealing with topics like war, fast food and the economy. Many of the pieces incorporated elements of the Star Wars universe. Shannon Cottrell The booth belonged to L.A. street artist Free Humanity, whose work has been spotted across town. The standout piece was a poster with Yoda holding a paint roller and the quote, "Wars not make one great." L.A. Weekly web editor Erin Broadley spotted this on Melrose Ave. a few months ago. Free Humanity's Yoda poster spotted on Melrose Ave. Erin Broadley Other related pieces included: Boba Fett with the line "I'm sorry for the deaths of the innocent, but that happens in war"; a chicken in a Boba Fett costume with the tagline "I'm sorry for the deaths of the chickens, but that happens in a Fast Food Nation"; an AT-AT poster that reads "$65 billion in defense funds and we still don't have one of these" and a Death Star featuring the note "2.6 million jobs have been lost since the stimulus package was passed." Shannon Cottrell Contact: Liz Ohanesian Griffith Park's Haunted Hayride is Big Business for a Savvy... How Akbar Has Managed to Stay Open — and Relevant — for 20... 15 L.A.-Set Horror Movies to Watch This Halloween

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Articles - July - 2005 Issue A Flair For the Dramatic -- Edgar Rice Burroughs - by Carl Burnham Tarzan and the lost Empire by Edgar Rice Burroughs. By Carl Burnham As a kid in the 1960s, I became immersed in reading of his fantastic tales of John Carter of Mars, Venus, the land of Pellucidar, and of course the jungle adventures of Tarzan. I still get a kick out of reading them as an adult today. Burroughs began writing in 1911, submitting stories to pulp fiction magazines while briefly employed as a pencil sharpener wholesaler. He is quoted as saying "When I started I was 35 and had failed in every enterprise I had ever attempted...Every well-known publisher in the United States turned down "Tarzan of the Apes", including A.C. McClurg & Co., who finally issued it, my first story in book form. It's popularity and its final appearance as a book was due to the vision of J. H. Tennant, editor of the New York Evening World. He saw its possibilities as a newspaper serial and ran it in the Evening World, and the result was that other papers followed suit. This made the story widely known, and resulted in a demand from readers for the story in book form, which was so insistent that A.C. McClurg & Co. finally came to me after they rejected it and asked to be allowed to publish it. And that's how I became a writer!" By 1923, he had organized his own company to market his works. Burroughs was also quite skilled in marketing, bringing his popular Tarzan character to the movie screen, radio, and to comics. In his latter years, ERB continued to write prolifically, and is said to have written an average of 20,000 words a week while living in Hawaii. Although not widely known except by fans, Burroughs actually witnessed the bombing of Pearl Harbor while it was taking place, and served as the oldest war correspondent during WWII. Quotes Burroughs in a letter to his daughter noting how unprepared our American forces were at the time, "A navy man told me that every gun on every ship in Pearl Harbor was firing at one lone Jap who was flying low while bombing, and every shot missed him. One soldier is credited with bringing down one Jap with an automatic rifle. The Jap was flying low straight toward him, machine gunning as he came. The soldier said that he was scared stiff, but he kept firing and had the thrill of seeing the Jap crash just beyond him. During all of this, we continued to play tennis at the hotel. There was nothing else that we could do as orders were constantly being broadcast to civilians to keep off the streets, to stay home, and not to use the telephone; also to remain calm." Archived Articles October, 2016 September, 2016 August, 2016 July, 2016 June, 2016 May, 2016 More Archives

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THE SHEPHERD’S CROWN Written by Ed Fortune Terry Pratchett’s final contribution to the Discworld series does not really need a review nor, by now, should his work need an introduction. Those who adore his work will go out and get it, and those who haven’t as yet had the pleasure are unlikely to start with the last book. We listened to the audio version of The Shepherds Crown anyway, just in case you were in two minds as to whether you should pick it up. The answer is a rather obvious yes, especially the audio version. The Shepherd’s Crown is not only the last Discworld novel, it’s also the final series in the Tiffany Aching stories, the cycle of books that Terry wrote specifically for the Young Adult market. Tiffany is a young witch who works on the chalk and is very much her own person. We’ve watched Aching grow from a precocious child to a confidant teenager to finally a whole and complete person who also happens to be a strong leader and powerful witch. Pratchett created Tiffany, in part, as response to Harry Potter. His heroine has no great destiny or legions of people telling her she’s special; rather than following her star, Aching works hard, gets results. This is fun for the reader because those results often involve beating up some sort of occult horror. The Shepherd’s Crown is also a book about dealing with death, on many levels. Terry wrote the book when he knew he had the Posterior Cortical Atrophy‎ form of Alzheimer’s Disease. Part of the plot features the death of someone close to Tiffany, and the aftermath of their passing forms much of the backstory of the book. This should not come as a surprise to fans; Death has always been a central character in Terry’s work. Pratchett also returns to his theme of elves. The Discworld version of the point-eared fairy beings paints them as parasitic monsters that delight in cruelty. They are a twisted mirror of humanity, creatures that do not understand the human condition and exist only to destroy it. Pratchett’s essential humanity shines through, exploring the triumph of man without celebrating our hubris. The entire audio version is narrated by Stephen Briggs, a contemporary and colleague of Pratchett’s. His performance is spot on, even doing a reasonable impersonation of Christopher Lee when it comes to Death’s brief cameo. If you’ve been putting off reading The Shepherd’s Crown, then pick up the audio version so have a little bit of company when you leave the Discworld.THE SHEPHERD’S CROWN / AUTHOR: TERRY PRATCHET / NARRATOR: STEPHEN BRIGGS / PUBLISHER: RANDOM HOUSE AUDIOBOOKS / RELEASE DATE: OUT NOW Tweet DOCTOR WHO – THE MEMORY BANK AND OTHER STORIESThe latest release in Big Finish’s monthly Doctor Who range makes a change from the usual four-par THE LIVING PLANET: A PORTRAIT OF THE EARTH (1984)Silva Screen’s continuing series of reissues from the BBC Radiophonic Workshop has absolutely deli ROCKTOBER BLOOD (1984)Heavy metal horror was such a short-lived phenomenon in the early ‘80s, one can barely call it a m DOCTOR WHO - THE WAR DOCTOR VOL. 03: AGENTS OF CHAOSOne year on from this series’ beginning, and as we delve deeper and deeper into the recesses of th Other articles in Audio Reviews DOCTOR WHO – THE FIFTH TRAVELLER 17 October 2016DOCTOR WHO – THE MEMORY BANK AND OTHER STORIES 17 October 2016THE LIVING PLANET: A PORTRAIT OF THE EARTH (1984) 16 October 2016ROCKTOBER BLOOD (1984) 16 October 2016DOCTOR WHO - THE WAR DOCTOR VOL. 03: AGENTS OF CHAOS 05 October 2016DOCTOR WHO: A FULL LIFE 02 October 2016THE SECRET OF SPRINGHEEL’D JACK SERIES 3 EPISODE THREE: THE LORDS OF THE WORLD 29 September 2016DOCTOR WHO - PHILIP HINCHCLIFFE PRESENTS VOLUME 2: THE GENESIS CHAMBER 26 September 2016WASP (2016) 21 September 2016TORCHWOOD 2.5: BROKEN 20 September 2016- Entire Category -

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Questions & answers Tropic of Cancer Author: Henry Miller Product Details: ISBN: 9780141399133 Format: Paperback Pages: 272 Dims (mm): 129 x 198 Pub Date: 04-06-15 Pub Country: United Kingdom Condition: NEW Description: Shocking, banned and the subject of obscenity trials, Henry Miller's first novel Tropic of Cancer is one of the most scandalous and influential books of the twentieth century - new to Penguin Modern Classics with a cover by Tracey Emin Tropic of Cancer redefined the novel. Set in Paris in the 1930s, it features a starving American writer who lives a bohemian life among prostitutes, pimps, and artists. Banned in the US and the UK for more than thirty years because it was considered pornographic, Tropic of Cancer continued to be distributed in France and smuggled into other countries. When it was first published in the US in 1961, it led to more than 60 obscenity trials until a historic ruling by the Supreme Court defined it as a work of literature. Long hailed as a truly liberating book, daring and uncompromising, Tropic of Cancer is a cornerstone of modern literature that asks us to reconsider everything we know about art, freedom, and morality. "At last an unprintable book that is fit to read." (Ezra Pound). "A momentous event in the history of modern writing." (Samuel Beckett). "The book that forever changed the way American literature would be written." (Erica Jong). • Highest positive feedback percentage bookstore on Trade Me • All our books are brand new and are supplied to us per order from their publisher • Please allow approximately 4-7 working days for delivery (longer for rural)

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Zelda Sayre Fitzgerald by Eleonora Angiolini/Emancipated young woman, style icon, muse: for writer Francis Scott Fitzgerald his wife Zelda was all this and much more. For her female peers in the Twenties she represented the courage and talent of the New Woman at the start of the century«I don’t want you to see me getting old and horrible. It would be better to both die when we turn thirty». Few words that explain the true spirit of Zelda Sayre Fitzgerald, one of the first flapper girls, style icon and muse of her husband, the great writer Francis Scott Fitzgerald. Zelda Sayre was born in Montgomery, Alabama, on July 24, 1900. Since she was a child she showed an unconventional attitude, a strong, rebellious personality, ready to challenge the standards of society: she wore her hair short, she smoked and drank spirits, loved to dance the charleston and was always surrounded by young admirers. The writer Pietro Citati in La morte della farfalla. Zelda e Francis Scott Fitzgerald(Mondadori) provided an extraordinary description of this woman: «She had blond, luminous hair, smart eyes, like those of a falcon, a very fresh face. She thought she was the descendant of ancient witches. She was selfish, aloof, endowed with an unsettling beauty and believed that the duty of women was to offend, upset, cause disasters».In 1918 she met Francis Scott Fitzgerald at a dance at a Country Club. At the time he was in the army and aspired to be a writer and, like many others, was enthralled by Zelda. Gatsby and Daisy Buchanan, the leading characters in The Great Gatsby met under similar circumstances. Zelda and Scott married in New York in 1920; a year later they had their first and only child, Frances. Following the first triumphs of the writer, they became the most famous and most admired couple in New York: both attractive, young, cultured, and eager for success. He celebrated the roaring Twenties and she was the perfect wife; an ideal companion for his adventures and follies, in his life and his writing. Despite all this, Zelda was overshadowed by her husband, a situation she never came to terms with. Since the beginning of their marriage she felt exploited by her husband: Scott often drew on her personal journals to write his novels. Fitzgerald would have not been so successful without Zelda’s influence. Zelda was eager to come into her own, but this obsession ended up devouring her. She tried her hand with classic ballet, with writing (with the novel Save Me the Waltz) and even with painting. Despite her strong commitment, her efforts were never duly acknowledged. The flapper girl ended up falling ill and in 1948 tragically died in Asheville in a fire that broke out in the mental hospital where she was being cured for schizophrenia. Despite the dark times of her life, her light keeps shining. We remember her as a Twenties icon and one of the first examples of female emancipation. She demonstrated it with her fashion style, with the courage she showed in challenging conventions and the will to compete with men in the social and professional spheres. Few people know that Zelda used to write about fashion. Her article Eulogy on the Flapper which appeared in the Metropolitan Magazine in 1922 is unforgettable. In the article she offered a detailed description of this new female role model, the symbol of a woman that claims her place in society and uses fashion’s communicative power to express her rebelliousness. The outside appearance hides a deep ideal, concealed by the apparent superficiality of a new haircut, seducing make-up and intriguing drop-waist dresses.I Vogue It (0) VoguenowV EncycloFashion and women FotogalleryZelda Fitgerald ©Contrasto Zelda Fitgerald Francis Scott Fitzgerald, Zelda Fitgerald, Scottie Zelda Fitgerald - Lasciami l'ultimo valzerZelda Fitgerald - Tenera è la notteZelda Fitgerald - La morte della farfallaMidnight in Paris, 2011 TagZelda Sayre Fitzgerald

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What is a Fleur-De-Lis? Fleur-de-lis are intended to represent irises or lilies. The fleur-de-lis, sometimes spelled fleur-de-lys, is an ancient symbol, although it has come to be closely associated with the nation of France. The fleur-de-lis, sometimes spelled fleur-de-lys, is an ancient symbol, although it has come to be closely associated with the nation of France. It consists of three spikes resembling the petals of a flower rising from a central crossbar, and it is clearly intended to represent an iris or lily. Highly stylized floral designs have been used in art and heraldry for a very long time, and the fleur-de-lis is one of the most enduring of these symbols. The basic stylized iris design appears on pottery from ancient civilizations including Mesopotamia and Ancient Greece. In Old French, the name translates into “flower of the lily.” The symbolism of a fleur-de-lis goes beyond the simple floral image, however. Lilies are associated with the Virgin Mary, and the fleur-de-lis is closely associated with Mary and her virtues as well, as a result. The three spikes are suggestive of the Holy Trinity, and also of a common trio of Christian values: faith, wisdom, and chastity. As such, the fleur-de-lis serves as a symbol of purity and Christian faith. Around the 1200s, the fleur-de-lis was adopted as a symbol by the French royalty. Using a holy symbol enforced the idea that the ruler was governing by the will of God, and also that members of the French royalty embodied the virtues suggested by the fleur-de-lis. The symbol has other heraldic uses as well, and appears on crests from many other nations including England and Scotland. Ad In addition to being a heraldic symbol, the fleur-de-lis is also used decoratively. It is often used in ironwork, and as a motif for wall paper, fabric patterns, tile, and book bindings. Many people who feel a close connection with France and French culture have fleur-de-lis ornaments around the home, while numerous organizations use the fleur-de-lis in their logos. It also appears on some regional flags, especially since the classic association with French royalty is beginning to fade. The proportions and dimensions of the fleur-de-lis vary, depending on the setting. As a general rule, the center spike or petal is larger and more rounded than the two which flank it. Underneath the crossbar, a decorative flourish meant to serve as a continuation of the petals is common. A variety of colors and shades can be used, and many artists draw a fleur-de-lis which is split into two colors, for distinct contrast. Highly stylized designs may bear little resemblance to the original fleur-de-lis, but are generally recognizable because the symbol is so universal. Ad What Does "Born to the Purple" Mean? What is a Dutch Iris? What are the Different Ironworker Jobs? What Was the Lord of Misrule? What are Iron Balusters? What is a College of Arms? What is a Blazon? This really helped me. I have a project due and this was very good information. Valencia @Penzance356 - That's a lovely story. I was told this symbol can also mean perfection and love, which makes it totally fitting for a wedding or engagement ring. Last year I bought my father a fleur-de-lis design outdoor fountain thing, which looks very majestic. It's great that one design can look so good on so many different things of various sizes. Penzance356 I've been looking for more information on fleur-de-lis symbolism since my mother gave me a family heirloom with this design. The story behind it is that my great grandparents fell in love in France but were separated by war. They met again by chance, married soon after, and their wedding ring was the piece of antique fleur-de-lis jewelery which I am now responsible for. Perhaps the story has been embellished through the years but it's still really romantic to me. I hope one day I can use it on my special day. Post your comments

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2016-44/1119/en_head.json.gz/16961

Elizabeth I : [a novel]by Margaret George; Kate Reading Audiobook on CD : CD audio : Fiction | Library ed A Fresh Perspective on the Later Years of Elizabeth I (2011-07-23) by hollysing<!--StartFragment--> Article first published as Book Review: Elizabeth I by Margaret George on Blogcritics. Be awed by the presence of Elizabeth Tudor, the woman behind the sovereign, as you explore the humanity of the indomitable Virgin Queen of England through the pages of Elizabeth I. Margaret George’s meticulously researched first person account of the last thirty years of the queen’s life is an enthralling breath of fresh air. Biographies of Elizabeth I abound. George gives the Tudor-loving world a unique novel, written in both in Elizabeth’s voice and also that of her childhood nemesis, Lettice Knollys. What was Queen Elizabeth I really like? The novel opens in 1588 when Elizabeth Tudor faces her greatest challenge, the Spanish Armada. Written with a consistently regal tone, the book gives us a mirror into the humanity of Elizabeth, the woman. Yet, the author masterfully incorporates the thoughts, actions and attitudes illuminating the greatness of The Virgin Queen who ruled England for forty-five years. Glimpses into the brilliance and machinations of Shakespeare, Francis Bacon and Sir Walter Raleigh abound. Skillfully woven into the book are both the human and regal facets of the queen who “ruled as much from the heart as from the head.” We see the regent’s success and love for her people. Queen Elizabeth’s ability to stand for long periods of time seems a metaphor for her triumph as regent. She manages uprisings in Ireland and continued assaults from Spain. She masterfully chooses advisors for her privy council perfectly suited to their jobs. In a nation beset with famine, the queen imbues calm. In an attempt to keep the plague under control, Elizabeth closes theaters and concerts and sends provisions to survivors. We view her humbly conduct an intimate ceremony of kissing and washing the feet of her subjects on Maundy Thursday (modeled after Jesus Christ doing the same for his disciples) while giving each twenty shillings and gifts of food. No sovereign rules without frustrations. Queen Elizabeth’s include controlling the sulking, deceitful Earl of Essex, stepson of her beloved Leicester. She sees her navy successfully avert an attack from the Spanish Armada, only to learn that no needed booty was seized. She juggles insufficient resources to provide food for the needy after three years of failed harvests. To provide her beloved kingdom with funds, she must decide which jewels to pawn. As she approaches the age of seventy, she persists in dodging the matter of her successor, not out of a lack of responsibility but because she wanted to settle it in her own way. Other problems continue: Ireland, Spain, stiff-necked Puritans, and prejudiced Catholics. She watches her most trusted advisors in the Privy Council die off one by one. <h2>The novel brilliantly sheds light on Elizabeth’s humanity without losing any reverence for her scepter. Called a stingy penny-pincher, the queen wore elaborate gowns and owned the finest collection of jewels in Europe. Why? Perception is reality. Her brave show encouraged the nation she pulled out of poverty. Particularly touching scenes depict her feeding broth and reading the Bible to beloved advisors Walsingham and Burghley on their deathbeds. She gallops on horseback across the fields to be alone and endures hot flashes. Not wanting a reminder of her age, she forbids any celebration of her sixtieth birthday. Her favorite pastime—translating philosophy from the Latin.</h2> Queen Elizabeth’s voice is bracketed with that of her cousin, Lettice Knollys, traditionally seen as an ambitious, oft-married hussy and social climber. We see the human side of Lettice as she grieves her son’s deaths and grimly accepts the dwindling of her attractiveness due to aging. Her character provides an interesting perception of the queen. She calls Elizabeth cantankerous and meddlesome, but calmly advises her son Essex on subtle ways to regain the regent’s favor. The beautiful book cover is dominated by red roses, symbols of the Tudor dynasty. The cover design features a portrait of Elizabeth, resplendent in the pearls that symbolize royalty. The characteristic elaborate “Z” from her signature is worked into the book’s title, Elizabeth I . A shaded image of a young courtier, perhaps that of Robert of Devereux, Earl of Essex, appears to defer to the queen or to intrude into her thoughts. At age ten, while living in Israel, author Margaret George ran out of books to read and began writing novels to amuse herself. Now, a premier historical novelist, known for her intense and impeccable research, she writes England’s most famous queen during the last years of her reign to life. One need only read the Afterword to her book with numerous citations to sources consulted to respect George’s dedication to research. Most interesting is her humble thanks to the queen in her Acknowledgements. “…the spirit of Elizabeth…hovered over the book as it was taking shape and whispered her guidance.” <h2>This extraordinary glimpse into the latter days of Elizabeth’s reign is not only original, but brilliantly cast. Indeed, George’s ability to see inside Elizabeth I’s mind not only informs her historical accuracy, but creates a page-turning look inside the mind of a fascinating woman and regent. A listing of the cast of characters with descriptions of their relationship to the queen would be a helpful addition to this novel. The writing is meticulous, if not at times, a bit too detailed.</h2> No author, to this reviewer’s knowledge, has attempted a work of fiction that gives us such a microscope into the humanity of the Virgin Queen, Elizabeth I. I thank Goodreads.com and Penguin Group USA provided the advance review copy. The opinions expressed are unbiased and wholly those of the reviewer. Reviewed by Holly Weiss, author of Crestmont http://www.hollyweiss.com<!--EndFragment-->Was this review helpful to you? Flag as Inappropriate

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2016-44/1119/en_head.json.gz/16962

James Russell Lowell Quotes 117 Famous Quotes by James Russell Lowell 2/22/1819 - 8/12/1891 Also Known As: Russell James Lowell Professions: Author Information: About James Russell Lowell About James Russell Lowell James Russell Lowell was an American Romantic poet, critic, editor, and diplomat. He is associated with the Fireside Poets, a group of New England writers who were among the first American poets who rivaled the popularity of British poets. These poets usually used conventional forms and meters in their poetry, making them suitable for families entertaining at their fireside. Lowell graduated from Harvard College in 1838, despite his reputation as a troublemaker, and went on to earn a law degree from Harvard Law School. He published his first collection of poetry in 1841 and married Maria White in 1844. He and his wife had several children, though only one survived past childhood. The couple soon became involved in the movement to abolish slavery, with Lowell using poetry to express his anti-slavery views and taking a job in Philadelphia, Pennsylvania, as the editor of an abolitionist newspaper. After moving back to Cambridge, Lowell was one of the founders of a journal called The Pioneer, which lasted only three issues. He gained notoriety in 1848 with the publication of A Fable for Critics, a book-length poem satirizing contemporary critics and poets. The same year, he published The Biglow Papers, which increased his fame. He went on to publish several other poetry collections and essay collections throughout his literary career. Visit Source It is the privilege of genius that to it life never grows commonplace as to the rest of us. Quotes, by James Russell Lowell 0 out of 5 stars0 votes Solitude is as needful to the imagination as society is wholesome for the character. - Among My Books, 1870. Loneliness and solitude That cause is strong which has not a multitude, but one strong man behind it. The misfortunes hardest to bear are these which never came. The foolish and the dead alone never change their opinions. There is no self-delusion more fatal than that which makes the conscience dreamy with the anodyne of lofty sentiments, while the life is groveling and sensual. In the gain or loss of one race all the rest have equal claim. What men prize most is a privilege, even if it be that of chief mourner at a funeral. An appeal to the reason of the people has never been known to fail in the long run. The idol is the measure of the worshipper. Religion / beliefs Such power there is in clear-eyed self-restraint. Sentiment is intellectualized emotion; emotion precipitated, as it were, in pretty crystals by the fancy. The greatest homage we can pay to truth, is to use it. In creating, the only hard thing is to begin: a grass blade's no easier to make than an oak. Light is the symbol of truth. Virtue treads paths that end not in the grave.

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Get Started Join Now to View Michelle's Full Profile, and Access 10,000+ Other Profiles! Writer #16382 Hire Me Profile Contents Revisions/Order Repeat Clients A writer and grammar nerd since the age of ten, Michelle has written for a variety of publications on a wide range of topics. While was born and raised in the Bay Area, she's also spent time in Yorkshire, England - the exact climatic opposite of California - and earned a graduate degree in English from the University of Leeds. More importantly, she polished up her writing skills in the birthplace of the language, and her time there has been an experience that has changed her for the better. Freelancing has always been her life goal, but it's notoriously difficult to get into. If she were going to do it right, she knows she'd have to depend on more than her talent. Every day is a new adventure in learning, and expanding her skill set. Content writing, proofreading, editing, researching, content management, blogging, article writing Lifestyle, LGBTQ rights, environmentalism, social justice, science, medical science, video games, film and television, wine and food. Sep 2014 – Jun 2015 English, Master of Arts in English Coursework comprised of studying writing geared towards the publication industry, as well as writing for film, television, and radio. Sep 2011 – May 2013 English, Bachelor of Arts in English - Creative Writing Undergraduate course in English with emphasis on critical commentary, examining literature, and editing and proofreading for literary magazines. Projects by Industry All written for YourMechanic, a Mountain View - based automotive resource site, the articles written were dedicated to a variety of automotive topics, including car seat safety, paint and detailing, do-it-yourself car care, and how-to guides on parts and components. Short of offering actual mechanical advice, Michelle researched and verified each topic carefully to compile guides that were easy to read, understand, and utilize. Projects by Asset Type Michelle blogs for a design company and the websites that they build for clients, in a wide range of styles on a variety of topics. Social equity is a prevalent focus, but she is flexible enough to work with pretty much anything within reason. Projects by Writing Style Michelle additionally works for a small, successful design company here in California, and one of the websites she blogs and creates content for for is devoted to equality and anti-bullying, amongst other topics of social equality. It's been a privilege and an honor to be writing about such important topics, and she's devoted most of her time to continuing to do so. At Champion Up North, she wrote for a publication geared primarily towards young adults in the British pop-culture scene, which meant music, movies, politics, and social justice. It meant using a more relaxed, and admittedly more crude and bombastic style, but it was often well-received by this particular demographic. Samples are visible to logged in clients. It's free to get started and view this writer's full profile. Reviews are visible to logged in clients. It's free to get started and view this writer's full profile. Endorsements are visible to logged in clients. It's free to get started and view this writer's full profile.

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Narrated by William Rycroft Oblivious to the bizarre ways in which their lives intersect, nine characters - a terrorist in Okinawa, a record-shop clerk in Tokyo, a money-laundering British financier in Hong Kong, an old woman running a tea shack in China, a transmigrating "noncorpum" entity seeking a human host in Mongolia, a gallery-attendant-cum-art-thief in Petersburg, a drummer in London, a female physicist in Ireland, and a radio deejay in New York - hurtle toward a shared destiny of astonishing impact. Like the book's one non-human narrator, Mitchell latches onto his host characters and invades their lives with parasitic precision, making Ghostwritten a sprawling and brilliant literary relief map of the modern world. More Less Thank you for your purchase. More by David Mitchell More Narrated by William Rycroft An Embryonic Version of Cloud Atlas So Kill me. I really like David Mitchell, and reading this knowing it was his first novel is one of those things you can only really believe if you've read his other novels. This seems like an embryonic version of Cloud Atlas, with a lot of the same ideas, themes, and even a borrowed character or two. But that seems unfair, because most floret-novels never actually seem beautiful before their time. This one seems both a shinny fetus and world-ready. This baby was my JAM. Yes, there are/were times (each of his books have several TIMES) when Mitchell's transcendent/jazzy/flash*flash/UnitedColorsofBeneton schtick gets a little tired, but he still pulls it off. Kind of like when I'm watching the Winter Olympics and I get a little overwhelmed by the flamboyance of the whole "we-are-the-world-in-tights" routine, but I still end up watching most of the crazy programing. Anyway, it was fun to read and to already know the future. I read this already knowing that Mitchell wasn't going to be a one-hit-wonder, that his best books were ahead of him, that he would always have an Asian thing, that the Wachowskis/Tom Hanks would almost RUIN Cloud Atlas for me, that I would read every book he ever publishes, and usually buy several copies in many formats for several friends. Read full review Less - Darwin8u "I write for myself, for my own pleasure. And I want to be left alone to do it. - Salinger ^(;,;)^" Journeys of connectedness I'm a bit amazed that David Mitchell was only in his late 20s when he wrote this kaleidoscopic novel, given his adeptness with language, setting, voice, and ideas. As in his more famous (and later) Cloud Atlas, Mitchell blends history, tragedy, wit, myth, metaphysics, moral questions, and consciously cinematic melodrama into a swirling literary collage.Like Cloud Atlas, this one contains a set of loosely-linked stories that take place in different locations around the world and, in some cases, span decades of history. The protagonist of each is at some moment in his or her life when everything is about to change. There's a Japanese doomsday cultist whose conviction in his deluded belief system gives rise to disquieting, yet infecting observations about the world. There's a young, jazz-obsessed slacker working in a Tokyo record store (an obvious Murakami nod), who falls in love with a girl that happens to wander in by a chance. There's a harried 30-something British financier watching his life and his biggest deal fall apart, while convinced that his Hong Kong apartment is haunted by a ghost. There's an old Chinese woman who runs a noodle stand on a sacred mountain, and has come through much history mostly by being beneath its concern. There's a “noncorpum”, a disembodied spirit that transfers itself between human hosts and travels across Mongolia, in search of its own origins. There's a female Russian art thief, waiting for the moment to carry out a big heist, but acutely conscious of her departing youth.Unlike Cloud Atlas, which played games with which stories were "real" (and what "real" ultimately means in the context of imaginative constructions), this book puts its characters on the same broad stage and has them crossing paths with one another. At first, the connections are fleeting, but as the book progresses, the stories and their themes intersect more and more, building towards a crescendo that includes an Irish quantum physicist trying to evade the militaristic designs of the US government, a noncorpum of another sort, and a late night radio DJ on the eve of the end of the world.Mitchell is mad juggler of a writer, taking a collection of ideas that would be somewhat hackneyed on their own, and reconfiguring them into a grand mural in motion. Each story has its own lyrically sordid details, powerful truths, and cosmic absurdities, yet their meaning is in their connectedness. It would seem that we’re all ghosts in one another’s machines, mostly unconscious of each other, yet profoundly linked, part of the same endless universal cycle of suffering, joy, death, and rebirth.It's not hard to see that this was Mitchell's first book. There's a sense of a young author appropriating ideas with the enthusiasm of a rail tourist snapping photos, though with enough tongue-in-cheek that it doesn't feel like theft. And the ending, which borrows elements from sci-fi B-movies, feels a little clumsy and preachy compared to the rest of the book.Still, it’s a damn impressive debut, showcasing Mitchell’s ample gifts at technique and full of questions and beautiful insights. If you like literary fiction that hovers on the edge of fanciful, without crossing over into full-blown magic realism, then he’s someone you should read. Cloud Atlas is my personal favorite, but if that one sounds too meta, you might connect more with Ghostwritten. I'm pretty happy with the audiobook narrator chosen here, William Rycroft. He doesn't do a wide range of accents, but his tone and delivery are quite skillful. Read full review Less - Ryan "Gen-Xer, software engineer, and lifelong avid reader. Soft spots for sci-fi, fantasy, and history, but I'll read anything good."

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Rise of a Merchant Prince : The Serpentwar Saga by Raymond E. Feist Narrated by Peter Joyce The Serpentwar Saga The second book in Raymond E. Feist's super-selling quartet: "The Serpentwar Saga". Triumphant but overconfident after his defeat of the reptilian Sauur army, Roo must resist a beguiling seductress who threatens to undo him and all of Midkemia. Recently returned from a harrowing brush with the armies of the Emerald Queen, Roo is now free to choose his own destiny and his ultimate ambition is to become one of the richest and most powerful merchants in Midkemia. But nothing can prepare him for the dangers of the new life he has chosen, where the repayment of a debt can be as deadly as a knife in the shadows. Even those closest to him are suspect and as Roo struggles to build his financial empire, betrayal is always close at hand. But while Roo works towards achieving his goal, memories of the invasion haunt him still. For the war with the Emerald Queen is far from over and the inevitable confrontation will pose the biggest threat yet to his newfound wealth and power. Rise of a Merchant Prince is the second book in the Serpentwar Saga. Rage of a Demon King is the third book in the quartet. More Less Thank you for your purchase. More by Raymond E. Feist More Narrated by Peter Joyce Enjoyed every minute A bit gory in places but loved the pace and story continuation. Narrator was fantastic Read full review Less - Jacquie Publisher: HarperCollins Publishers Limited

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Reading guide for John Adams by David McCullough Reading Guide Questions John Adams had an insatiable desire to explore human nature. In defending the British soldiers involved in The Boston Massacre, Adams says to the jury, "Facts are stubborn things, and whatever may be our wishes, our inclinations, or the dictums of our passions, they cannot alter the state of facts and evidence." How has his decision to defend the British Army, even under suspicion of political treason, prepared him to draft a strong argument for independence? In Thoughts on Government, Adams begins to formulate thoughts on public education. Adams writes, "Laws for the liberal education of youth, especially for the lower classes of people, are so extremely wise and useful..." When Adams was a young boy he dismissed the idea of education and only wished to be a farmer. How has his background influenced his opinion on education? Why did he see education as essential to the farmer as to the statesman in the pursuit of an independent nation? On slavery, Abigail Adams writes, "It always seed a most iniquitous scheme to me- [to] fight ourselves for what we are daily robbing and plundering from those who have as good a right to freedom as we have." Even Adams with his great display of integrity during The Boston Massacre trial, has managed to omit the issue of slavery from the Declaration of Independence. Who in Congress owned slaves and who did not? How could the abolition of slavery have helped The American Revolution? What stakes were involved? John Adams' voyage to France along with ten-year-old John Quincy took an incredible toll on Abigail. How has Abigail been an inspiration to her "good friend"? Why does their relationship seem an anomaly in this time period? How has his relationship with Abigail influenced his admiration for French women? Would you call john Adams a feminist? Why or why not? Give examples. John Adams led an obstinate quest to gather military and economic support from both the French and Dutch governments with little financial or moral support from Congress. Adams' feels very isolated at this point in the struggle for independence and often feels like he is running a one-man-show despite the fact that his ability to secure a loan from the Dutch was undoubtedly dependent upon the British General Cornwallis' surrender at Virginia. After reviewing the larger picture, what are the events and circumstances in Adams' life during this time that has made him feel politically isolated? Was he in fact running a one-man-show? Explain. In London, Adams publishes, A Defense of the Constitutions of Government of The United States of America. The crux of this pamphlet stresses the necessity for a government to establish a check and balance of political power. Adams writes that there is "a natural aristocracy among mankind... These were the people who had the capacity to acquire great wealth and make use of political power, and for all they contributed to society, they could thus become the most dangerous element in society..." In the current state of the United States Government, some would argue that it is ruled by the aristocracy, some may even go so far as to argue that the U.S. is currently ruled by a monarchy. What are your thoughts on the government of the United States? Is the United States realizing John Adams' dream? Why or why not? In 1783, the United States is officially recognized by the world as an independent nation upon the signing of the Treaty of Paris. During this time, Adams recognizes a moral shift amongst the American people. James Warren writes that patriotism has been abandoned to money and materialism. How has the institution of slavery influenced the morale of American people? Does the economic value of slavery make creating a unified government more challenging? Why? Adams displays a bit of apprehension toward his nomination for Vice President of the United States. Article I, Section 3, of the Constitution states that "[the Vice President] shall be President of the Senate, but shall have no vote, unless they be equally divided." It would seem as though Adams, a man so firm in his opinions, with the plainness of a teacher and the persuasion of a lawyer would be perfect for the Vice Presidency. Why didn't he think so? Why do you think he won by such a small margin? In 1798, the United States prepares to go to war with France. Adams' initial interactions with France during the Revolutionary War led to his apprehension on entering into a hasty relationship with the French. In a letter to Roger Sherman Adams warned of excessive attention to what the French thought, what France wanted, and writes that there was "too much [French] influence in our deliberations". What was the turning point in the United States relationship with France? What left the United States so vulnerable to the French? On Adams McCullough writes, "...he seems not to have viewed the presidency as an ultimate career objective or crowning life achievement. He was not one given to seeing life as a climb to the top of a ladder or mountain, but more as a journey or adventure... if anything, he was inclined to look back upon the long struggle for independence as the proud defining chapter." What do you think was driving the life of John Adams? What were his motivations? There is still much speculation over Thomas Jefferson's relationship with Sally Hemings. In a letter to Jefferson, Abigail Adams felt that a president should serve as an example on the manners and morals of the nation. What are your thoughts on Abigail's statement? Abigail Adams dies on October 28, 1818. At her beside John Adams says, "I wish I could lie down beside her and die too." To John Adams and his peers Abigail was much more than Adams' wife she was a colleague, and many remarked on her wit. As stateswomen, how has her role in politics paved the way for the first ladies that will succeed her, what do you feel is the role of the President's wife? Membership Advantages

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CartoonsHe-Man Follow/FavBefore It's Too Late By: Teelana-Zoar Classic MotU. Randor is disappointed with his son... but what happens when he decides on more drastical measures to teach Adam responsibility? COMPLETE Rated: Fiction K - English - Romance - He-Man/Prince Adam, Teela - Chapters: 6 - Words: 8,531 - Reviews: 36 - Favs: 25 - Follows: 5 - Updated: 1/13/2004 - Published: 1/1/2004 - Status: Complete - id: 1667236 + - Full 3/4 1/2 Expand Tighten < Prev 1. Default Chapter2. Chapter 23. Chapter 34. Chapter 45. Chapter 56. Chapter 6 END When the evening of the ball had come Teela was in the meeting room together with her guardsmen, giving them some final instructions. "You know it's a special event. I don't want any unpleasant incidents. Does everyone have the programme? Good. You're dismissed." Teela had already focused her attention on the schedule again when a young guardsman raised his arm and asked: "Um, Captain? I've got a question –" Teela raised her head. "Didn't I express myself clearly enough?" she snarled at him. Taken aback he stammered: "No, Captain... you haven't... I'll be on duty then." Quickly he disappeared. Teela regretted her uncontrolled reaction at once. She knew that she was in a bad mood, but that was no reason to treat the guards like that. On their way out the other guardsmen threw astonished glances at her. They weren't used to their Captain behaving like that. When the room had emptied Teela remained sitting for a while. She rested her head on her hands. She knew exactly why her mood was that bad – somehow she couldn't stand the thought that Adam would be engaged to Gwendolyn from tonight on. Although she had never met her she felt deep dislike for her. At noon Lord Merkon had arrived with his entourage. At the sight of the approaching vehicles Teela had preferred to withdraw in order not to be introduced. At that time she had still told herself that she had more important things to do; but if she was honest to herself now she had only wanted to avoid meeting Adam's future wife. She didn't quite understand it herself but she was jealous. Still deeply lost in thoughts Teela went to her room. She had hardly arrived there when somebody knocked at her door. The door opened and her father entered. "Oh, hello father." "Teela, the ball is going to start soon. Are you sure you don't want to come?" "No, I can't, I'll be busy all evening." "Alright. You know where to find me in case you need me," Duncan said, thinking to himself that it was probably better for Adam if Teela didn't show up at the ball. After her father had left she got up and began pacing up and down the room restlessly. In a moment the ball would begin, and soon after Adam's engagement would be announced. And after that, nothing could be changed anymore. Then it would be too late. Too late for what? When she had had the choice she had thought that she was in love with He-Man. But for quite some time already she was not so sure anymore concerning He-man. And now, now that she was on the verge of losing Adam – yes, losing him, that was exactly what it was – she was sure that her feelings for He-Man had never been very much more than admiration for the great hero. And Adam? She knew him as well as no-one else. True, he was a joyful – carefree – person, yet she had always known him as an understanding and considerate man. Moreover, he was very intelligent, even if he often hid this behind his laziness. And nobody could doubt that he wasn't a handsome young man, too. She had always known that she could rely on him; and even if he had changed: Teela knew that he hadn't always been the young prince who took life easy. And though she liked teasing him with it, she knew that even today this was only partly true. Adam had always been there since she could think. She couldn't bear the thought that another woman was about to take him away from her. Because now there was one thing she was sure of: She loved him. And she would make the biggest mistake of her life if she didn't go down to the ball room and told him exactly that – before it was too late. She was already on her way to the door when suddenly she hesitated. Wasn't it too late already? She couldn't simply burst into the ball room! And if she did, what would be if Adam didn't want to hear her explanations anymore and rejected her? It didn't matter! It didn't matter, even if she caused turmoil and made a complete fool of herself, she had to try it. Resolutely Teela opened the door and ran down the hallway to the stairs where she stopped for a moment, breathing deeply. Briskly she went down the stairs which led to a side entrance of the throne room. Carefully Teela put the curtains a little aside and peered into the room. The king was holding his opening speech. As Teela knew the program of the evening by heart she knew that the announcement, noted on the program as 'ceremonial address' would take place later. As her gaze wandered through the hall she realised the guests' dressy clothing. She was aware that her own uniform didn't quite fit the occasion and that she had better go and get changed as she still had enough time left. Just when Teela wanted to let go of the curtain her gaze fell on a young, pretty woman with blonde hair who sat next to Lord Merkon making a smug impression. This had to be Lady Gwendolyn. Actually seeing her with her own eyes only served to make Teela more determined in her plan. She turned around and quickly went back to her room. She took the ballgown her father had given her as a present out of her wardrobe. It was made of heavy, dark-blue silk, at ankle-length, backless and with slim straps. She quickly put it on. Then she loosened her hair and brushed it so that it fell down on her shoulders in soft red waves. She put on some make-up and finally used some of Adam's perfume. She hurried back to the ball room, this time to the main entrance. The guards on duty there looked at her in surprise and opened the curtain. Teela entered, her heart beating wildly. Now she was nearly there. When she had entered she immediately felt curious glances resting on her – among them Lady Gwendolyn's, who exchanged a few whispered words with her father. Teela went over to the dance floor and looked for prince Adam. A song had just ended and she saw the prince thanking his dance partner with an elegant bow. He noticed Teela and came over to her. Seeing her made his heart ache. Why had she come? "Teela." At that moment the music began to play again. "May I have this dance?" Teela agreed, and Adam led her onto the dance floor. He would have loved to tell her how beautiful she looked in this unfamiliar attire, but he wasn't sure if it was appropriate now. Slowly they started to dance. For a moment Teela felt reminded of the dancing lessons she had had as a young girl. She had never been very interested in social events like this and that was why she had only danced a few times since then. She thought of herself as a very mediocre dancer; after a few steps, however, Teela realised Adam's firm hold on her and the way he led her over the dance floor elegantly and with the greatest of ease. He was indeed as good a dancer as everybody said. And she liked it! After she had concentrated on the calm music for some time, she hesitatingly began to speak. "Adam... I've got to tell you something... I've realised something... I've made a mistake... I've realised now how much you mean to me... you are very, very important to me... and by the ancients, I don't want you to get married to another woman... and what I want to tell you by that is that I love you..." She stopped. "And I really hope that I'm not too late." She looked straight into his eyes. Adam was so thrown off guard by Teela's disclosure that he momentarily fell out of step. But he recovered quickly and smiled happily at her, and all her fears were forgotten. The tension was gone and she smiled back. Adam was the first to talk again: "Teela, will you do me the honour of becoming my wife?" "Yes, I will." "Teela, do you know how much I would like to kiss you now?" He pulled Teela closer to him and whispered: "I love you." For the rest of the song they didn't speak anymore and simply revelled in the mutual closeness. After the dance had ended they reluctantly parted. "I'll talk to my parents at once," Adam said. "Do you think there'll be problems?" Teela asked. "I don't think so," Adam said with a hopeful glance to his mother. "None that can't be solved, I hope." Adam led Teela to her father's table. Duncan looked at them grinning broadly, but said nothing. "Thank you for the dance," the prince said with a smile a thanked his Teela with a flawless bow. Teela sat down on the empty place next to Duncan who took put his hand on hers to reassure her. "Everything will be alright." When Adam turned around and headed towards his parents' table his mother got up and came to him. She had watched everything in relief – and she had already asked her husband to hold the speech instead of him. Randor had been surprised, but had agreed. The two went a little away from the crowd. "Mother –" Adam began. Marlena interrupted him: "There won't be an engagement to Gwendolyn I suppose?" Adam smiled at her, his eyes shining. "Yes. Teela wants to become my wife." "Thank God. I'm so happy for you. For the both of you." "Will there be problems with father?" "No, certainly not. You just sit down, I'll take care of the rest." They went back to the king's table and sat down. Marlena waited until the music had stopped, got up and stood in front of the thrones. King and prince followed her. The queen waited until all the dancers had gone back to their seats and then began her speech. "Ladies and Gentlemen, honoured guests, again I welcome you here..." Adam wasn't able to listen to his mother's speech for long; he was much too occupied with his own thoughts. Again and again his gaze wandered back to Teela. "I have the honour to announce tonight the engagement of our son, Prince Adam of Eternia." A surprised murmur rose among the guests and there was a short applause. "Adam, would you please bring your fiancée here to us." Smiling he went to Teela without realising Lady Gwendolyn's shocked face. The prince happily took Teela's hand and led her to his parents, followed by everybody's eyes. Randor recovered quickly from his initial shock and said in a celebrational tone: "May I introduce you to the future crown princess of Eternia: Lady Teela, daughter of our Man-at-Arms and Captain of the Royal Guard." When he heard Teela's name Cringer raised his head in astonishment, while Orko immediately began to clap enthusiastically. After a second the guests joined in, and now the applause was significantly louder than before. It had taken Lady Gwendolyn a while to get over her shock, but now she was about to jump up and protest. Her father, however, held her back. "Sit down, Gwendolyn. Everything is exactly as it should be. Can't you see how happy they are?" "But..." she wanted to object indignantly. Her father looked at her calmly, and she gave up. The orchestra started to play again and the newly engaged couple opened the dance. After they had danced for a while Adam said: "I'm so glad that I won't have to marry Gwendolyn." "And why is that," Teela asked teasingly. "She can't dance." As a response to this Teela pinched his arm. But Adam immediately got serious again. "What about He-Man after all?" "Oh no, was it that obvious?" Teela asked, astonished. "I couldn't miss it." He watched Teela's face closely. "He-Man has many admirable qualities," she began to explain, "but I came to the conclusion that I want to spend the rest of my life with you," she finished honestly. Adam was relieved. Here with him was Teela, and she wanted him as he was, for his own sake, not because she thought that He-Man was out of reach and he was her second choice, and not because she knew they were one and the same person. There would be a time when he would tell her everything. Softly he drew her closer to him. For Adam there was only the woman in his arms at that moment. Lost in thought he said: "That's the perfume I gave you for your birthday, isn't it?" "Yes, it is, why do you..." She remembered somebody else – He-Man – asking her the exact same question a few days ago. "How did he know..." Teela murmured. "Who knew what?" Adam wanted to know. "He-Man..." Teela looked at Adam with piercing eyes. And suddenly it seemed to her as if the hero of Eternia was standing in front of her. Her eyes widened; she still didn't really believe it. "Could it be..." "Teela, what's wrong?" "All the years, and you didn't tell me." Adam hadn't expected this, but nevertheless he felt like a huge weight had been lifted off his shoulders. "I would have loved to tell you." Teela shook her head. "Let's talk about it later. Right now I'm happy to be here with you." Contentedly Teela let her head sink against Adam's chest and they danced on in silence. After a while Adam's gaze fell on a figure in the window which had apparently been there for quite some time. Zoar. I'm so happy for the two of you. I'm glad to see my daughter so happy he heard the sorceress' telepathic voice in his mind. Thank you, sorceress. I hope it's alright that Teela knows the secret now? Don't worry. It was I who lifted the ban of the sword off of her, which prevents others to recognise you. And Adam – I cannot imagine anybody I would rather have as my son-in-law than you. With that the falcon turned around and flew away. Adam returned his attention to Teela. When they came near the balcony he drew her out with him. There they were undisturbed. Adam lovingly held Teela in his arms in front of him. Together they looked up to the two moons above and listened to the music playing inside. After a while he turned her around and drew her near. And in the silvery light of the moons they shared a kiss for the first time. < Prev 1. Default Chapter2. Chapter 23. Chapter 34. Chapter 45. Chapter 56. Chapter 6 END The author would like to thank you for your continued support. Your review has been posted.

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english literature essay We have hundreds of experts on hand, able to help you with your essay question - ask now! Edgar Allan Poes Life And His Work English Literature Essay Introduction - Edgar Allan Poe had a very disturbed life, full of joys and grief. His life was short but his works made a great contribution to the development of the literature of American Renaissance. Childhood with the foster parents. The early death of his mother and the serious illness of Frances Allan had a strong impact on the future writer's psychological development. It resulted in the image of a sick woman who mysteriously dies and later comes back from the world of dead to the living world. Youth. In spite of all the generosity of John Allan, Edgar Allan Poe did not consider him to be the real father. The relations that formed between them were rather strained and they influenced the writer's character. Edgar Allan Poe became selfish, unbalanced and emotionally disturbed. He also depicted characters with such features in his literary works. The position of an editor in the Messenger magazine provided Edgar Allan Poe with a forum for his future literary works, such as "Berenice" and "Morella". In spite of the fact, that he soon left the magazine, he entered with its help the literary circles and became a well-known literary critic. Edgar Allan Poe introduced the genre of detective stories into American literature. That is also connected with his biography, as the future writer enjoyed different puzzles and the game of words from the early childhood. The works of Edgar Allan Poe were not only highly praised but were also criticized. The reason to this can be traced in the early years of Edgar Poe. He was raised by a person whose character was very difficult. So he became very emotional and eccentric. Thus, not everyone could appreciate the works that were of the same character. Conclusion - The short life of Edgar Allan Poe is full of mysteries and legends. The facts that are verified from his biography are very scarce. Still, what is known for sure, is that tragic events of his life could not but influenced his literary works. Almost everyone knows about Edgar Allan Poe's detective and gothic stories. However, not everyone knows that first of all he was a genius poet whose works continue to stir imagination even nowadays. His life was not long. He died at the age of 40 (1809 - 1849). He was Yankee in birth and Southerner in behavior. Nevertheless these both facts did not prevent him from being who he really was - Edgar Allan Poe. His relation with family and relatives who dreamed to make a gentlemen and an officer from him, were far from ideal. His relations with public were not very good either, as he did not want to flatter them. He had a rough time with no money. He also knew a lot of grief. Eventually he died very early, having though created wonderful poems and prose that became the classic examples of American romanticism. He forestalled the European romanticism, the ideas of which Edgar Allan Poe implied in his works. The life of Edgar Allan Poe was rather tragic and the tragic circumstances could not but influenced his writings. Edgar Poe lost his parents when he was very young; he watched his mother dying of tuberculosis. However he was lucky to be adopted by wealthy people who raised him and gave education. John and Frances Allan became his family. Unfortunately Frances Allan was chronically ill, and Edgar Allan Poe had to suffer that hard experience of watching a dear person die once more. That event reflected in his life and in his writings. The image of a beautiful woman dying of a mysterious disease or at some mysterious circumstances can be traced in the major part of Edgar Allan Poe's stories. Thus, the main characters of "Ligeia" are two beautiful women who mysteriously die. One of them later comes back to the world of living people. The character of another story by Poe "The Fall of the House of Usher" also returns from the world of dead people. The female character was also seriously ill and that became the reason of her death. Of course, that motif of a death of women in the stories may not have been consciously planned by Edgar Allan Poe. On the contrary, having suffered his mother's death and later having watched the illness and death of the woman who adopted him, the writer could use this motif subconsciously, as it had a great impact on his psychological development. His relations with John Allan can be hardly characterized as perfect. John Allan was a loving father, a generous man. On the other hand he was also moody, unbalanced, demanding and emotionally turbulent. Allan provided financial help for the future writer and thus Edgar Poe was able to get a very good education in English school and later at the University of Virginia. Nevertheless all Allan's support, Edgar Poe blamed him in stinginess. However we cannot judge, as there are also evidences that Allan was so strict because of the Poe gambling debts. In general, the tendency to cast his blame on other people followed Poe's all life. He did not admit his own faults and took this paradigm of behavior in relations with other people very often. Poe suffered from the idea that John Allan was not his true father in spite of all his generosity. Still, the echo of these ideas is present in many Poe's works, such as the characters of sick mothers and guilty fathers. As the character of John Allan was far from ideal and he was the only one to bring up the future writer, Edgar Allan Poe's character became passionate, impetuous. People saw many strange things in his behavior. He wrote strange poems no one could understand; he had fantastic and fabulous ideas. John Allan considered Edgar to be just eccentric. However, later the writer realized all his fantastic plans in his writings. He depicted the ship that can grow older with its crew ("Message found in a bottle"). The inclination of the writer to the speculative analysis reflected in his detective stories with famous Dupin, in such stories as "The Murders in the Rue Morgue", "The Mystery of Marie Roget", "The Purloined Letter". Edgar Allan Poe did not spend much time at the University of Virginia. After two semesters he had to leave. Then for a short period his life was connected with the military and at last he entered the magazine industry. Edgar Allan Poe had a dream to establish his own magazine one day - the Stylus. However this dream was not to come true. Still the magazine industry had some positive effect on the writer's life. He was taken as an editor of the Southern Literary Messenger in 1835. This position meant a lot for Edgar Poe, as it provided him with a forum for further tales, such as "Morella" and "Berenice". The Messenger also gave Poe the possibility to establish himself as a literary critic. In the course of time Edgar Poe fell out of favor with Thomas White. However being a very active literary critic, Edgar Allan Poe became a popular speaker. Since that time his name has already been associated with such macabre stories as "The Tell-Tale Heart". Edgar Poe assumed a large number of different literary personas during his writing career. The Messenger let Edgar Allan Poe become one of the famous literary critics of his times. He developed his theories in numerous scientific essays, such as "The Philosophy of Composition", "The Rationale of Verse", "The Poetic Principle". In one of these works ("The Philosophy of Composition") Edgar Allan Poe explained how he created "The Raven", one of his most famous literary works. This poem appeared in 1845 and made him nationally famous. Having appeared in the Evening Mirror, this poem became a real sensation. Though for its publication Edgar Allan Poe was paid only $9 (Ostrom 35). Besides, in the pages of those magazines Edgar Allan Poe managed to introduce the new form of short stories in tales - the detective stories. This origination of detective stories is closely connected with Poe's interests and hobbies. He was extremely interested in puzzles, secret codes, and game of words. Getting pleasure from these things in real life, he could not pass them over in his literary works. He really enjoyed to present different puzzles on the pages of the Messenger and to make his readers decode those secret messages. In the times when Edgar Allan Poe created his detective stories, the word "detective" did not exist. However that fact did not prevent those masterpieces of Poe from becoming the basement of the 20th century literature. In fact Edgar Allan Poe is widely known for his macabre and tales of mystery. He is the first American practitioner of the short story. He is considered the inventor of the genre of detective fiction and a great contributor to the genre of science fiction in general (Stableford18-19). The genre of Gothic literature rose in Britain in the late 18th century. This genre explores the dark sides of human soul and nature. It tells about death, nightmares, ghosts, alienation and haunted landscapes. Edgar Allan Poe brought this type of literature to America. Most of his famous works are Gothic. Edgar Allan Poe followed this genre to appease the public taste (Royot 57). There are some suggestions that Edgar Allan Poe share identities with his characters. Many depictions of his personages blend in with characters of his stories (Gargano 165). To some extent this is true. Edgar Poe tried to overcome the lack of will of his characters. Through them he tried to get rid of this feature in his own character. He gave them the power of thought and thus glorifies the will. Edgar Allan Poe was not only highly praised but criticized as well. That does not only concern his literary works, but his behavior as well, as he was egocentric and selfish. These negative features of his character alongside with many other originate in his childhood spent with John Allan, whose character was also very unstable. Thus, William Butler Yeats once called Poe "vulgar"; Ralph Waldo Emerson said about Poe's best novel "The Raven": "I see nothing in it" and called Edgar Poe "the jingle man" (Emerson's Estimate of Poe). Aldous Huxley compared "too poetical" works of Poe with wearing diamond tings on every finger (Huxley 32). Still what do we really know about Edgar Allan Poe's life? How did he live? What bothered him and what was his life in reality? There are more questions than answers. Very small number of facts is verified. There are more legends, myths and conjectures in his biography than certainties. Everything that is written about him is more our fantasies than real truth. He got only nine dollars for his best poem "The Raven", however all the reading society of America appreciated it at once, still not knowing the name of the author. Edgar Allan Poe was not happy to become famous in his life. But coming after death, his fame not only lives today, but continues to grow and takes new forms. According to what poets usually say, they dream about fame after death. That is their utmost desire of men of art. If it is true, for Edgar Allan Poe this dream has come true. The symbolists of the beginning of the 20th century considered him to be their forerunner; his influence can be traced in the works of almost all modern American poets. His works are translated on almost all world languages; still none of the translations can convey the melody of Poe's language. The stories by Edgar Allan Poe mark him as an originator of both detective and horror fiction. Many anthologists name him "the architect" of the contemporary short story. Besides, he was one of the first literary critics to focus on the importance of style and structure of the literary work. He was also called the forerunner to the "art for art's sake" movement (Edgar Allan Poe). And, after all, nevertheless there were times in his life when he had nothing to eat, he had a lovely young wife and beautiful little daughter, and that is much more valuable than material wealth. Only one glance to the poems dedicated to Poe's wife let us know that Edgar Allan Poe would never change his happiness with beloved wife for earthly blessings. It is she who is referred those wonderful bold and happy words of "Annabel Lee" that deny Death for the sake of Love: For the moon never beams without bringing me dreams Of the beautiful Annabel Lee; And the stars never rise but I feel the bright eyes And so, all the night-tide, I lie down by the side Of my darling- my darling- my life and my bride, In the sepulchre there by the sea, In her tomb by the sounding sea. (Edgar Allan Poe) Request Removal English Literature Essay Writing Service More English Literature Essays English Literature Dissertation Examples UKEssaysEssaysEnglish LiteratureEdgar Allan Poes Life And His Work English Literature Essay

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Jewish World Review October 12, 2009 / 24 Tishrei 5770 Obama helping Putin restitch Iron Curtain By Mark Steyn http://www.JewishWorldReview.com | Was it only April? There was President Barack Obama, speaking (as is his wont) in Prague, about the Iranian nuclear program and ballistic missile capability, and saluting America's plucky allies: "The Czech Republic and Poland have been courageous in agreeing to host a defense against these missiles," he declared. "As long as the threat from Iran persists, we will go forward with a missile defense system that is cost-effective and proven." On Thursday, the administration scrapped its missile defense plans for Eastern Europe. The "courageous" Czechs and Poles will have to take their chances. Did the "threat from Iran" go away? Not so's you'd notice. The dawn of the nuclear Ayatollahs is perhaps only months away, and, just in case the Zionists or (please, no tittering) the formerly Great Satan is minded to take 'em out, Tehran will shortly be taking delivery of a bunch of S-300 anti-aircraft batteries from (ta-da!) Russia. Fancy that. Joe Klein, the geostrategic thinker of Time magazine, concluded his analysis thus: "This is just speculation on my part. But I do hope that this anti-missile move has a Russian concession attached to it, perhaps not publicly (just as the U.S. agreement to remove its nuclear missiles from Turkey was not make public during the Cuban Missile Crisis). The Obama administration's diplomatic strategy is, I believe, wise and comprehensive — but it needs to show more than public concessions over time. A few diplomatic victories wouldn't hurt." Golly. We know, thanks to Jimmy Carter, Joe Klein and many others, that we critics of President Obama's health care policy are, by definition, racist. Has criticism of Obama's foreign policy also been deemed racist? Because one can certainly detect the first faint seeds of doubt germinating in dear old Joe's soon-to-be-racist breast: The Obama administration "needs to show more than public concessions over time" — because otherwise the entire planet may get the vague impression that that's all there is. Especially if your pre-emptive capitulations are as felicitously timed as the missile-defense announcement, stiffing the Poles on the 70th anniversary of their invasion by the Red Army. As for the Czechs, well, dust off your Neville Chamberlain's Greatest Hits LP: Like he said, they're a faraway country of which we know little. So who cares? Everything old is new again. It is interesting to contrast the administration's "wise" diplomacy abroad with its willingness to go nuclear at home. If you go to a "town hall" meeting and express misgivings about the effectiveness of the stimulus, you're a "racist" "angry" "Nazi" "evilmonger" "right-wing domestic terrorist." It's perhaps no surprise that that doesn't leave a lot left over in the rhetorical arsenal for Putin, Chavez and Ahmadinejad. But you've got to figure that by now the world's strongmen are getting the measure of the new Washington. Diplomacy used to be, as Canada's Lester Pearson liked to say, the art of letting the other fellow have your way. Today, it's more of a discreet cover for letting the other fellow have his way with you. The Europeans "negotiate" with Iran over its nukes for years, and, in the end, Iran gets the nukes, and Europe gets to feel good about itself for having sat across the table talking to no good purpose for the best part of a decade. In Moscow, there was a palpable triumphalism in the news that the Russians had succeeded in letting the Obama fellow have their way. "This is a recognition by the Americans of the rightness of our arguments about the reality of the threat or, rather, the lack of one," said Konstantin Kosachev, chairman of the Duma's international affairs committee. "Finally the Americans have agreed with us." There'll be a lot more of that in the years ahead. There is no discreetly arranged "Russian concession." Moscow has concluded that a nuclear Iran is in its national interest — especially if the remorseless nuclearization process itself is seen as a testament to Western weakness. Even if the Israelis are driven to bomb the thing to smithereens circa next spring, that, too, would only emphasize, by implicit comparison, American and European pusillanimity. Any private relief felt in the chancelleries of London and Paris would inevitably license a huge amount of public tut-tutting by this or that foreign minister about the Zionist Entity's regrettable "disproportion." The U.S. defense secretary is already on record as opposing an Israeli strike. If it happens, every thug state around the globe will understand the subtext — that, aside from a tiny strip of land on the east bank of the Jordan, every other advanced society on earth is content to depend for its security on the kindness of strangers. Some of them very strange. Kim Jong-il wouldn't really let fly at South Korea or Japan, would he? Even if some quasi-Talibanny types wound up sitting on Pakistan's nuclear arsenal, they wouldn't really do anything with them, would they? OK, Putin can be a bit heavy-handed when dealing with Eastern Europe, and his definition of "Eastern" seems to stretch ever further west, but he's not going to be sending the tanks back into Prague and Budapest, is he? I mean, c'mon . . . Vladimir Putin is no longer president but he is de facto czar. And he thinks it's past time to reconstitute the old empire — not formally (yet), but certainly as a sphere of influence from which the Yanks keep their distance. President Obama has just handed the Russians their biggest win since the collapse of the Iron Curtain. Indeed, in some ways it marks the restitching of the Iron Curtain. When the Czechs signed their end of the missile-defense deal in July, they found themselves afflicted by a sudden "technical difficulty" that halved their gas supply from Russia. The Europe Putin foresees will be one not only ever more energy-dependent on Moscow but security-dependent, too — in which every city is within range of missiles from Tehran and other crazies, and is, in effect, under the security umbrella of the new czar. As to whether such a Continent will be amicable to American interests, well, good luck with that, hopeychangers. In a sense, the health care debate and the foreign policy debacle are two sides of the same coin: For Britain and other great powers, the decision to build a hugely expensive welfare state at home entailed inevitably a long retreat from responsibilities abroad, with a thousand small betrayals of peripheral allies along the way. A few years ago, the great scholar Bernard Lewis warned, during the debate on withdrawal from Iraq, that America risked being seen as "harmless as an enemy and treacherous as a friend." In Moscow and Tehran, on the one hand, and Warsaw and Prague, on the other, they're drawing their own conclusions. JWR contributor Mark Steyn is a syndicated columnist. Comment by clicking here. STEYN'S LATEST "America Alone: The End of the World as We Know It" It's the end of the world as we know it... Someday soon, you might wake up to the call to prayer from a muezzin. Europeans already are. And liberals will still tell you that "diversity is our strength"—while Talibanic enforcers cruise Greenwich Village burning books and barber shops, the Supreme Court decides sharia law doesn't violate the "separation of church and state," and the Hollywood Left decides to give up on gay rights in favor of the much safer charms of polygamy. If you think this can't happen, you haven't been paying attention, as the hilarious, provocative, and brilliant Mark Steyn—the most popular conservative columnist in the English-speaking world—shows to devastating effect in this, his first and eagerly awaited new book on American and global politics. The future, as Steyn shows, belongs to the fecund and the confident. And the Islamists are both, while the West—wedded to a multiculturalism that undercuts its own confidence, a welfare state that nudges it toward sloth and self-indulgence, and a childlessness that consigns it to oblivion—is looking ever more like the ruins of a civilization. Europe, laments Steyn, is almost certainly a goner. The future, if the West has one, belongs to America alone—with maybe its cousins in brave Australia. But America can survive, prosper, and defend its freedom only if it continues to believe in itself, in the sturdier virtues of self-reliance (not government), in the centrality of family, and in the conviction that our country really is the world's last best hope. Steyn argues that, contra the liberal cultural relativists, America should proclaim the obvious: we do have a better government, religion, and culture than our enemies, and we should spread America's influence around the world—for our own sake as well as theirs. Mark Steyn's America Alone is laugh-out-loud funny—but it will also change the way you look at the world. It is sure to be the most talked-about book of the year. Sales help fund JWR. © 2009, Mark Steyn Columnists

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Life of Graham By Bob McCabe The Life of Graham The Authorised Biography of Graham Chapman By (author) Bob McCabe Life of Graham by Bob McCabe This is his official biography written with the full cooperation of the Pythons and Chapman's partner David Sherlock - with full access to unseen pictures. Graham Chapman was the quiet, pipe-smoking Python who qualified as a doctor. He was the policeman's son whose tweed-jacketed demeanour belied his true anarchic nature. More than any other Python he lived the complete lunacy of the show. Chapman was John Cleese's writing partner from their early days at Cambridge Footlights right through the Monty Python years. But it was Chapman's off-screen antics that are closest to the surreal qualities of a Python sketch. Terry Gilliam remembers how he would go into a restaurant and suddenly disappear: "He'd be under somebody's table licking the girl's feet while her date was there!" Chapman was a founder member of an infamous drinking club with The Who's drummer, Keith Moon. Chapman had a wine cellar stuffed full with bottles of gin and at the height of his drinking - which started out as a nerve-calmer for performances - he would consume eight pints of gin a day. He fearlessly flaunted his homosexuality at a time when it was certainly not the done thing. To add further mix to his personal life, Chapman and his partner David Sherlock adopted a 14-year-old boy. Graham Chapman died in 1989 with brilliant comic timing on the eve of the 20th anniversary of the first recording of Python. A huge celebratory Python party was cancelled as a result and Terry Jones harrumphed Chapman's death as "the greatest act of party-pooping in history". Bob McCabe has had the full co-operation of Sherlock and the Pythons in writing this fascinating and revealing account of the life of one of British comedy's best-loved figures. Buy Life of Graham book by Bob McCabe from Australia's Online Bookstore, Boomerang Books. Dance & other performing arts Imprint: Orion (an Imprint of The Orion Publishing Group Ltd ) Publisher: Orion Publishing Co Books By Author Bob McCabe Counterfeiting and Technology, Hardback (September 2016) Counterfeiting and Technology presents the history of paper money in a way that's never been seen before. It combines chemistry and artistry, inventions and escapades, tales of arrest and daring escapes. Collectors and historians of American money will love this engaging and informative narrative about our nation's paper currency. Harry Potter - Page to Screen, Hardback (November 2011) Harry Potter: Page to Screen, Hardback (October 2011) Offers an in-depth look at the craftsmanship, artistry, technology, and more than ten-year journey that took the world's bestselling fiction from page to screen. From elaborate sets and luxurious costumes to advanced special effects and film making techniques, this title chronicles all eight films. Ronnie Barker Authorised Biography, Paperback (May 2005) Ronnie Barker is one of the best-loved and most celebrated entertainers in British television history. This book contains original contributions from people who have worked with and know him best. This biography contains interviews and personal illustrations from his own collection. » View all books by Bob McCabe » Have you read this book? We'd like to know what you think about it - write a review about Life of Graham book by Bob McCabe and you'll earn 50c in Boomerang Bucks loyalty dollars (you must be a member - it's free to sign up!) Author Biography - Bob McCabe Bob McCabe broadcasts on film for Radio 1 and is associate editor of Film Guide. He contributes to Empire and Q magazines and has also contributed to Evening Standard, Daily Mirror and Daily Express, and was film editor of Vox. He is the author of The Pythons by The Pythons and numerous other books, most recently the authorised biography of Ronnie Barker. Recent books by Bob McCabe

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By Andrei Molotiu Jean-Honoré Fragonard (1732–1806) was a French painter whose late manner is distinguished by remarkable facility, exuberance, and hedonism. A prolific artist, Fragonard produced more than 550 paintings. The J. Paul Getty Museum's Fragonard masterpiece, The Fountain of Love, is part of a series of his most striking works called the Allegories of Love, exquisite paintings that convey an atmosphere of intimacy and eroticism. This lavishly illustrated book compares and analyzes the compositions, iconography, and sources of the Allegories in the context of ancien régime Preromanticism. The author discusses the transcendental aspect of love in the Allegories and the concept of Romantic love and painting on the eve of the French Revolution. The book accompanies Consuming Passion: Fragonard's Allegories of Love, an exhibition of the artist's work that opens at the Sterling and Francine Clark Art Institute on October 28, 2007, and at the J. Paul Getty Museum on February 12, 2008. Andrei Molotiu received his Ph.D. from the Institute of Fine Arts, New York University. He has taught art history at the University of Rochester, Indiana University, and the University of Louisville and has published articles on eighteenth-century French painting. 128 pages, 8 1/4 x 10 1/2 inches 53 color and 24 black-and-white illustrations Purchase online: $24.95 hardcover © 2007 Sterling and Francine Clark Art Institute She was willing to do anything to make his life a little easy this site buy generic amoxil there are many other people that feel that they want to be kept alive for as long as possible using any means available in the hope that medical advancement will find a cure or reversal for their medical problem.

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Bashful Bob and Doleful Dorinda By Margaret Atwood; Dusan Petricic (Illustrator); Du Petricic (Illustrator) Bloomsbury USA Childrens, Hardcover, 9781599900049, 32pp. Publication Date: November 14, 2006 Bob never knew he was a human boy, after being abandoned outside a beauty parlor and then raised by a bunch of dogs. He barked at businessmen and burrowed under bushes. Fortunately for Bob, dimple-faced Dorinda, a distressed damsel down on her luck, found him and taught him how to be a real boy. When a bureaucratic blunder puts the town in jeopardy, only Bashful Bob and Doleful Dorinda can save everyone from a dreadful disaster.Combined with Du an Petricic's whimsical illustrations, Margaret Atwood's cleverly written, alliterative picture book will challenge and delight readers of all ages. Margaret Atwood is best known as the author of more than thirty books of poetry, fiction, and nonfiction, including "The Blind Assassin," which won the Booker Prize. She has written several other children's books, including "Rude Ramsay and the Roaring Radish "and "Princess Prunella and the Purple Peanut." She lives in Toronto, Canada.Du an Petricic is the award-winning illustrator of more than twenty books for children. Petricic's work has also appeared in "The New York Times," "The Wall Street Journal," and "The Toronto Star." He lives in Toronto, Canada."

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Jazz Journalists Association Library Pops, At 100 -- A Birthday Primer by Howard Mandel copyright © 2000 Howard Louis Armstrong is the best-recognized and most beloved American, worldwide. Yet at home, with dozens of events celebrating his 100th birthday over his past protracted Centennial year -- we're not even now, maybe, coming to understand him. Armstrong's image is indelible, but complex. His story has the dimensions of myth and details of modest, commonplace scale. Just consider the question of his birth date. Armstrong always claimed it was the 4th of July -- American Independence Day -- in 1900. But 12 years after his death in 1971, documents were found proving he was born August 4, 1901. Record-keeping was lax back then, and Armstrong devotees regard the 4th of July as symbolically appropriate for the start of something big and American, like jazz. So Armstrong's centennial celebration kicked off last July 4, '00 and will officially end in August 01, 13 months later. Why should it end at all? It is wonderful, hearing so much Satchmo. New York City's Jazz at Lincoln Center, with extraordinary trumpeter Wynton Marsalis as its artistic director, is honoring Armstrong through its entire 2001 schedule of jazz orchestra and smaller ensemble concerts, concerts, lectures, workshops, etc. The Carnegie Hall Jazz Orchestra, directed by equally virtuosic trumpeter Jon Faddis, has competitive plans -- and one of the sidenote highlights so far was hearing him demonstrate Armstrong's indelible cadenza opening "West End Blues" at a lecture by Dan Morgenstern, presented under the auspicies of Robert O'Meally's Columbia University Jazz Studies center. Beyond New York, the Jazz Institute of Chicago commissioned a riotous, avant gutbucket big band Armstrong tribute from the Art Ensemble of Chicago trumpeter Lester Bowie, who was able to perform it shortly before his death in November 1999. The San Francisco Jazz Festival, and several other presenters, have screened programs of Armstrong's nearly three dozen film appearances, which include segments from Betty Boop cartoons and full-length features like New Orleans with Billie Holiday, High Society with Bing Crosby and Frank Sinatra, The Five Pennies with Danny Kaye, Paris Blues with Duke Ellington, A Man Called Adam with Sammy Davis Jr. and of course with Barbra Streisand in Hello Dolly. Of course, record companies have scrambled to release elegant new editions of Armstrong's classic recordings. Among Armstrong rarities being reintroduced are his one recording session with Duke Ellington, The Great Summit (Roulette Jazz), and journalist Edward R. Murrow's adoring radio portrait Satchmo The Great, (Columbia Legacy), portraying the trumpeter with his band on-location and in concert in England and Africa in the 1950s. Louis Armstrong: In His Own Words (edited by Thomas Borthers, published by Oxford University Press), collects pages from what Armstrong called his "typewriting hobby." Armstrong wrote all his life, and published two autobiographies besides producing one manuscript that was held back, apparently by his own manager, as too candid about issues of race, crime and his experience. He also tape-recorded conversations, rehearsals and personal musings for many decades. These holdings are open to the public as well as scholars at the Louis Armstrong House and Archives, in the home he and his fourth wife, Lucille, kept for 30 years in a quiet middle-class New York City community. Armstrong House has a website, www.satchmo.net, and an unmatched collection of Armstrong's memorabilia -- sheet music, instruments, personal affects such as his white handkerchiefs, and packages of his prized commercial laxative, Swiss Kriss. The Louis Armstrong Educational Foundation, started in 1969, supports the Armstrong Archives as well as public school music ed programs, ASCAP seminars, Schomburg Center for Research in Black Culture collections, and music therapy at the pediatric center of Beth Israel Hospital. Armstrong is also celebrated in the archival video biography threading through the 10 episodes of Ken Burns' Jazz, an 19-hour documentary that makes him the epic hero of the social history of the U.S. in the 20th Century. Burns, whose previous long-form video subjects include the American Civil War and baseball, flatly calls Armstrong "the most important figure in jazz." This is a long way from Louis Daniel Armstrong's humble origins. Abandoned by his father in infancy, "Little Louis" (pronounced either "Louie" or "Lewis") grew up in one poor room with his beloved mother and sister, and sometimes a stepfather. As a child, he sold chunks of coal to prostitutes to use to heat their rooms, and was employed, fed, sung to and mentored by an industrious Russian-Jewish immigrant family, who lent him money to buy a trumpet he spied in a pawnshop window. Cops caught little Louis shooting off a gun on New Year's Eve 1914. He was sentenced next day to two years incarceration in the city's Colored Waif's Home (orphanage), where under the tutelage of a seasoned band director, he became the Home's little band leader, cheered when they went on parade. Armstrong learned the dirges of traditional New Orleans funerals and the festive, syncopated "Didn't He Ramble" for mourners to shake off their sorrows on the way back from the graveyards. He followed the early jazz men, especially Joe "King" Oliver, who gave Armstrong his big break, beckoning him to Chicago to work as second trumpet in his band. Armstrong quickly became talk of the town. He was second to no one. Armstrong always had charm, hope, personality and authenticity -- it's in his face, his horn, his voice, from early days to old age. "With Louis, what you see is what you get," his friends remember. Photographed a million times from his professional emergence as musician in 1917 to his very last days, his face is as famous as Washington's, Lincoln's, Muhammad Ali's, Elvis Presley's or Marilyn Monroe's. Armstrong might sometimes be caught dark, brooding or tired, but he's typically beaming, hip and happy. His brow is broad, his eyes wide with merriment or scrunched shut tight in glee. His skin is deep brown, and his cheeks are lit by his infectious grin and serious, thick lips. "Chops," he called those lips. His mouth earned him the nicknames "Dipper" (as for a ladle) and "Satchelmouth" (as for an open bag), shortened to "Satchmo." Armstrong's mouth in photos is often pressed to his trumpet. Ah! Armstrong's trumpet! Unmistakable, a golden clarion awakening people to life, calling us to our senses. His notes are juicy, tumbling forth in abundance. His strong, swift melodies have the flourish of street parades, the buzz of commerce, the soul of spirituals, the inner strength of work and slave songs, the grandeur of popular operatic arias, the passions of the salon and the saloon. Armstrong's musical career paralleled the invention of broadcast and recording technology, so his music was well-documented. The crown jewel of current Armstrong reissues is Louis Armstrong: The Complete Hot Fives and Hot 7s (Columbia Legacy), a four CD set including his breakthroughs "Cornet Chop Suey," "West End Blues," "Weather Bird (Rag)," "Potato Head Blues" and "Tight Like That" among 80 tracks recorded from 1925 to 1929. Seventy years old, these recordings are still fresh air: Armstrong's energy is so contagious you can't help but smile and swing with it. He won over kings of Europe with that energy, as well as tough black audiences, U.S. presidents and gangsters in New Orleans, Chicago and Harlem. He enraptured musicians, especially, resulting 70 years ago in a fiery new music called jazz. When musicians confront Armstrong now -- as Wynton Marsalis did, leading his Lincoln Center Jazz Orchestra in recreations of Armstrong's Hot Five and Hot Seven tunes for a "Great Performances" concert televised throughout the U.S. last December 13 -- they tend to play more brilliantly than they've dared to before. As trumpeters, Marsalis, Jon Faddis, Nicholas Payton and Warren Vache -- today's stars -- are very much in Armstrong's thrall, and so were heroes of yesterday including Roy Eldridge, Dizzy Gillespie, Don Cherry and Miles Davis. So are alternative heroes, like Lester Bowie, Hugh Ragin, Steve Bernstein, Dave Douglas, Roy Campell. And not only trumpeters are influenced by him, but everyone. Armstrong, as an improvising instrumentalist, looms over all jazz and creative musicians, including vocalists. His voice may be his most immediately unmistakable property. It is an unforgettable rough, rich groan, a medium of expession with extraordinary texture and sibilance, suppleness and joy. Armstrong used his voice like his trumpet to tell stories of hot times, high times and making the best of troubles at all times. He sang with commitment, secure in his rhythmic delivery and phrasing. He was a great interpreter, and maybe a great actor; he could make difficult lyrics and childish ones sound natural. So Armstrong popularized America's hits from the Roaring '20s through the Great Depression, World War II, the Eisenhower Era, the Civil Rights struggle and the war in Viet Nam. He was the man who sang "I Can't Give You Anything But Love," "Ain't Misbehavin'" and "Stardust," as well as "C'est Si Bon," "Mack the Knife," "Hello Dolly," "What a Wonderful World," and themes from Walt Disney movies including "Chim Chim Cher-ee." Armstrong recorded indelible renditions of Fats Waller and W.C. Handy songs, Gershwin's Porgy and Bess with Ella Fitzgerald, and The Real Ambassadors, a cold war satire by Iola and Dave Brubeck, with Carmen McRae and Lambert, Hendricks and Ross. In the '20s and '30s, Armstrong collaborated with Bessie Smith, the Mills Brothers, country music's Jimmy Rodgers, rhythm 'n' blues progenitor Louis Jordan, and many others. His singing had major influence on post-World War II vocalists starting with Sinatra, Ray Charles and Bobby Darin, extending to Betty Carter, Aretha Franklin and La Streisand. Everybody loved Louis, though during the '50s and '60s some self-righteous critics began to write him off as a corny old guy, a worn out figure of the old school, or worse. He was considered, by pseudo-sophisticates, an embarrassment, what they called an Uncle Tom: a black man obsequious and self-demeaning in the face of white society, wearing a clownish mask rather than demanding his respect and rights. Armstrong was no political militant, but he was politically aware and committed to racial tolerance. He sang the ironic and poignant "What Did I Do To Be So Black and Blue?" for decades, and was admired for welcoming white trombonist Jack Teagarden to a jam session with friendly racial vulgarities: "You're an ofay, I'm a spade -- let's blow!" In the '50s, Armstrong publically criticized Dwight D. Eisenhower, the President of the United States, for inadequately protecting black children trying to integrate white schools in segregated southern states. Attacked for speaking out, Armstrong cancelled his U.S. State Department tour of the Soviet Union. "The people over there ask me what's wrong in my country," Armstrong grumbled. "What am I supposed to say?" Armstrong was a world-class democrat. Asked in 1956 by journalist Murrow to define the slang term "cat," he answered, "A cat can be anybody --- from the guy in the gutter to a lawyer, doctor, the biggest man to the lowest man. If he's in there with a good heart, and enjoys the same music as you do together, he's a cat, daddyo." Armstrong embraced humanity beyond national borders, class and racial bounds. His music was enjoyed by non-English speakers even before he introduced "scat-singing" -- with wordless syllables -- on "Heebie Jeebies" in 1925. His voice transcends English even to English speakers, in the same direct way that his trumpet gets to everyone. It did so then and does so now. Armstrong was most familiarly called "Pops," for "poppa" or "father," and maybe that is his over-riding identity. Armstrong was a boyhood scamp, a princely young man of easy grace, and in his maturity he embodied the confidence and enthusiasm everybody wants from their dad. He was at one with his mission: he said he was always "in the service of happiness." His music was radical at first, and when its innovations became universally accepted he worked to keep their effects real, to deliver nothing less than honest feeling. Armstrong was solid and comfortable, wise and proud, earthy and affable. He was no braggart or self-promoter, though his accomplishments were awesome. Maybe that's why Americans have trouble understanding Armstrong. He is too great a figure to be knowable, with too much music and life to be neatly defined. It seems impossible there would be anyone like him now. Could a single, self-educated musician change the world by playing a bugle, and remain true his real self over half a century in the global music business? In 1956 the conductor and composer Leonard Bernstein spoke for classical musicians, Americans and everyone else who has enjoyed listening to Louis Armstrong. As excerpted in Satchmo The Great, Bernstein had just led the New York Philharmonic in a symphonic arrangement of W.C. Handy's St. Louis Blues during which Armstrong and his All-Stars improvising their own choruses. Bernstein praised Pops to the sky. "When we play 'The St. Louis Blues' we're only playing a blown up imitation of what he does," Bernstein said. "What he does is real and true and honest and simple and even noble. Every time this man puts his trumpet to his lips, even to practice three notes, he does it with his whole soul. He is a dedicated man, and we are honored." It is an honor when an artist puts so much soul into making people happy. Louis Armstrong has sometimes been misunderstood, but he's never been obscure in the U.S. He's been on our postage stamps. He's been remembered by elders, listened to by lovers, and introduced to children at an early age. His sound, hot, tart and sweet, with joy and awe for the glad, mad and sometimes sad rush of life, is immortal. It is our good fortune we can hear it now. Howard Mandel, author of Future Jazz (Oxford University Press) and president of the Jazz Journalists Association (www.jazzhouse.org), grew up listening to Miles Davis, John Coltrane, Junior Wells and the Art Ensemble of Chicago, always aware that Louis Armstrong was for everybody. This piece is adapted from an article commissioned by Bravo! magazine, Sao Paolo, Brazil. C o m m e n t s No comments yet. You can be the first. [<<] [<] [>] [>>] Entrance

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>> Agency in the Emergence of Creole Languages <i>Soci&#233;t&#233;s de cohabitation</i> and the similarities between the English lexifier Creoles of the Atlantic and the Pacific Nicholas Faraclas, Micah Corum, Rhoda Arrindell, and Jean Ourdy Pierre Source: Agency in the Emergence of Creole Languages, pp 149-184 Although most creolists agree that the Atlantic and Pacific colonial era English-lexifier Creoles have a number of linguistic forms and functions in common, no agreement has as yet been reached concerning the extent, the significance, or the source of these shared features. Over the past decades, the list of these Atlantic-Pacific features identified by creolists has steadily increased in length from a handful of words in 1980 to an inventory of almost one hundred lexical and grammatical items in 2005. Utilizing new sources, we propose that this list be extended by at least 50&#37; to include most of the creole functions and forms that linguists had previously thought to be exclusive either to the Atlantic or to the Pacific. These findings are strongly suggestive of linguistic diffusion from the Atlantic to the Pacific (and back) during the colonial era. A re-analysis of the social, political and economic history of the colonial incursions of Great Britain and the United States into the Pacific from the 18th century onward to include the agency of marginalized peoples allows us to re-contextualize the emergence of the Pacific English-lexifier creoles in a way that clearly validates diffusion from the Afro-Atlantic as an important element in multi-causal and multi-dimensional scenarios for Pacific creole genesis. /content/books/9789027273796-06far

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Into the Maelstrom by: Drake, David; Lambshead, John Format: PaperbackPublisher: BaenPub. Date: 2/23/2016 SummaryAuthor BiographyENTRY #2 IN CITIZEN SERIES, SEQUEL TO INTO THE HINTERLANDS. Science fiction adventure on the frontier realms of empire written by biological scientist Dr. John Lambshead and nationally best-selling David Drake.THE RIGHT MAN FOR A VERY BAD JOB The Cutter Stream colonies were at peace. If everybody behaved reasonably, that peace could last a thousand years. Allen Allenson had known war; it had made him peaceful and reasonable. He was far too experienced to believe the same was true of all his fellow colonists, however, let alone the government of the distant homeworld across the Bight. War was coming, a war that the colonies had to win if they were ever to be more than prison camps and a dumping ground for incompetent noblemen. The experience that had caused Allenson to hate war made him the only man who could lead the colonial army. Allenson knew that he wasn't really a general, but he understood his fellow colonists better than any homeworld general could. He would free the Cutter Stream, or he would die trying. What Allen Allenson would not do, what he would never do, was quit. About Into the Maelstrom: "[The authors] neatly adapt real history to a science fiction framework in the second novel of the Citizen trilogy . . . Drake and Lambshead are telling the story of George Washington as a space opera. . . . [I]ngeniously structured retelling."—Publishers Weekly About Into the Hinterlands: “Drake and Lambshead combine politics, military expeditions, and deep-space exploration into an intriguing tale…Recommended for all SF collections.” –Booklist About David Drake’s RCN series: “[R]ousing old-fashioned space opera.”—Publishers Weekly on the “RCN” series. “The fun is in the telling, and Mr. Drake has a strong voice. I want more!” –Philadelphia Weekly Press “[S]pace opera is alive and well. This series is getting better as the author goes along…character development combined with first-rate action and memorable world designs.” –SFReader.com About David Drake: “[P]rose as cold and hard s the metal alloy of a tank…rivals Crane and Remarque…” – Chicago Sun-Times “Drake couldn’t write a bad action scene at gunpoint.”– BooklistDavid Drake was attending Duke University Law School when he was drafted. He served the next two years in the Army, spending 1970 as an enlisted interrogator with the 11th armored Cavalry in Viet Nam and Cambodia. Upon return he completed his law degree at Duke and was for eight years Assistant Town Attorney for Chapel Hill, North Carolina. He has been a full-time freelance writer since 1981. His books include the genre-defining and bestselling Hammer’s Slammers series, the nationally bestselling RCN series including In the Stormy Red Sky, The Road of Danger, The Sea without a Shore and, with John Lambshead, Citizen series entries Into the Hinterlands and Into the Maelstrom. Dr. John Lambshead is a retired senior research scientist in marine biodiversity at the Natural History Museum, London. He is also the Visiting Chair at Southampton University, Oceanography, and Regent’s Lecturer, University of California. He writes military history and designs computer and fantasy games. He is the author of swashbuckling fantasy Lucy’s Blade, contemporary urban fantasy Wolf in Shadow, and coauthor, with nationally best-selling author David Drake, of science fiction adventures, Into the Hinterlands and Into the Maelstrom.

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My giddy aunt Q From Andrew Morley: I have been asked for information on the expression my giddy aunt! None of my reference books lists it — nor any in my local library. Do you have any ideas, please? A There seems to have been a fashion at the end of the nineteenth century for using the word giddy as an intensifier. So, from Kipling’s Stalky and Co of 1899: “King’ll have to prove his charges up to the giddy hilt”. The first example of the expression that I’ve been able to find for sure is from the Journal of a Disappointed Man of 1919, by W N P Barbellion (a pseudonym for Bruce Cummings). However, it’s also been suggested that it was used in that archetypal saga of giddy auntdom, Brandon Thomas’s play Charley’s Aunt, first performed in 1892, but I haven’t been able to check. This use of giddy harks back to the idea of something or someone lightheartedly or exuberantly silly, a sense of the word that dates from the sixteenth century. (Giddy has been around for a thousand years, but at first it referred to somebody who was insane or stupid, and only later shifted to its modern main sense of experiencing vertigo or dizziness.) Copyright © Michael Quinion, 1996–. All rights reserved. Page created 5 Feb. 2000 World Wide Words is copyright © Michael Quinion, 1996–. All rights reserved.This page URL: http://www.worldwidewords.org/qa/qa-myg1.htmLast modified: 5 February 2000.

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2016-44/2143/en_head.json.gz/11284

Famed Australian dance company shuns \'ooga booga\' Home » Culture Pagenews A victim of its own success Famed Australian dance company shuns 'ooga booga' GMT 08:33 2011 Tuesday ,12 July Aboriginal dancers perform during a final rehearsal of Bangarra's new work 'of earth & sky' Sydney - AFP Australia's Aboriginal dance company Bangarra has won global accolades but says it has been a victim of its own success in terms of funding at home and at times faces demands for "ooga booga" abroad. Formed in 1989, the Bangarra Dance Theatre is the country's foremost indigenous performing arts company and is often called on to be Australia's cultural ambassador at major events. But the troupe, which performs everywhere from remote Australian outback communities to the likes of the World Economic Forum in Davos, carries a significant but underfunded cultural load, said executive director Catherine Baldwin. "It's great to be able to wave the flag for Australia," Baldwin said. "My concern is that it doesn't necessarily translate into securing the company for the long run to do the work that it does." Bangarra, which has plans to tour Asia in 2012 with China, South Korea, Taiwan, Hong Kong and Singapore likely on the itinerary, has won acclaim overseas, particularly in its tour last year of Germany where the dancers regularly received five or six curtain calls, Baldwin said. But Bangarra artistic director Stephen Page said some British critics still expected the troupe to perform what he termed "ooga-booga dancing". "The London critics expected the company to do traditional anthropological dance rather than telling contemporary Australian stories in the way we do," he told The Sun-Herald recently. "Perhaps they couldn't cope with the fact that we have a dynamic, living, modern culture that draws on over 50,000 years of tradition." Baldwin said this response was only encountered in Britain, describing it as "a misunderstanding" over the fact that Bangarra represented a link between the ancient and modern and was not an anthropological artefact. "We're a contemporary artform that draws on and is inspired by this extraordinary ancient culture. But they seemed not to be able to get their heads around that," she said. Asked whether Bangarra gets the right amount of government support for its work -- which includes developing original works, travelling around Australia and overseas, and working with indigenous communities -- Baldwin was firm. "No, I don't think we get enough funding for that," she told AFP. "Unlike any other dance company our work originates and is inspired by the traditional cultures of Australia -- the Aboriginal and Torres Strait Islander culture. "To get permission to use the dances, the songs, the stories, the customs and artefacts and so on requires us to have a very strong relationship with traditional communities and that takes a lot of time and effort and expense. "You can't just pick up a script or have an idea while you're sitting having a coffee," Baldwin explained, adding that all the work was informed by the traditions of a culture stretching back some 50,000 years. "And so you need to take the time to learn it, to gain respect and to gain permission," she said. "It would be the same as if Puccini or Verdi were alive and you needed to travel to where they were... you'd have to spend time with them learning that." She is backed up by former chairman Aden Ridgeway who has said he is concerned about the disparity in funding for Bangarra within the cohort of major performing arts organisations in Australia. In the group's 2010 annual report Ridgeway said this was "especially significant as Bangarra is the only indigenous organisation within this group". Baldwin said while it is difficult to compare arts companies, Bangarra received less money than other groups, in part because the company has not needed to be bailed out. Last year, the company made a profit of close to Aus$50,000 (US$53,140) from a total income of Aus$3.8 million. Of this, some Aus$1.8 million was provided by the Australian and New South Wales state governments. Baldwin said Bangarra would give 110 performances in 2011, in major Australian cities, regional towns, outback communities and overseas, a major workload for its 15 dancers. "We're a really very successful company and we're extremely happy with the way we operate and with our artistic and cultural success," she said. "But there are fundamental requirements of dance companies and there is a fundamental requirement for us in terms of our cultural work that we are not funded for. "To actually take work back to communities is a really expensive activity and of course there is no revenue associated with that." Despite the costs associated with this approach, Baldwin says there are many benefits in bringing the works back to Aboriginal communities, which are the nation's most disadvantaged, with many indigenous people living in poverty. "We know that there is a very significant cultural role Bangarra plays; sure it's a piece of entertainment in a theatre but it has way more cultural resonance than that," she said. 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Ergodic literature From ArticleWorld Ergodic literature refers to texts that require a reader to make a different or greater than normal effort. This is usually because they are non-linear in some way, which theoreticians relate to the possibilities of hypertext. An ergodic text re-interprets the idea of 'plot', plays with layout or typography, requires the reader to find a 'key' to unlock the meanings of the text or introduces an unreliable narrator or digression. Examples in print include Miguel de Cervantes's Don Quixote. Lawrence Sterne's Tristram Shandy and Julio Cortázar's Rayuela, or Hopscotch, and in electronic literature Michael Joyce's Afternoon: A Story. The term itself was coined in this specific sense in 1997 by Espen Aarseth in Cybertext: Perspectives on Ergodic Literature. [edit] Hypertext and meaning Aarseth appropriated the word 'ergodic' from physics. It combines the Greek words 'ergon' and 'hodos', which mean 'work' and 'path' respectively, and Aarseth writes that, “In ergodic literature, nontrivial effort is required to allow the reader to traverse the text”. This is why cybertext, or hypertext fiction, is seen as the epitome of ergodic literature. The reader's expectations are foiled, and there are many possibilities to branch out and explore different manifestations of form, plot, character, and movement. Each reading yields a different story, and the reader is 'productive', rather than passive. Ergodic literature thus challenges the very notion of authorship or authority, and is sometimes seen as liberating or empowering. Michael Joyce's Afternoon and Twelve Blue illustrate these principle through the use of hyperlinks and multiple possibilities, some hidden and radical, in plot and character. [edit] Theoreticians The term was first coined by Norbert Weiner in his 1948, Cybernetics; or, Control and Communication in the Animal and the Machine, and suggested by Vannevar Bush's office of the future with its hyperlinked microfiche. Ergodic literature, while often modernist has been described in postmodern studies, for example, by Gilles Deleuze and Félix Guattari in their writings about 'rhizomes', Jacques Derrida and his decentered text, and Roland Barthes's 'writerly text'. Sherry Turkle and Jean Baudrillard write about the simulation of 'reality', or realities. [edit] Ergodic texts It is generally agreed that some texts in the print medium not overtly or self-consciously inspired by hypertext are ergodic classics. These include: James Joyce's Ulysses and Virginia Woolf's The Waves, where the stream of consciousness style requires a reader to follow the unpredictable, sometimes disjointed path of the mind of one or multiple characters. Irish writer Flann O'Brien's The Third Policeman, ostensibly 'about a bicycle', which twists ideas of life, death, and existence into a constantly shifting reality. The works of the mostly French Oulipo writers, who were writers and mathematicians and devised many 'locks', combinations and other tricks. Examples include: Raymond Queneau's Cent Mille Milliards de Poèmes, which does potentially allow one hundred trillion poems to be read, Georges Perec's Life: A User's Manual, generated by a 'story-making machine' and which conceals a key that pulls the text into a whole story, and works in Italian such as Cosmicomic and Invisible Cities by Italo Calvino, which play with the flutters and gaps in what the eye sees. Vladimir Nabokov's Pale Fire where the unreliable narrator Charles Kinbote may or may not be king of Zembla, but readers will never know. Most of Jorge Luis Borges's fiction, where many alternate realities exist in the minds of the narrators. Works by Milorad Pavić, such as his three cross-referenced versions in Serbian of Dictionary of the Khazars and Landscape Painted With Tea, which is mixed the novel form and the crossword. The typographically 'locked' 1000 BCE Chinese text, the I Ching. Retrieved from "http://www.articleworld.org/index.php/Ergodic_literature" Categories: Information science | Literature Authors walk of fame about ArticleWorld Author's help ArticleWorld.org

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�������: Albrecht Durer ��������: Albrecht Durer Born: 21 May 1471 in Imperial Free City of Nürnberg (now in Germany) Died: 6 April 1528 in Imperial Free City of Nürnberg (now in Germany) Albrecht Dürer was the third son of Albrecht Dürer and Barbara Holfer. He was one of their eighteen children. The Dürer family came from Hungary, Albrecht Dürer senior being born there, and at this time the family name was Ajtos. The name Ajtos means "door" in Hungarian and when Dürer senior and his brothers came to Germany they chose the name Türer which sounds like the German "Tür" meaning door. The name changed to Dürer but Albrecht Dürer senior always signed himself Türer rather than Dürer. Here are portraits of his father and mother. Albrecht Dürer senior was a jeweller who had served his apprenticeship with Hieronymus Holfer, and then married Holfer's daughter. Albrecht Dürer junior wrote about his father and his upbringing (see for example):- My father suffered much and toiled painfully all his life, for he had no resources other than the proceeds of his trade from which to support himself and his wife and family. He led an honest, God-fearing life. His character was gentle and patient. He was friendly towards all and full of gratitude to his Maker. He cared little for society and nothing for worldly amusements. A man of very few words and deeply pious, he paid great attention to the religious education of his children. His most earnest hope was that the high principles he instilled into their minds would render them ever more worthy of divine protection and the sympathy of mankind. He told us every day that we must love God and be honourable in our dealings with our neighbours. As a young boy Dürer was educated at the Lateinschule in St Lorenz and he also worked in his father's workshop learning the trade of a goldsmith and jeweller. By the age of 13 he was already a skilled painter as seen from a self portrait which he painted at that time. This was the first of many self-portraits which Dürer painted and they provide a wonderful record. Here is our collection of such self-portraits. In 1486 Dürer became an apprentice painter and woodcut designer to Michael Wolgemut, the leading producer of altarpieces. After an apprenticeship of four years, Dürer had learnt all he could from Wolgemut and had reached a level of artistic quality exceeding that of his famous teacher. Wolgemut advised Dürer to travel to widen his experience and meet other artists. Following Wolgemut's advice, Dürer delayed visiting Italy (which Wolgemut himself never visited), where there were very different artistic styles, until he had fully developed his own style and learnt more techniques from other German artists. Here is a portrait of Wolgemut. Dürer travelled first to Nördlingen, where he met artists of the Swabian school. The Swabian style had been influenced by Dutch artistic design which Dürer had not met before. His next visit was to Ulm where he met more artists of the Swabian school. Dürer:- ... participated with keen enjoyment in the discussions among artists of his own age, in the low-ceilinged taverns, over foaming mugs of beer. These youthful enthusiasts, in common with those of all nations throughout history, were bent on rejuvenation of the art of the world. They were delighted with Dürer's drawings, with his first engravings and the small pictures he had already painted, independently of Wolgemut's directions or opinions. Leaving Ulm, Dürer made his way to Constance which charmed him with its fairyland appearance. Basel was the next town which Dürer visited, and he found it quite similar to his home town of Nürnberg. Finally Dürer returned home, making visits to Colmar and Strasbourg on the way. It had been a long journey of great importance to Dürer which had taken nearly four years, but after he returned to Nürnberg in 1494 he felt disappointed that he had not visited Italy. He had also become convinced that:- ... the new art must be based upon science - in particular, upon mathematics, as the most exact, logical, and graphically constructive of the sciences. Italy was not only a country with new ideas to offer Dürer in art, but it was also leading the world at this time in the revival of mathematics. Before setting out for Italy, however, Dürer married Agnes Frey, the daughter of a learned man Hans Frey who had made quite a lot of money through making jewellery, musical instruments, and mechanical devices. Here are portraits of Agnes. The marriage seems to have been more the idea of the parents of Agnes and Albrecht, and the pair were married on 7 July 1494. It was a marriage which helped raise Dürer's status in Nürnberg, as well as provide him with money which helped him set up his own studio. Before the end of 1494, Dürer was on his travels again, leaving Agnes behind in Nürnberg. First he visited Augsburg where he met strong Italian artistic influences for the first time. Travelling through the Tyrol, he reached Trento and his first view of Italy. Here is one of his paintings of Trento. He travelled on to Verona before reaching Venice which was his main objective. In Venice, Dürer, as he had done throughout his journeys, sketched scenes, visited galleries and churches, and met with the local artists. One of the artists that he met in Venice, Giovanni Bellini, had an important influence on Dürer for:- ... everything that [Venice] could teach him was to be found in Giovanni's paintings. He cultivated the artist's society, therefore, with a devotion both impassioned and deferential, retaining throughout his life, with his whole heart and soul, unbounded feelings of gratitude to the man whose pictures had unveiled so wonderful a world to him. Dürer returned to Nürnberg in 1495, and although he does not seem to have met with any of the major Italian mathematicians on his journeys, he did meet Jacopo de Barbari who told him of the mathematical work of Pacioli and its importance to the theory of beauty and art. Nor did Dürer meet with Leonardo da Vinci while in Italy, but he learnt of the importance which that artist placed in mathematics. Back in Nürnberg, Dürer began a serious study of mathematics. He read Euclid's Elements and the important treatise De architectura (On Architecture) by Vitruvius (1st century BC), the famous Roman architect and engineer. He also became familiar with the work of Alberti and Pacioli on mathematics and art, in particular work on proportion. It was not only this scientific approach to art that influenced Dürer as he began his artistic career in Nürnberg, but he also benefited from seeing different artistic styles and the different scenery which he had viewed:- The variety of regions through which Dürer had passed in the course of his travels and the care he had taken with the drawings and water-colours he had made of the most attractive or unfamiliar of them had provided him with a great range of pictorial motives emanating from the most diverse sources. In 1495 Dürer was still not well known as an artist in the highest circles but news of his skill reached Frederick the Wise, Elector of Saxony, and Dürer was commissioned to paint his portrait. Frederick liked his portrait which Dürer painted in April 1496 when Frederick had visited Nürnberg. Despite Frederick's attempts to persuade Dürer to move to Weimar and become Court painter, the artist did not wish to leave Nürnberg. He was deeply attached to Nürnberg, painting these views of the city in 1497. From about 1500 Dürer's art showed the influence of the mathematical theory of proportion which he continued to spend so much time studying. It is claimed that his self-portrait in a wig made in 1500 has the dimensions of the head constructed proportionally. For the engraving Adam and Eve made in 1504, Dürer described the intricate ruler and compass constructions which he made to construct the figures. It was not only the mathematical theory of proportion which influenced Dürer's art at this period, but also his mastery of perspective through his study of geometry. This is most clearly seen in his woodcuts Life of the Virgin made between 1502 and 1505. During the ten years after 1496 Dürer went from a relatively unknown artist to someone with a wide reputation as both an artist and a mathematician. His personal circumstances had changed greatly. His father had died in 1502 and Dürer was left to care for his invalid, and nearly blind, mother. He had set up his own printing press while he, or often his wife, sold his works to buyers at local fairs. It was a difficult life and one in which Dürer's health began to suffer. In fact he would never regain full health during the rest of his life. From 1505 to 1507 Dürer made a second visit to Italy, spending much time again in Venice. It was a very different visit from his first, with Dürer now more interested in his international fame than in learning about art. He was so conscious of his fame, and the threat he perceived that he might hold to the local artists, that:- ... he refused invitations to dinner in case someone should try to poison him. It was not about art that Dürer now wished to learn from the Italians, but rather about mathematics. He visited Bologna to meet with Pacioli whom he considered held the mathematical secrets of art. He also visited Jacopo de Barbari and the great efforts which Dürer made to meet de Barbari shows the importance which Dürer more and more attached to mathematical knowledge. Dürer returned to Nürnberg from this second visit to Italy feeling that he must delve yet more deeply into the study of mathematics. In about 1508 Dürer began to collect material for a major work on mathematics and its applications to the arts. This work would never be finished but Dürer did use parts of the material in later published work. He continued to produce art of outstanding quality, and he produced one of his most famous engravings Melancholia in 1514. It contains the first magic square to be seen in Europe, cleverly including the date 1514 as two entries in the middle of the bottom row. Also of mathematical interest in Melancholia is the polyhedron in the picture. The faces of the polyhedron appear to consist of two equilateral triangles and six somewhat irregular pentagons. An interesting reconstruction of the polyhedron is given in , see also for further details. Dürer worked for Maximilian I, the Holy Roman emperor, from about 1512. Maximilian, however, had little in the way of wealth to pay for Dürer's work and he asked the councillors of Nürnberg to exempt Dürer from taxes as compensation. He then asked the councillors to pay Dürer a pension on his behalf, which certainly did not please them. From about 1515 the councillors tried to avoid paying this pension. Dürer met Maximilian personally for the first time in 1518 and, probably from one sitting in Augsburg, painted Maximilian's portrait. The following year Maximilian died and this was the final excuse for the councillors to refuse to make any further payment, saying that the new emperor Charles would have to agree to the pension. Although Dürer was fairly well off by this time and the pension was not necessary for him, it was more a matter of prestige to have his pension restored. He set off for Antwerp on 15 July 1520 with his wife and their maid to visit the Emperor Charles V. Passing through Aachen, Dürer sketched the cathedral at Aachen. Dürer had a second reason for this visit to the Netherlands, for he believed that Maximilian's daughter had a book by Jacopo de Barbari on applications of mathematics to art, and Dürer had long sought the truths which he believed this work contained. On meeting Maximilian's daughter he offered her the portrait of her father which he had painted, but was distressed to find that she did not want the portrait. She had already given the book by Jacopo de Barbari to another artist so Dürer's quest was in vain. He did persuade Charles V to restore his pension, however, which was formally agreed on 12 November 1520. After returning to Nürnberg, Dürer's health became still worse. He did not slacken his work on either mathematics or painting but most of his effort went into his work Treatise on proportion. Although it was completed in 1523, Dürer realised that it required mathematical knowledge which went well beyond what any reader could be expected to have, so he decided to write a more elementary text. He published this more elementary treatise, in four books, in 1525 publishing the work through his own publishing company. This treatise, Unterweisung der Messung mit dem Zirkel und Richtscheit, is the first mathematics book published in German (if one discounts an earlier commercial arithmetic book) and places Dürer as one of the most important of the Renaissance mathematicians. Dürer's sources for this work are discussed in [21] where three main sources are suggested (i) the practical recipes of craftsmen, (ii) classical mathematics from printed works and manuscripts, and (iii) the manuals of Italian artists. The article [16] gives many details of the mathematics contained in the treatise. The first of the four books describes the construction of a large number of curves, including the Spiral of Archimedes, the Equiangular or Logarithmic Spiral, the Conchoid, Dürer's Shell Curves, the Epicycloid, the Epitrochoid, the Hypocycloid, the Hypotrochoid, and the Limaçon of Pascal (although of course Dürer did not use that name!). Details about Dürer's descriptions of the curves, in particular one he calls a "muschellini", is given in. In the second book he gave exact and approximate methods to construct regular polygons. Dürer's constructions of regular polygons with 5, 7, 9, 11 and 13 sides is discussed in [12]. Dürer also gave approximate methods to square the circle using ruler and compass constructions in this book. A method to obtain a good approximation to the trisector of an angle by Euclidean construction is also given. Book three considers pyramids, cylinders and other solid bodies. The second part of this book studies sundials and other astronomical instruments. The final book studies the five Platonic solids as well as the semi-regular Archimedean solids. Also in this book is Dürer's theory of shadows and an introduction to the theory of perspective. In 1527 Dürer published another work, this time on fortifications. There were strong reasons why he produced a work on fortifications at this time, for the people of Germany were in fear of an invasion by the Turks. Many cities, including Nürnberg, would improve their fortifications using the methods set out by Dürer in this book. Dürer's final masterpiece was his Treatise on proportion which was at the proof stage at the time of his death. Descriptive geometry originated with Dürer in this work although it was only put on a sound mathematical basis in later work of Monge. One of the methods of overcoming the problems of projection, and describing the movement of bodies in space, is descriptive geometry. Dürer's remarkable achievement was through applying mathematics to art, he developed such fundamentally new and important ideas within mathematics itself. J J O'Connor and E F Robertson ������, ������� �� �������: Albrecht Durer

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Contact 19th - 26th NovemberTickets on sale now! More details More details Latest News Posted on 24 Oct 2016Brace yourself for an evenings jaunt around the historic town of Boston where our host will regale the grizzly stories of some of its ancient residents including The Grey Lady, Sarah Preston and The Blackfriars Monk. For two weeks only around Halloween you h... Read more BOS Musical Theatre Group is based in the town of Boston in Lincolnshire, England. Founded in 1964 (as Boston Operatic Society), we have gained an enviable reputation for the high quality musical productions which we stage twice yearly at Blackfriars Arts Centre, Spain Lane, Boston. All productions are entirely produced, cast and staged using local people, and we are always keen to meet anyone who would like to become involved with us, whether backstage or treading the boards. Affiliated to The National Operatic and Dramatic Association (NODA) Registered Charity Number 1080467 Our 2007 productions were successful at the NODA awards - West Side Story was "Highly Commended" and Fiddler on the Roof was judged the "Best Musical in Area 5 (Lincolnshire NODA region)" in 2007.In 2010 we picked up the award for Best Show in Area for "Pickwick".In 2013 we won the award for Best Show in Area with "Anything Goes" and again in 2014 with "Jesus Christ Superstar".Also in 2013 we won the award for Best Poster with "Miracle on 34th Street". Latest Images Main site images provided by Neil Watson Photography Copyright © 2013 | Created and hosted by Matt Hubbert

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Cleveland author Paula McLain ready to take on Marie Curie LinkedIn Google+ This one will be quick: Cleveland author Paula McLain, whose 2011 novel “The Paris Wife” has sold 1.2 million copies, gets credit from USA Today for starting a hot subgenre of fiction.Broadly speaking, the newspaper says, the books “center on a famous 20th-century man — and the sometimes forgotten woman at his side. Through the magic of fiction, novelists are creating a prism that illuminates history and love, bringing these women back to life.”Ms. McLain's hit novel “tells the story of the lovely and supportive Hadley Richardson, who met and married a young newspaperman from the Midwest,” USA Today notes. The husband's name: Ernest Hemingway.While Hemingway “became a writer admired by millions, wife No. 1 was replaced by glossier, richer wife No. 2,” USA Today says. “Thus Hadley and her story disappeared — until McLain's novel found a large audience.”Several other books, the paper says, are looking to repeat the formula, including “The Aviator's Wife,” about Anne Morrow Lindbergh, and “Call Me Zelda,” about Zelda Fitzgerald.Ms. McLain, 47, tells USA Today that her heroine and her novel stir up readers."My book in particular, it makes people angry," Ms. McLain says. "Nobody is neutral about Hemingway; either you love him or you hate him. He's the striver, he's the one with this enormous ego while she's this Victorian throwback, a St. Louis girl. Hadley worries about her weight, her haircut. She's just trying to hold onto her own self in this incredibly volatile situation."The subject of her next novel: Nobel Prize winner Marie Curie and her husband, Pierre."It's a historical novel about their really, really complex relationship, emotionally and professionally," she says. "It's just that Pierre was never more famous. Marie was the one driving the cart." The University of Akron School of Law rates a mention in this New York Times story about drastic changes being made in training new lawyers.“Faced with profound and seemingly irreversible shifts, the legal profession is contemplating radical changes to its educational system, including cutting the curriculum, requiring far more on-the-ground training and licensing technicians who are not full lawyers,” the newspaper reports.The proposals “are a result of numerous factors, including a sharp drop in law school applications, the outsourcing of research over the Internet, a glut of underemployed and indebted law school graduates and a high percentage of the legal needs of Americans going unmet,” according to The Times.The newspaper notes that the University of Akron is among a few schools freezing tuition; Akron also essentially is ending its out-of-state surcharge.Even as schools increase hands-on learning, “critics are increasingly saying that the legal academy cannot solve its own problems, partly because of the vested interests of tenured professors tied to an antiquated system,” The Times reports. Coal-fired power generation rose 8.9% last month compared with January 2012 levels “on higher electricity demand and gas prices and less power generated from nuclear and renewable sources,” Reuters reports, based on figures from energy data provider Genscape.Overall power demand started 2013 out 3.2% higher compared with January last year, driven by very cold weather in the fourth week of January.Nuclear power output dropped 2%, in part because of an unplanned, six-day outage at FirstEnergy Corp.'s Perry Nuclear Power Plant in Lake County, Genscape reports. Looking to drop a few pounds? Consider moving west, or at least taking a long vacation there.Reuters reports that Americans who live where the air is thinnest are less likely to be obese than those in low-lying areas, according to a new study.“Based on data for more than 400,000 people in the United States, researchers found Americans living closest to sea level were four to five times more likely to be obese, compared to people who live well above sea level in Colorado,” the news service reports. The study found that elevation can affect appetite hormones, growth and how many calories the body burns.Cynthia Beall, an anthropology professor at Case Western Reserve University who researches how the body adapts to high altitudes but was not involved with the new study, tells Reuters that it's common for travelers to high elevations to burn more calories in their first few weeks.“That person would probably lose some weight during the course of a three-week vacation … It would in fact be an interesting question whether that would sustain," she says. “If you're a young, single person looking for a woman to date this Valentine's Day, move to Cleveland.”That's the advice from TheStreet.com, based on the new “In the Mood for Love Index” compiled by real estate tracking site Zillow.TheStreet.com says Zillow, which estimates market values for almost every home in America, ranked the 150 largest U.S. cities for a range of singles-friendly factors. For opposite-sex partners, the company even looked at each locale's ratio of young single men to young single women. Smaller cities such as Cleveland “actually outscored most big metro areas because Zillow considered affordability as a key factor in its study,” according to the story.Here is Zillow's analysis of Cleveland, which ranks in the 90th percentile for single young women as a percentage of all residents, and the 78th percentile for walkability and affordability.If you've run out of potential mates here, other strong cities in which to find a single woman are Memphis; Irving, Texas; Glendale, Calif.; and Worcester, Mass.You also can follow me on Twitter for more news about business and Northeast Ohio.

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Book review: ‘My Life in Middlemarch,’ Rebecca Mead Filed under A.n. Devers Connect with A.n. Devers Email Ask some readers their favorite book, and they’ll rattle off a list of five or 10 but cannot narrow their dedication to one book or author. Ask others, and they’ll respond without hesitation with their single favorite of all time.New Yorker staff writer Rebecca Mead is the latter kind of reader. Her author is George Eliot, and her life-changing book is Middlemarch: A Study of Provincial Life, the 1874 novel that turned the ever-popular Austenian marriage plot narrative on its head by having heroine Dorothea Brooke’s courtship result in a fraught marriage at the novel’s beginning, instead of a happy marriage at the end.Mead’s new book, My Life in Middlemarch, first began as an essay in The New Yorker about her infatuation with the book. It covers a lot of territory and might best be called a “life in letters” book. This poorly named genre is as broad in its scope as it is in its quality, ranging from any literary biography to the umpteenth explanation of what Jane Austen taught me, to Geoff Dyer’s brilliant D.H. Lawrence noncriticism, Out of Sheer Rage. What these books share is a deep love of the written word and a belief that “a book can insert itself into a reader’s own history, into a reader’s own life story, until it’s hard to know what one would be without it,” Mead says.As Mead’s title suggests, she makes the case that she sees her own life path clearest in relationship to what’s between Middlemarch’s covers.Mead’s relationship to Middlemarch is a bond as strong as a Victorian marriage, with little room for a divorce. It is, she says, “one book I had never stopped reading.” She sees her identity and life as changed as a result of her first reading and subsequent re-readings, and she sees moments in her life anew each time she reintroduces herself to the world and characters of Middlemarch.Her first encounter with the book at age 17, when she grew up wanting to escape a sleepy English town not unlike the novel’s, left her immediately entranced:“I couldn’t believe how good it was. And I couldn’t believe how relevant and urgent it felt. At seventeen I was old enough to have fallen in love, and I had intellectual and professional ambitions, just like Eliot’s characters. … The questions with which George Eliot showed her characters wrestling would all be mine eventually. How is wisdom to be attained? What are the satisfactions of personal ambition, and how might they be weighed against ties and duties to others? What does a good marriage consist of, and what makes a bad one? What do the young owe to the old, and vice versa? What is the proper foundation of morality?”When a book has staked a reader through her heart as thoroughly as Middlemarch did to Mead, it’s a delight to get swept away with her into George Eliot country as she mines archives, literary landscapes and landmarks for tidbits and revelations.Mead’s is a superserious superfan’s quest to understand more about a book and its author but also about how a book can become so personally significant — how or why a reader might desire to find new ways to access a novel she’s already had multiple love affairs with, and whether this type of literary tourism is meaningful.On her visit to Eliot’s childhood home, Griff House, Mead explains, “Visiting the former homes of famous writers tends to be a compromised and often unsatisfying endeavor; by contrast with a painter’s studio, the nature of literary creativity is not easily suggested by the site of creation.” She recognizes her mission has a “quasi-objective spirit of inquiry” because of her personal investment in the novel.Such personal connections notwithstanding, Mead’s relationship to Middlemarch is deeply intellectual. Indeed, Mead keeps her journalistic inquiry at arm’s length when it comes to discussion of her own upbringing, love affairs and career decisions.I found myself frustrated from time to time by Mead’s reluctance to let the reader get as close to her as she gets to Eliot. But that matters little. Mead’s writing will make you want to read Middlemarch if you haven’t, and re-read it if you have. Mead’s is a wonderful close reading of not just a book, but also a life, and a life in [email protected] Life in MiddlemarchRebecca Mead(Crown, $25) View Comments

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Exotic and Mysterious Places Some of the best "place" mysteries are written about countries most of us would love to visit. Thus, I present a selection of truly special mysteries that will transport you to new lands and cultures. If we start with a Latin flair then I strongly recommend the great Argentine poet, Jorge Luis Borges, who was a devoted mystery fan and writer. He wrote many short stories including one of the very best - "Muerte y la Brujela" (Death and the Compass) in The Aleph and other Stories, (E.P. Dutton, 1978). With Adolfo Bioy-casares he wrote a number of stories collected in Six Problems for Don Isidro Parodi (E.P. Dutton, 1981). They are indeed parodies and the detective who solves the crimes sits in jail! For more recent reading try Paco Ignacio Taibo III, a Spanish/Mexican writer who turns the mystery upside down in which the bad guys are the police and the authorities while the good guys are the criminals! Life itself (Mysterious, 1995) is a wonderful example of this flexibility in the genre. If we move to the roots of Latin mysteries there is a wonderful story set in Spain entitled Flander's Panel, (Bantam, 1996) by Arturo Perez-Reverte. Any of his mysteries are worth a read and capture the energy and allure of Spain. In northern Europe, Sweden in particular, there have been some superb writers. The legendary Maj Sjowall and Per Wahloo, a wife and husband team, planned and wrote ten excellent mysteries set in Stockholm that serve as remarkable social commentaries on the Swedish social system. Their geography is outstanding and their very leftist politics shine through these special books. One of the best of the series is The Laughing Policeman (Vintage Books, 1992) which won an Edgar in America. A more recent excellent Swedish place writer is Kerstin Ekman whose mysteries have a superb sense of place. Her novel, Blackwater (Doubleday, 1995), is set in the far north of Sweden and captures the stress between the Sami people and the Swedes. A bit more east in Europe one can find some fascinating mysteries written by Czechs. One of the truly great writers of the current century was Karel Capek who wrote a series of short mysteries set in small towns in pre 1939 Czechoslovakia. They are available in a collected set in Tales From Two Pockets, (Catbird Press. 1994) and capture the full flavor of the Czech countryside and Czech humor. In contrast, the sights and frights of socialist Prague are beautifully rendered by Josef Skvorecky in his series featuring Lt. Boruvka of the Prague Police that eventually culminates in Canada with the exile author. My favorite is The Mournful Demeanour of Lt. Boruvka (W.W. Norton, 1991). Edith Pargeter (Ellis Peters) also wrote some very atmospheric mysteries set in the former socialist Czecholslovakia which she knew very well since she traveled there extensively and translated many works from Czech to English (a beautiful novel of hers is A Means of Grace,Trafalgar Square, 1995). Further east still one comes upon Russia where the mystery has a wondrous history. Suffice it to say that today's really excellent Russian writers are not available in translation but you can read about them on my web site at Russian Mysteries. You can get a good sense of Soviet Siberia from Lionel Davidson's Kolymsky Heights, (St. Martin, 1994). Stuart Kaminsky's series set in the former USSR and Russia is worth a try - my favorite is A Cold Red Sunrise, (Ivy Books, 1988). Another excellent American writer of mysteries set in Soviet Russia is Anthony Olcott who wrote the outstanding Murder at the Red October (Bantam, 1982) . Moving to the Holy land, there are at least two outstanding Israeli writers who can deliver the political and cultural geography of that country with great skill. Robert Rosenberg is a master of the hills and kills of Jerusalem. His most recent is An Accidental Murder, (Simon and Schuster, 1999) but my favorite is the dazzling Crimes of the City (Poisoned Pen Press, 1997). .The other writer is Batya Gur and one should try any of her mysteries but be sure to read Murder on a Kibbutz (Harper Collins, 1994). In the Orient, mysteries are also popular, especially in Japan. Two very special Japanese writers are Seicho Matsumoto and Natsuki Shizuko. Matsumoto set his stories in Tokyo but conveyed the entire island nation culture in his novels. And like all Japanese mysteries his hero is a policeman and guns are rarely if ever involved in the action. His Inspector Imanishi Investigates (Soho, 1989) is a geographic gem where the crime is solved with the help of a map of Japanese dialects. Shizuko, often called the Agatha Christie of Japan, writes beautiful novels set around the islands. One of her best is Murder on Mt. Fuji, (Ballantine, 1987). Time and space prohibit a full discussion of a number of other great place writers who use and used exotic locales to enliven their stories. Some of those who must be mentioned include the following. Robert van Gulik was a master of the culture of Tang Dynasty China with his Judge Dee mysteries. Arthur Upfield was far ahead of his time in terms of environmental and racial issues in his incredible series featuring the delightful half caste Napoleon Bonaparte . Donna Leon is much better than any guide book of Venice and entertains royally via Inspector Brunetti. There are more, but, later. Enjoy your vicarious journeys!!! GJD

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Prologue Lethal Legacy started off as a novel set in the year 2050; purely fictional. But the situation in which the main character found himself had to be explained in terms of the deterioration of the environment. Weeks of research uncovered an amazing saga of doom and despair; wrong decisions made for the wrong reasons, criminal neglect and appalling apathy on the part of many from the top to the bottom of every strata of society. Most of the incidents depicted in the book are fictional, but many more are fact, frighteningly so. It is a scenario that could quite easily eventuate; indeed many of the events are occurring now and have been for some time. Many of those in a position to help eliminate pollution will not do so because of vested interests. Many turn a blind eye because the truth is too horrible to contemplate, and some feel helpless in the face of such a massive task. There are of course many selfless people throughout every level of society who strive constantly for the betterment of mankind; the weekenders who plant trees and vegetation along river banks, clean the rivers, estuaries and bushland of all manner of detritus; the many environmental groups, some of whom risk their lives to save various endangered species and prevent tree felling. But all too often they lack resources and coordinated direction; this must originate far higher up the corporate and governmental ladder. Inevitably they tackle the results of degeneration and not the causes. There are also many good environmentally aware people in all walks of life, from the bottom to the top, who try to do the right thing, sometimes to their disadvantage. But many of those who really have the power to effect change are apparently not loving enough or caring enough to slough off their indifference to the ultimate fate of their children and grandchildren a€“ because they are the ones who will carry the brunt of our reckless behaviour in the years ahead. I have kept the central theme as a vehicle to carry the environmental message. Tom Copy of letter written in March 2006 Dear Friends, Most of you will be pleased to hear that I will not be plaguing you any further with doomsday scenarios regarding the sad demise of our planet; I have given up. My last book, qLethal Legacya€ sums up most of what I have to say on the subject. I am now nearing 80 years of age and have been writing and arguing the topic for over forty years - mostly with little success. One day in the future politicians and the world's manipulators will have a sudden burst of enlightenment and realise that they have killed the goose that laid the golden egg, but it will be too late. In my opinion we have passed the point of no return and even, if by a miracle, we stopped all pollution we could no longer hope to reverse the process. Throughout the history of the earth the masses have been manipulated by the few, the greedy few, it has always been so. Even as recently as two hundred years ago we had families who grew what they ate and made what they wore; they lived by natural cycles; albeit under a feudalistic system. The Industrial Revolution mechanised industry and people alike and made time a major factor in our lives, we became virtual automatons that produced goods that we mainly did not need to further enrich the rich. Our lives were circumscribed not by what we needed but what we wanted which in turn was encouraged and perpetuated by the manipulators via advertising agencies and the media. Our shops are filled with masses of goods that we can well do without, all of which require power, materials and machines to make and which invariably create pollution of one sort or another. We came to believe that we needed the mass of appliances and entertainment units; the clothes to match changing fashions and all those objects of self indulgence; that they were essential to our happiness. We live lives full of excesses and believe that this is an essential prerogative for a suThis exacerbated the problem; which all went to make a mockery of the law forbidding intermarriage between close relatives. ... Ahundred years ago there were the a#39;Modsa#39; and a#39;Rockersa#39;, then came the a#39;Skinheadsa#39; and the a#39;Bikiesa#39;, a#39;Hella#39;s Angelsa#39; and many ... Both sexes went to the extremes of grunge, where they paid to have their jeans blasted with shotgun pellets and bleached and torn to look old Title:LETHAL LEGACY Author:Tom Edwards Publisher:Xlibris Corporation - 2010-10-16

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> The Legend of Sleepy Hollow The Legend of Sleepy Hollow Analysis Navigate Study Guiderows Summary Themes Characters Critical Essays ▻ Critical Evaluation The Legend of Sleepy Hollow, Washington Irving Analysis eText ▻ The Legend of Sleepy Hollow Reference Teacher Resources ▻ Multiple-Choice Quizzes Style and Technique (Comprehensive Guide to Short Stories, Critical Edition) Irving’s version of this folktale features an effective series of starvation images that begins with his lengthy description of the gaunt, cadaverous Ichabod and extends to the almost physical hunger that his protagonist feels when he sees the rich produce of Van Tassel’s land. Indeed, Ichabod’s mouth waters as he contemplates this wealth and dreams that it might be his. Complementing the starvation imagery is Irving’s choice of names. Ichabod is tall and as gaunt as the crane whose name he shares. Like the biblical Ichabod, Irving’s protagonist is as much an outcast as is his Old Testament namesake. Similarly, Brom, whose given name is Abraham, is as much a patriarch of his people as is the father of the tribes of Judah. More Content: Analysis Places Discussed (Critical Guide to Settings and Places in Literature) Media Adaptations Bibliography and Further Reading Bibliography (Masterpieces of American Literature) The Legend of Sleepy Hollow Places Discussed (Critical Guide to Settings and Places in Literature) Sleepy Hollow. Small Dutch community in New York, near Tarry Town (now commonly known as Tarrytown) and the Hudson River. Sleepy Hollow has two main characteristics. The first is a sense of “listless repose” that settles over the land and the inhabitants. This drowsiness fosters the other characteristic, the enhanced imaginations and superstitions of its inhabitants. For example, its inhabitants speculate that an Indian chief’s powwows or a German doctor’s enchantments might be the causes of the strangeness in the area. Residents of Sleepy Hollow enjoy sitting by their fireplaces and telling one another tales of ghosts. Washington Irving attributes the hauntings and tales to the fact that this is a long-established Dutch community whose families remain there generation after generation. Chief among the ghost stories are those about the Headless Horseman, the main specter in the tale, who is often seen around the old church, where he was supposedly buried without his head. Throughout most of the tale, natural surroundings convey mood. During the daylight hours, Sleepy Hollow is bright and cheerful. On the fall day that schoolteacher Ichabod Crane heads for the Van Tassel farm, the trees are bright orange, purple, and scarlet. Ducks fly overhead. Quail and squirrels can be heard. However, when Ichabod returns home at night, the scene changes. He passes by a tulip-tree whose limbs are “gnarled and fantastic” and a “group of oaks and chestnuts, matted thick with wild grape vines,” that throws a “cavernous gloom” over the road. The ominous change in scenery alerts readers to the fact that Ichabod is about to encounter the Headless Horseman. Van Tassel farm Van Tassel farm. Sleepy Hollow farm that is home to Ichabod Crane’s love interest, Katrina Van Tassel. What is most remarkable about the farm is that it is portrayed as an agrarian paradise. Situated along the banks of the Hudson River, the farm is in “one of those green, sheltered, fertile nooks, in which the Dutch farmers are so fond of nestling.” It has a spreading elm tree, bubbling spring, and babbling brook. As big as a church, its barn is filled with activity and treasures from the farm. Birds twitter among its eaves, large pigs and sucklings grunt in their pens, and a “stately squadron” of geese occupy the farm’s pond. “Regiments of turkeys” and guinea fowl wander through the barnyard. The farm has rich fields of rye, buckwheat, wheat, and Indian corn, and the orchards are “burdened with ruddy fruit.” The inside of the Van Tassel farmhouse also speaks of its family’s wealth. Farming and husbandry implements are hung from the rafters, while a spinning wheel and a butter churn stand in the piazza. On entering the hall, Crane is struck by “rows of resplendent pewter” on a long dresser. A huge bag of wool waiting to be spun rests in one corner, while in another stands “linsey-woolsey just from the loom.” Dried apples and peaches and Indian corn are placed on strings and hung as decorations. The best parlor holds mahogany furniture, silver, china, and an ostrich egg hanging from the center of the room. Descriptions of the Van Tassel farm are slightly exaggerated, using military terms such as “regiments” and “troops,” that fit the nature of the tall tale. The farm represents the idea of America as a land of plenty. The Van Tassel family is rich because of the fertility of the Hudson Valley soil. Crane is attracted to the farm because of its prosperity; his interest in Katrina is fueled by her father’s wealth. He daydreams of marrying Katrina and selling the farm to pay for his trip to “Kentucky, Tennessee, or the Lord knows where.” This is a sharp contrast to the contented settlements of the Dutch community. It is thus no surprise when Ichabod is eventually driven out of Sleepy Hollow. The Legend of Sleepy Hollow Historical Context print Print The Dutch in New York In its earliest days as an outpost for Europeans, New York was settled by the Dutch, or people from the... The Legend of Sleepy Hollow Literary Style print Print Narration/Narrative/Narrator There is an almost dizzying number of levels of narration and narrators in ''The Legend of Sleepy... The Legend of Sleepy Hollow Compare and Contrast print Print 1810: Irving's home town, New York City, is a major metropolitan center with a population of 80,000. The population of the United... The Legend of Sleepy Hollow Topics for Further Study print Print Find a few of the many illustrated versions of ' 'The Legend of Sleepy Hollow'' in the children's section of the library, or some of the... The Legend of Sleepy Hollow Media Adaptations print Print ''The Legend of Sleepy Hollow'' has been recorded by Donada Peters as part of a five-hour set of audiotapes titled Rip Van Winkle and Other... The Legend of Sleepy Hollow What Do I Read Next? print Print Rip Van Winkle’’ (1819) is the second of the two stories for which Irving is famous today. Rip Van Winkle wanders off into the Catskill... The Legend of Sleepy Hollow Bibliography and Further Reading print Print Bowden, Mary Weatherspoon. Washington Irving, Boston: Twayne, 1981, p. 72. Giamatti, A. Bartlett. The... The Legend of Sleepy Hollow Bibliography (Masterpieces of American Literature) Bowden, Mary Weatherspoon. Washington Irving. Boston: Twayne, 1981. Good introduction to Irving’s work. Bowden examines the first edition of “The Legend of Sleepy Hollow” within the context of its place and importance in The Sketch Book of Geoffrey Crayon, Gent. Hedges, William L. Washington Irving: An American Study, 1802-1832. Westport, Conn.: Greenwood Press, 1980. Hedges seeks to substantiate Irving’s relevance as a writer, define his major contributions, and detail aspects of his intellectual environment. The work presents “The Legend of Sleepy Hollow” as proof that Irving was a pioneer in the renaissance of American prose fiction. Roth, Martin. Comedy and America: The Lost World of Washington Irving. Port Washington, N.Y.: Kennikat Press, 1976. This study surveys Irving’s American period of creativity, including “The Legend of Sleepy Hollow,” demonstrating that his last experiment creates a comic vision of America. Rubin-Dorsky, Jeffrey. Adrift in the Old World: The Psychological Pilgrimage of Washington Irving. Chicago: University of Chicago Press, 1988. Critical revisionist view of Irving and his work primarily seen in psychological terms. It dissects Irving’s personal problems and political orientation as reflected in his writings, particularly in a substantive chapter discussing “The Legend of Sleepy Hollow.” Tuttleton, James W., ed. Washington Irving: The Critical Reaction. New York: AMS Press, 1993. Solid collection of sixteen essays that survey the breadth of Irving’s work from early sketches to his final biographies. Two essays, Terence Martin’s “Rip and Ichabod” and Daniel Hoffman’s “The Legend of Sleepy Hollow,” scrutinize the story in depth and view it as a unique creation. Next:eText Previous:Critical Essays The Legend of Sleepy Hollow Homework Help Questions What is the setting of "The Legend of Sleepy Hollow"? The setting of Sleepy Hollow, New York, is significant because one of the story's major themes is the conflict between "country" people and "city" people. The original settlers of the Tarry Town... Describe Ichabod Crane from "The Legend of Sleepy Hollow." Ichabod Crane is a tall skinny school teacher. He is conscientious and while he loves the children he teaches, he can be very stern when it comes to their studies. He loves storytelling and often... Why did Washington Irving write "The Legend of Sleepy Hollow"? While some controversy still exists over whether Irving is the creator of the basic storyline of "Sleepy Hollow," his purpose in writing the story in the manner that he did is original to him.... What do ghosts and ghost stories represent metaphorically in "The Legend of Sleepy Hollow"? From the start of this brilliant story, it is clear that the theme of ghosts and stories is a prominent one, especially reinforced by the title, which reminds us that this story is a legend.... How did Tarrytown and Sleepy Hollow get their names? It should be noted that "Tarrytown" is not a made up name by Irving. Tarrytown is a village near the Hudson River and north of Manhattan, New York. Irving grew up in Manhattan, the son of... View More Questions » The Devil and Tom Walker Adventure of the German Student Legend of the Moor's Legacy A History of New York A Separate Peace A Rose for Emily

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Leland Faulkner's World of Wonder PORTSMOUTH — On Saturday, Feb. 2, Pontine Theatre presents world-renowned performance artist, Leland Faulkner, in his one-man, family-friendly extravaganza, World of Wonder: Conjuring Characters & Comedy. World of Wonder is a journey around the world illustrated with charming mime and awesome magic, suitable for audiences of all ages. Faulkner is a man of a thousand faces. With a few deft folds, a hat brim becomes a tour de force of twenty-five different comic character from around the world. In another moment, his hands become a shadow menagerie with nothing more than a flourish of simple gestures. Comic characters, fantastic imagery, and wonderful mysteries are the map to Leland Faulkner’s World of Wonder. Leland has performed in theaters large and small, local and international. From the stages of the United States and Canada to the theaters and circuses of Japan, Hong Kong, China and Russia, he has captured the hearts and imaginations of audiences around the globe. Faulkner’s performances are a feast for the heart and mind. He is a magician, a character actor, and a mime artist. His performances stir the imagination and bridge our differences by bonding us with creative spirit, humor, and mystery. He is famed for his Shadowgraphs and Chapeaugraphy, two lost arts that have been given a fresh breath of life under his care, yet he is more than that. Faulkner has been an actor, mime, and magician for over thirty years. Early in his career he worked with Affiliate Artists as a corporate arts liaison in communities throughout the United States. For many years he partnered, toured, and taught with master mime Tony Montanaro, and was the artistic director of Celebration Barn in South Paris, Maine. In the years following he has taught and performed at major venues, schools, colleges, theater festivals, cultural exchange programs, international circuses, and in private workshops for professional performing artists. He has also created original content and special effects for bothicture and stage productions including the feature film Polar Express.His theater work has had him featured at Arts Carnival in Hong Kong, The Ojai Storytelling Festival in California, the Equitable Center in New York City. an extended tour of Japan for the Kageboushi Theatre Company, a monthlong, multicity tour of China with the Wuqiao Circus Festival in 2011, and in Russia at the Ivhesk International Circus Festival in 2012.He has worked with Virginia Commonwealth University as an adjunct professor creating an original play, and has directed a multitude of mimes and actors in their solo and ensemble work.Leland currently works as a performing artist, director, and independent film maker based in New England, where he continues to develop projects for stage and screen. He currently resides in Maine with the two lights of his life, his wife and daughter.Tickets are $15 and may be purchased online at www.pontine.org. Tickets may also be purchased at the door a half-hour before the performance (cash & checks only) based on availability. Pontine’s West End Studio Theatre is located at 959 Islington St. in Portsmouth. Pontine’s office may be contacted by email: [email protected], or by phone: 603-436-6660.

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Mr. Popper's Penguins Paperback Richard Atwater, Florence Atwater Illustrated by Robert Lawson Out of stock - More expected soon DescriptionThe lovable Mr. Popper dreams of being an intrepid Antarctic explorer, living life among the penguins alongside his hero, Admiral Drake. So he is shocked one day when the admiral responds to his fan letter by sending him a real, live penguin! Soon, this penguin is joined by another and before long Mr. Popper has an ice-rink in the basement and a dozen delightful penguins living in his house. With barely enough money to feed his family and an increasing demand for raw fish and canned shrimp, what can the wonderfully imaginative Mr. Popper do but train his penguins and then take the show on the road! Pages: 144 pages, 36pp of colour photos Showing 1 - 5 of 10 reviews. Jenpark This book was average. As I was reading it to my 7-year-old, I found myself having to explain a lot of things, for example, that when the book was written, women didn't have too many career choices; that's why Mrs. Popper stays home and cleans the house all day. Pollifax I read it in 3rd grade and i absolutely loved it. I found it very funny and exciting. I really like that he named the penguin capt. Cook also I like how he describes his job as a painter suetu Confession: I had never heard of the book Mr. Popper's Penguins until I started hearing promotion for the Jim Carrey film. It was being billed as a "children's classic," and not only had I not read it, I couldn't find a soul who had. I felt the need to rectify the situation, if only to satisfy my curiosity. It's the sweet story of a husband, father, and housepainter who is captivated by all things Polar. After writing a letter to Admiral Drake on expedition in Antarctica, the charmed Admiral sends Mr. Popper a present. You guessed it! It's his very own pet penguin! The Poppers name him Captain Cook and set him up in the icebox. As for how the Poppers go from one pet penguin in the icebox to a dozen performing penguins on the vaudeville circuit, well, that's the story. It's a charming tale for younger readers, made all the more delightful by Robert Lawson's illustrations. Even on my Kindle, these reproductions of the originals looked great. While not unpleasant, this innocent tale from the past had limited appeal to this adult reader, but I can certainly see the delight of one day sharing it with my nephew. writestuff The classic children’s book Mr. Popper’s Penguins, written in 1938 by Richard and Florence Atwater, takes place in the small fictional town of Stillwater where Mr. Popper lives with his wife and two children. Mr. Popper is a dreamer, a man who works as a painter but longs to travel the world. When a letter written to Admiral Drake results in a surprise delivery of a live penguin from Antarctica, the Popper’s family is turned upside down. Then a second penguin arrives unexpectedly from a zoo, and the penguins begin to multiply. Before the Poppers know it, their home has been converted into a freezing playground for penguins. Eventually, Mr. Popper discovers that penguin antics are marketable and the Popppers hit the road with their penguins to entertain the public.The book is delightful, silly and wholly fantastical. Children of all ages will find this 1939 Newbury Honor winner whimsical and fun. crashingwaves38 While I haven't read this, my daughter did. She finished it in less than an hour and laughed out loud several times, so she seemed to enjoy it. Also by Richard Atwater Procopivs Secret History

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Ewa Domanska. Encounters: Philosophy of History After Postmodernism. Charlottesville and London: University Press of Virginia, 1998. xii + 293 pp. $22.50 (paper), ISBN 978-0-8139-1767-2; $65.00 (cloth), ISBN 978-0-8139-1766-5. Reviewed by Daniel Wickberg (School of Arts and Humanities, University of Texas at Dallas) Published on H-Ideas (July, 1999) Let's Talk About Postmodern History Ewa Domanska's Encounters is a collection of interviews with prominent figures in that broad study generally referred to as historical theory or theory of history. The subtitle is somewhat misleading since philosophy of history, understood in either its Anglo-American analytical sense or its Continental sense, is the concern of neither Domanska nor most of her interviewees. While some of the issues addressed by this volume are broadly philosophical (e.g. the status of truth in historical accounts, the epistemology of historical knowledge, the relation of historical fact to meaning), many are more historiographical, literary, and cultural (e.g. the poetics of written history, history as a cultural practice, the turn to anthropology in historiography). And given the multiple notions of "postmodernity" at work in this volume along with the uncertainty of what it might mean to be "after postmodernism," perhaps a more accurate subtitle might have been "The Theoretical Conditions of History After Metahistory." In fact, it is Hayden White's 1973 volume, Metahistory, that seems to spell the turning point in historical thought for Domanska. The text consists of the transcription of ten interviews, plus Domanska's concluding "self-interview," conducted in 1993 and 1994, and arranged chronologically. Domanska is Assistant Professor of Theory of History and History of Historiography at Adam Mickiewicz University in Poland, where some of these interviews took place, although a number were conducted in the Netherlands or elsewhere in Europe. The interlocutors, with a couple of exceptions, will be well known to anyone who follows modern European cultural historiography and historical theory or is familiar with the journal History & Theory. They can be divided into four categories (my division, not Domanska's): 1) historical theorists proper, that is, those who have applied a kind of literary or linguistic set of concerns to written history, a group that includes the initial three interviewees--Hayden White, Hans Kellner, and Frank Ankersmit, and perhaps Jorn Rusen; 2) cultural and intellectual historiographers, a group represented by George Iggers and Peter Burke that tends to be much more grounded in the concrete practices of contemporary historians and less concerned with the literary and theoretical questions that animate the first group; 3) literary humanists, whose concerns seem to be with the broader cultural status of history as both a form of literature and a mode of consciousness, represented here by Lionel Gossman and Stephen Bann; and, 4) erstwhile analytical philosophers of history, that is, those who developed an approach to history dominated by notions of explanation, causation and the conventions of nineteenth-century historical realism. Both Arthur Danto and Domanska's mentor at Adam Mickiewicz University, Jerzy Topolski, were at one time (in the 1960s and 70s) concerned with analytical philosophy; since that time, the recently deceased Topolski had been influenced by the writings of White and Ankersmit, while Danto has moved away from the philosophy of history and toward the criticism and philosophy of art. English-speaking readers who do not follow History & Theory closely may be unfamiliar with Rusen and Topolski, whose primary work has been in German and Polish respectively, but the others will be known to anyone who has a passing familiarity with historical theory and European historiography. In what appears to be an attempt by the publisher to bring this volume to a larger theoretically-inclined audience of cultural and intellectual historians, the interviews are bracketed by an introduction by Allan Megill and a postscript by Lynn Hunt. Megill's introduction stresses the relationship between aesthetics and history found in these interviews; Hunt's postscript considers the form of the interviews as evidence of a personalized postmodernism on Domanska's part. Despite Hunt's claim that Domanska's text (or is it her text?) is untraditional by virtue of its fragmentation and its philosophy in the form of everyday dialogue, Encounters does not read like a series of fragments. There is a unity to the text as a whole, and, in fact, it is a narrative unity. The text takes the form of a quest, as Domanska pursues a distinctive set of issues through conversations with the "masters," picking up ideas along the way, becoming enamored of certain notions, exposing her own preoccupations by returning to the same themes with different interlocutors, and finally revealing herself in the confessional self-interview; the text is Domanska's intellectual autobiography in the form of a series of interviews. Because Encounters is not designed as a series of formal contributions or arguments, it differs greatly from what readers might expect in a work of philosophy or historical theory. The conversational quality of the text--touching on numerous topics, but not connecting them in any serious or rigorous way--is both the central problem with Encounters and its chief virtue. In fact, because the text touches on so many issues in an exploratory way that is largely non-technical, it might very well be a good book to introduce students to some of the issues at stake in contemporary historical theory. Domanska's voice, the style and content of her questioning, strikes me as very much the student's voice--exploratory and engaged, alternatively sophisticated and then surprisingly naive. But her naivete, the lack of any consistent definition of terms ("postmodernism," "crisis in history," "narrative turn," "experience" are some of the more prominent recurring expressions), and the idiosyncrasy of Domanska's own frame of reference (she is a member of the generation of Polish intellectuals who came of age in the 1980s as many ideas from the West were first finding root in Poland) makes Encounters less than ideal as a serious exploration of postmodernism in historical theory. I would recommend it for curious undergraduates and for historians who have an interest in learning more about theoretical issues, but have little background in the field. Encounters had its origins in an interview that Domanska conducted with Hayden White; that first interview sets the tone for the entire text, particularly in its confusion over what constitutes postmodernism. Metahistory, according to White, and to Hans Kellner as well, is not postmodernist at all; White's approach, he claims, is formalist and structuralist in nature, concerned with finding the deep poetic structure of historians' texts rather than showing how the texts destabilize those structures and categories of analysis (pp. 26, 51-55). But it is equally clear that Domanska envisions Metahistory as the moment of history's postmodern turn, because it is the moment of her own intellectual liberation from what she calls "scientism"--in particular the Marxist and realist conceptions of historical truth. When she read Metahistory for the first time in 1989 she found "precisely what I was looking for; a depiction of the literary and artistic face of history and ... the legitimation of the historian's subjectivity as she strives to create her vision of the past" (p. 259). In her personal narrative, her encounter with White takes on the significance of the postmodern moment: "Living in the state of postmodern suspension, of intellectual weightlessness, I was looking for a master, for a heretic; I was hunting for a postmodernist. In February 1993, Hayden White arrived at Groningen ..." (p. 261). Besides indicating something of Domanska's penchant for self dramatization, this passage fixes White as a kind of heretic from modernist orthodoxy. How do we reconcile this vision of White as postmodernist rebel with White's own claim that the approach exemplified by Metahistory is modernist at its core? Domanska doesn't face this issue head on, although one answer seems to be that the later White of The Content of the Form (1987) is postmodernist while the White of Metahistory remains determinedly modernist. My own view is that modernism and postmodernism mean different things in the spheres of literature and language, on the one hand, and in history, on the other. Because the modernist conception of history is based on realist, empiricist and positivist conventions, any attempt to treat a work of history in terms of poetics or formal structure destabilizes its claim to represent the actual past. Metahistory as a work of literary and linguistic-based analysis is highly modernist; as a contribution to historiography and historical theory, it represents the postmodernist turn. It is the blurring of boundaries between spheres of knowledge, rather than a change in orientation within those spheres, that seems to be indicative of the shift from modernism to postmodernism. But this is nowhere acknowledged in Encounters; instead a kind of confusion about postmodernism runs through these pages. Domanska means one thing by it (a turn away from "scientific history" and a turn toward aesthetics and narrative in the analysis of historical writing); her interlocutors often something else entirely. This is most evident, almost comically so, in Domanska's interview with Arthur Danto. Postmodernism, for Danto, is a general cultural condition that is manifest as an art world phenomenon (pp. 171-76). And Danto is simply not in touch with historical theory or historiography, but instead of acknowledging that he and Domanska obviously have different frames of reference, he answers her questions as if they were operating in the same conceptual universe (pp. 181-85). His is a world of analytical philosophy circa 1965 and art criticism of the past forty years. When Domanska asks him about microhistory, his answer indicates that he doesn't know anything about it; when she refers to a crisis in history she obviously means a crisis in the discipline, whereas Danto takes her to mean a crisis in the object "history." Given the cross purposes of this dialogue, from an editorial point of view it would probably have been best to exclude the Danto interview from the final volume. Of all the interviews here, it is the one that doesn't "fit." Of course, the reader would then miss the opportunity to hear Danto proclaim that "Foucault is one of the scariest human beings I know, and one of the most dangerous" (p. 182). In fact, one of the (guilty) pleasures of Encounters lies in such snippets. The chatty nature of the text means that scholars one is accustomed to reading only in formal contexts allow themselves to say things that they would never normally publish. Hence we have Hayden White stating that Carlo Ginzburg "hates Metahistory. He thinks I am a fascist" (p. 16). Or Lionel Gossman confessing "that I only occasionally read history books out of curiosity about the way history is written" (p. 203). Gossman is too modest by half, as the level of erudition about history he demonstrates in his interview indicates. Other interviewees don't suffer from Gossman's modesty. Stephen Bann, for instance, is like a talkshow guest--he can't seem to answer a question without using it as a pretext to "plug" an earlier work or a work in progress of his own. Like Peter Novick's That Noble Dream, the appeal of Encounters lies partly in its backstage revelations. In an academic culture that has produced Lingua Franca, the People magazine of the university set, it is not surprising to find "inside dopesterism" at work, even in a sphere as abstract and apparently esoteric as historical theory. There is a conflict in Encounters between its apparent engagement with postmodernism and its actual method. If we take postmodernism to include the linguistic turn in historiography, the commitment to discourse and representation as systems of meaning rather than transparent reflections of a given reality, and a decentering of the traditional subject matter of historical study, Domanska's approach to intellectual history seems decidedly modernist. Her questions indicate that she believes authors to be the best guides to understanding their own works; that thought is to be explained or accounted for in terms of social experience and intellectual "influence" of other thinkers; that there is a canonical Western intellectual tradition which she and those she interviews share; and that that tradition represents the limit of the intellectual universe. Hayden White warns Domanska in the first interview that interviews will not get her a definite statement or a fixed truth, that he doesn't believe in interviews, that the whole notion of interrogating the author as source is premised on a mistaken or naive understanding of thought and language (pp. 34-35). Domanska is undeterred; like those admirers of Foucault who express their admiration through biography, she often seems to have missed the point of the very thing she finds attractive. While there is much of value in the questions raised, and the general tenor of the discussions is quite high, the text is also disconcertingly naive in a number of respects. Domanska repeatedly questions her interlocutors about microhistory and "anthropological history," particularly the works of Carlo Ginzburg and Emmanuel Le Roy Ladurie as if they represent the newest "postmodern" historiography. This work, now some twenty years old, is of enormous importance in the ongoing historiographical revolution of the past half century, but it is also, as Lynn Hunt points out, committed to realist and empiricist canons of truth (p. 273). The more recent work of historians concerned with language and representation is not even on Domanska's map. There is no "new cultural history," no "new historicism," no cultural studies, postcolonial history, queer theory or gender history, no social constructionism. Some of these topics are introduced by her interviewees, but they remain marginal to the central discussions of Encounters. While the attempt to connect historiography and historical theory is admirable and much needed, it also requires a deeper understanding of historiography than is evident here. Similarly, Domanska becomes enthralled with a suggestion of Frank Ankersmit's that historical study and theory turn away from the linguistic and the narrative, and address the notion of historical experience; she returns to this idea in virtually all of the following interviews. But the idea itself is never clarified, and she doesn't seem to recognize that so much of the social history of the past thirty years embraced a naive notion of the recuperation of experience as its central mission. Joan Scott's well known essay "The Evidence of Experience" provides a thorough critiques of the fixation on experience and shows the way that it has been challenged by the linguistic turn and the new cultural history, but Domanska appears to know nothing of Scott's work.[1] Perhaps there is something to Ankersmit's proposal, but Domanska gives us only her enthusiasm for the idea, and no attempt to analyze it critically. The dialogues in Encounters are engaging and accessible. The thinking is not particularly deep and there are no real arguments made or developed. Certainly those familiar with the field will find nothing particularly new here. What the text does do is to bring together a number of different approaches to historical theory and thought and subject them to the continuity of Domanska's concerns. It is a readable introduction to some of the major figures in the field--although the absence of important thinkers such as Dominick LaCapra, Robert Berkhofer and Martin Jay might lead one to question its comprehensiveness. Still, Domanska makes this an entertaining introduction to historical theory, even if her personal quest seems at times to speak more of nineteenth-century romanticism than twentieth-century postmodernism. [1]. Joan Scott, "The Evidence of Experience," Critical Inquiry, 17 (1991): 773-97. Copyright (c) 1999 by H-Net, all rights reserved. This work may be copied for non-profit educational use if proper credit is given to the author and the list. For other permission, please contact [email protected]. Citation: Daniel Wickberg. Review of Domanska, Ewa, Encounters: Philosophy of History After Postmodernism. H-Ideas, H-Net Reviews. July, 1999. URL: http://www.h-net.org/reviews/showrev.php?id=3227

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Historic Scotland and HLF grants bring New Year Cheer to Churches Five distinguished churches and one cathedral are to have urgent and essential repairs carried out thanks to a funding package announced today by the Heritage Lottery Fund and Historic Scotland. From an exposed cliff side location to the urban inner city landscape, from Romanesque to Gothic Revival, each one is of important architectural merit and in need of attention. BRECHIN CATHEDRAL HLF First Round Pass for a grant of £27,000 Historic Scotland funding £55,000 Situated close to the town centre, the history of Brechin Cathedral began in the late 900’s when King Kenneth II of Scotland endowed a monastery to the site. Three months ago an archaeological dig there, funded by the Heritage Lottery Fund through Brechin’s Townscape Heritage Scheme, uncovered pieces of medieval pottery and several 14th century coins. The cathedral developed over the following centuries and the Round Tower, one of only two remaining in mainland Scotland, was added in the 14th century, originally as a separate building. Since 1902 an impressive range of stained glass, created by some of Scotland’s most famous artists and craftsmen, have been donated to the building. The grants will help complete urgent repair work to counter the effects of wet and dry rot. ST SALVADOR’S EPISCOPAL CHURCH, DUNDEE HLF Development Funding of £15,200 Historic Scotland funding £145,100 One of his only works in Scotland, St Salvador’s was designed by Britain’s foremost Gothic Revival architect G F Bodley. Situated in the Hilltown area of Dundee it was originally founded as a church and school to serve the mill workers of the area. Today it is an architecturally important building both within Scotland and in a wider British context. Its uniqueness lies in the interior of the Church where there is an exceptionally complete and early example of Bodley’s interior decorative schemes. Bodley’s striking ornate and richly coloured stencilling had a direct influence on William Morris. It was restored with the help of an HLF grant 12 years ago but is now at risk of staining, blistering and peeling caused by the damp getting into the building. The grant will enable high-level maintenance of crumbling stonework and defective roofing to be carried out so as to preserve the church’s wonderful interior. ST BARTHOLOMEW’S EPISCOPAL CHURCH, GOUROCK HLF First Round Pass for a grant of £107,800 Standing on a landmark, cliff-side location, looking out onto the Firth of Clyde, St Bartholomew’s Church has suffered from its exposure to the elements. Built in 1857, a simple Gothic Revival style exterior hides a detailed interior which includes a Plaque of Dutch tiles in remembrance of the hospitality given to Dutch soldiers, sailors and airmen during the Second World War. A popular venue for music and choral concerts, these have had to be curtailed because of the church’s leaks and lose slates. The project includes partly re-roofing the building, re-pointing and making conservation repairs to the stained and leaded glass. ST MARY’S RC CHURCH, LANARK With a 140ft spire presiding over the UNESCO World Heritage site of New Lanark, St Mary’s Church was completed in 1910 replacing the original church which was gutted by fire in 1907. The interior reflects a high status ecclesiastic building designed to impress, with beautiful sculptural detail and a Pugin & Pugin designed Caen stone and marble decoration at the back of the alter. As part of the project a learning pack will be produced for schools including a DVD showing the stages of conservation work. SACRED HEART RC CHURCH, ABERDEEN HLF Development funding £22,600 Completed in 1911, Sacred Heart Church was designed in a Romaneque style by Belgian architect, Charles Menart, who had studied at Glasgow School of Art from 1893 to 1898. It is situated in what was then the small fishing village of Torry on the south bank of the Dee. The vast expansion and prosperity of Aberdeen gave rise to the building of boat yards and factories at Torry from 1880 to 1920, attracting a large immigrant population. The Church continues to have a large congregation with attendances of 250 people at the Polish mass on Sundays. INNERLEITHEN CHURCH OF SCOTLAND HLF First Round Pass for grant of £152,300 Essential repairs to the roof and gables are required to make Innerleithen Church structurally sound. The Church was originally designed by Thomas Pilkington in 1865 and then in 1887, comprehensively re-constructed by James Macintyre using many of Pilkington’s details in response to the requirement of a growing congregation. Overlooking the Leithen Water in the Borders, the Church is a hub for community activity including a weekly service, a day care centre, choir, quiz group, Beavers and youth organisations as well as attracting around 600 visitors each year. Commenting on today’s announcement, Colin McLean, Head of the Heritage Lottery Fund, said: “Scotland has such a diverse range of churches, each one reflecting the social history of its community as well as the influences upon the country’s architecture. They stamp a sense of identity on their towns and villages while providing a venue for worship and for many other community activities. The Heritage Lottery Fund is delighted to be able to bring some good news to these important buildings as they begin the new year.” Fiona Hyslop, Minister for Culture and External Affairs, said: “Congregations across the country are responsible for an important part of our incredible architectural heritage and they deserve our support. As well as these grant awards, Historic Scotland has been working closely with different denominations in the last year to ensure that we share the expertise we have and make it easily accessible for those charged with maintaining places of worship.” Using money raised through the National Lottery, the Heritage Lottery Fund (HLF) sustains and transforms a wide range of heritage for present and future generations to take part in, learn from and enjoy. From museums, parks and historic places to archaeology, natural environment and cultural traditions, we invest in every part of our diverse heritage. To date it has invested over £500million in Scotland’s heritage. Historic Scotland is an executive agency of the Scottish Government charged with safeguarding the nation’s historic environment. The agency is fully accountable to Scottish Ministers and through them to the Scottish Parliament. For more information visit www.historic-scotland.gov.uk. In October, Historic Scotland, the Church of Scotland, the Bishops’ Conference of Scotland and the Scottish Episcopal Church launched a CD Rom containing advice on a range of traditional building skills that would be required for the maintenance of many church buildings. Register for media release email alerts from www.historic-scotland.gov.uk/news. Heritage Lottery Fund: Shiona Mackay on 01786 870638/07779 142890 or Jon Williams on 020 7591 6035 Website www.hlf.org.uk Historic Scotland: Lesley Brown on 0131 668 8603/ 07920 768100/ [email protected] Brechin Cathedral: Douglas Taylor on 01356 629360/ [email protected] or [email protected]. St Salvador’s: St Salvador’s: Dr Graeme Adamson on 01382 667009/ [email protected] St Bartholomew’s: Evan Williams on 01475 520916/ [email protected] St Mary’s: Rev Joseph Brannigan on 07802 265085/ [email protected] Sacred Heart: Michaela Wregg on 01224 224644/ [email protected] Innerleithen: Philip Macdonald on 0131 2259070/ [email protected] The journey planning form requires javascript, which is unsupported by your browser.For your journey planning needs use the main journey planner.

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"Monkey Business/Say It Again, Eileen" MONKEY BUSINESS - After a battle, WordGirl accidentally leaves Captain Huggy Face behind (again). So he spends the day doing all of his favorite things. When an overzealous Chuck strikes, it's up to Captain Huggy Face to single-handedly save the day. D "Bad Hair Day" Chris and Martin try to help a lion named "He who breathes fire" get past obstacles and back to his pride, who are under siege from two intruder lions. D "R-Fair City" (topic: Probability and Chance) - Disguised as a gypsy, Hacker lures Digit to a fantastic cyber amusement park and holds him captive. When the kids arrive, they analyze the games of chance, figuring out which games are fair and which ones are not, and use what they learn to find Hacker and beat him at his own game before it's too late! The Big Idea: A game of chance is fair when nobody can tell who will win, but everyone has the same chance of being a winner. D "Do-Se-Dos and Do-Se-Don'ts" Sammy and DJ learn how to square dance while Harsha and Jay learn about gorillas and their habitat at the zoo. D Tonight on Nightly Business Report - the budget battle. Today, the House Republicans presented their outline and we'll look inside. NBR will also look at controlling health care costs with former Vermont Governor Howard Dean and journalist Steven Brill. D 7:00 pm Les Miserables 25th Anniversary Concert at the O2 To celebrate the 25th anniversary of the international stage phenomenon, the show's producer Cameron Mackintosh stages a one-time concert at the O2 Arena in London. More than 300 actors and musicians take part. Tenor Alfie Boe, who sings the part of Jean Valjean, will be in Sun Valley later this year and a ticket opportunity is available when pledging support. On the day of the concert, London was home to three simultaneous productions of the musical: the long-running original production at the Queen's Theater, the new 25th anniversary production at the Barbican, and the concert. Cast members from both stage productions and members of the 1985 London cast also took part in the concert.G 11:00 pm Charlie Rose

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Book Notes - Elanor Dymott "Every Contact Leaves A Trace" In the Book Notes series, authors create and discuss a music playlist that relates in some way to their recently published book. Previous contributors include Bret Easton Ellis, Kate Christensen, Kevin Brockmeier, George Pelecanos, Dana Spiotta, Amy Bloom, Aimee Bender, Myla Goldberg, Heidi Julavits, Hari Kunzru, and many others. Elanor Dymott's debut novel Every Contact Leaves A Trace is an impressive dark and tense literary thriller. The Independent wrote of the book: "Dymott has written a story that is shaped by the nebulous nature of knowledge, especially as it is found in the upper echelons of institutional learning. She repeatedly reminds readers that they don't have the facts. This is a cunning, sharp first novel that revels in keeping one in the dark." Stream a Spotify playlist of these tunes. If you don't have Spotify yet, sign up for the free service. In her own words, here is Elanor Dymott's Book Notes music playlist for her novel, Every Contact Leaves A Trace: This is a novel about the damage that's done when cherished people or cherished possessions are lost or taken away. It's about our desire for their return; the spaces that are left behind; and it's about grief and how we feel it. I built up this playlist over the time I was writing my book and I'd always write with it on. It falls into two groups and I've taken a few tracks from each. The first group relates to the book in a plottish way. These tracks also provided routes to the distillation of particular feelings, which they'd create in me within half a second. I once read an interview with a writer who said that any writer who 'uses' music in this way is cheating. Writers, he said, should write in silence; they shouldn't rely on music to create atmosphere. I'd say that's a proscription that's easily set aside. For one thing, writing is kind of all about cheating – pulling the wool over people's eyes, your own and everyone else's. And for another, writers should do whatever it takes, noisy or silent. Writing to music is something I do all the time and I'll do it until it stops working for me. "Have You Seen the Bright Lily Grow" (lyrics Ben Jonson, music Robert Johnson) performed by Sting and Edin Karamazov (from Songs from the Labyrinth) For a long time this was the only track on the playlist. It's my novel in a song and it gave me the first of my epigraphs. I copied out the words on the wall above my desk and they started showing up in other places, such as the Robert Browning poems I was using in the book. My story grew around its images and all of them ended up in the novel. I had to turn Jonson's swan into a heron but I did manage the beaver, and because there was snow, 'before the soil hath smutched it,' I put in some snow and I made someone smutch it. I remember British early-music enthusiasts being a bit edgy when this album was released. What was a pop star doing messing around with the seventeenth century? But they were pop stars, then, the guys who toured with these songs. And I like the way Sting's voice yearns. There's a gentle straightahead melancholy rasp to it, almost like he's keening. When I hear this song it's my Alex in his Epilogue. He wakes up in New York at 4am and just for a split second, he's forgotten that Rachel is dead. When the lute's rising phrase turns and falls, he remembers. "As Time Goes By," by Herman Hupfeld (performed by Dooley Wilson and Elliot Carpenter on the soundtrack for the film Casablanca) Rachel and Cissy sing, 'As Time Goes By' at the Casablanca Ball that's held in Worcester College in my novel. I knew that something significant would happen at the Ball and that it would lead, years later, to Rachel's murder, and I wanted to put my characters in costume and see what they did. Tickets for Oxford's college Balls were always beyond my student budget but I played with a couple of bands so I got in for free. They were lavish in the '90s: hog roasts and dinners, cocktail bars and beer tents, champagne and chocolates and trays of cigarettes all over the place. There were dodgems and Ferris Wheels and magicians and there was dancing, until the survivors' photo was taken at dawn and breakfast laid out on a dew-cast lawn. I went to a Worcester College Commemoration Ball that had Casablanca as its theme, and that's why I put it in my book. I think there was a firepit by the lake with a hookah, and Rick's Bar serving martinis all night, and I'm pretty sure there was a Ferris Wheel and a fortune teller's tent. Two decades on, my memory of the night was always going to be unclear, and now I've put it in the novel it's difficult to remember which bits actually happened and which I made up. But I know for sure that someone sang this song, somewhere, at some point. Minutia by Max de Wardener (from Where I Am Today) By the midwinter following Rachel's murder, Alex has had a breakdown. When Harry invites him back to Oxford he accepts, wanting to hear whatever he can tell him about Rachel. The snow begins to fall as his train pulls out of Paddington and Alex falls asleep with the sun on his face. When he opens his eyes it's slanting across a white landscape and everything kind of disintegrates and shifts in and out of that whiteness, disappearing, reappearing. 'Minutia' is what that journey sounds like, looks like, and I hear the soft slither of metal on track in the glass lines grafting against each other. At the last there's silence: an empty space where the brightness of the light moves across the snow and makes sure nothing is clear, nothing can be certain or made out. "How it Felt ( to kiss you)" by Mara Carlyle (from Floreat) A cat purrs at the start of this track, and carries on purring while this complete expression of bliss unfolds and grows and envelops you in what I think of as a real transformation of lived experience into sound. For me, this piece of music captures every level of what it is to be kissed for the first time by someone I'm in love with. It's somehow an actual kiss, rather than a piece of music. It's physical sensation made aural, and because of the complexity of the texture that's woven, slowly and incrementally, every part of a kiss is touched on: the sensations that start somewhere below your stomach and move up your chest and down your back and into your fingertips and your ears and your lips and your tongue so that you feel as though your body has become a solar system and you are spinning through the air and yet you are the tiniest grain of sand in the middle of an ocean. It's the track that plays when Alex and Rachel climb into the secret garden on Midsummer Night and lie down on the grass. It's the sound of how he feels when they kiss for the very first time. "In a Silent Way" by Joe Zawinul, performed by Weather Report (from 8:30) This live recording is kind of ghostly. To me it sounds like the sound of loneliness. I was given it by a musician in the early and uncertain stages of what was only ever going to be a doomed love affair. That's the type of vulnerability it captures, I think: the feeling of the loss of a thing you haven't even had yet. But it also sounds like the way you feel when, even though you know something won't work out, can't happen, you still long for it in a hopeless sort of a way. Rachel gives Alex such a brief respite from his loneliness, and I guess this track is how he felt in the years that passed until she loved him back. "Tessa in the Bath" by Alberto Iglesias (from the soundtrack to The Constant Gardener) I think about the Meirelles film of le Carré's novel a lot: the way it opens with dialogue but no visual because of the effect of the sun; the shifting light throughout; the impassioned, impetuous love affair that becomes a marriage; the quiet and steady man, broken by the brutal murder of a woman who has already made his life unrecognisable just by loving him. All those things made their way into my book. This track accompanies the scene where Justin slightly ineptly takes home-movie footage of Tessa having a bath towards the end of her pregnancy, not long before their child dies at birth. In the beginning they laugh, they're in love and easy with each other, and the first part of the track has that happiness. "Infra" by Max Richter (from Infra) In the summer of 2011 I was working on the edit of the book and had been asked to put in more about how Alex was feeling. I'd been talking with a composer friend and had played him the Tessa in the Bath track and told him the story behind it, and what it meant within my narrative. He said, 'You have to listen to Infra.' Richter's album is expanded from his ballet score (inspired by T S Eliot's "The Wasteland.") The track and its voiceover sound to me like a recording of a moon landing, and I think that's how Alex feels after Rachel's death: he's drifting in the stars, lost and high-up and away. Without her, there's nothing on earth to come back for. Linnet, singing (from The Sound of Birdsong) This is what Rachel and Alex would have heard one afternoon when they took a picnic to an Oxfordshire meadow and lay in the sun together, not talking, just listening. In the background you can hear bees. It's the sound of summer; of everything being alright. I'd always finish a writing session with this track, so that when I switched off my computer I knew I was leaving the two of them lying there in that meadow, alive and content. The second group of tracks gave me focus or encouragement or energy or distraction or incentive during parts of the writing process (feeling like it was beyond me but wanting to tell this story; sorting out a mess in the plot; copy editing; tracking changes; checking continuity) that were painful or difficult or dull. "Eight Lines" by Steve Reich from the album Shaker Loops "Eight Lines" has a stealth start. Suddenly it's begun and it's as though you've almost missed the opening – you're there in the eye of a storm or at the halfway point around the field running the race of your life and you've no idea how you got there. Or perhaps instead you're falling, fast, from the top of a building you never meant to jump off but you did, somehow. Or maybe you were pushed. Whichever it was you can't say, 'Wait! Wait, can we start again? I missed it.' It's a fasten-your-seatbelt track: once it's started you have to hold on and let go at the same time. Last month my second novel abandoned me for a while and someone told me, 'You just need to hold your nerve.' Writing my first novel to this track made holding my nerve not just possible, but also necessary (in a chicken/ egg way.) The rhythmic play that goes on in "Eight Lines" keeps the brain busy; the part of the brain, that is, which might otherwise inhibit. There's a freedom and an abandon everywhere in this music, while of course at the same time there isn't any. 'Don't play outside,' jazz musicians teach their students, 'until you can play inside.' In "Eight Lines," Reich is inside and outside and everywhere and nowhere. "O Socii, Durate!" by Adrian Willaert (from Le Chant de Virgile (Van Nevel, Huelgas-Ensemble)) Willaert sets a scene from early on in the Aeneid (Book 1, 198-208) when Aeneas and his men are blown off-course en route to find their promised destiny. Storm-weathered and sick with distress, he's trying to persuade his fellow travellers to carry on with their voyage despite the loss of more than half their fleet, and the deaths of their friends. It's about the going getting tough, and needing to pull your finger out. 'You've lost so much and been so brave. Endure! Live for a happier day.' Writing this novel was a struggle. When it felt like a no-hoper, it was good to have someone like Aeneas telling me to get a grip. "Forever Now" by Level 42 This helped with concentration for the copyedit, and checking continuity. Alex's grief pushes him into leaving London for good. On the morning of his flight to New York, he stands on his balcony before locking up his apartment for the last time and thinks about how he'll feel as the plane comes into land; how at that point in a flight he always feels an intense awareness of being, 'neither here nor there.' He says, 'I suspect that is how I shall always feel now that Rachel has gone: forever suspended, forever now.' A composer friend had used the phrase, 'Forever Now' as the title for a melancholy jazz ballad he'd written. When I asked about the phrase's source he introduced me to Level 42. I laughed a lot when I heard the song because it seemed an absurd juxtaposition of vibes, but there was something nice about finding it in Alex's melancholy. And I like how its lyrics express the way a heavy loss can make someone unable to take anything other than a day-to-day approach to living. "For The Rest Of My Life" by Dorinda Clark-Cole (from Live from Houston, The Rose of Gospel) I added this to my playlist in summer 2010 during a frenetic few weeks of writing the second half of my book. I was spending a lot of my downtime with a musician, comparing notes on what we were working on, and finding common ground between writing and composing. He took apart his compositions and explained them, showing me how some of them started with a single chord or riff he'd borrowed from someone else and reconstructed as something new. He talked about improvising, and performing, and what he had in mind when he stood on the bandstand. 'Always make a statement,' he said. 'Don't stand up unless you've got something to say. And if you do have something to say, sound like you mean it. Make sure everyone hears it.' He introduced me to a load of recordings that summer which really opened up my ears. He put Bach's Wachet Auf on my Spotify account, and he put Dorinda Clark-Cole there too. He told me he used to listen to this track every morning, standing on a crowded tube platform. It kept him calm, he said, at the beginning of the day. I played it a lot that summer to keep me going with the book, to make myself believe it could work, and it was the first song I played when my agent called to say the bidding had begun. "Elande No. 1 (F#)" by Lee Konitz and Dan Tepfer (from Duos with Lee) A couple of minutes before the engineer pressed the record button, Konitz and Tepfer decided to make up a series of short pieces, one for every key, and this is the first. It's the sound of the two of them following the music where it takes them, and I think that's a good model for how to write a book. I was mid-novel when I saw Konitz play London's Pizza Express Dean Street, and I bought this album at the end of his gig. I knew some of Konitz's recordings (Motion, Subconscious-Lee) and had spent happy hours watching Youtube footage of him playing with Bill Evans. But seeing him play live was really something else, and he was funny, too. I went with a good friend who is a writer. While we walked across London to Soho, she explained how she moves scenes around and draws out storyboards of a play when she's revising it, to find the hidden scenes which are referred to but which don't happen on stage. Our conversation made things happen differently with the book, and work better, and that shift is associated with this gig for me. The other reason it's on my playlist is because it sounds to me like an early summer morning in New York. I'd never been, but I'd fantasised about it for years. I decided my best chance was to make Alex Petersen go there at the end of the book. If he goes, I thought, then I might get to go too. This track was what I imagined it might be like to walk through Washington Square in summer. When I finally got there in summer 2012, I took a detour through Washington Square on my way to meet with my editor at W W Norton, and I discovered I was right: it is exactly like this track, the way the sun dapples through the leaves and on the water. Elanor Dymott and Every Contact Leaves A Trace links: the author's website Daily Mail review Guardian review Independent review NPR review Scotsman review The Pen Muse interview with the author Book Notes (2012 - ) (authors create music playlists for their book) Book Notes (2005 - 2011) (authors create music playlists for their book) my 11 favorite Book Notes playlist essays 100 Online Sources for Free and Legal Music Downloads 52 Books, 52 Weeks (weekly book reviews) Antiheroines (interviews with up and coming female comics artists) Atomic Books Comics Preview (weekly comics highlights) Daily Downloads (free and legal daily mp3 downloads) guest book reviews Largehearted Word (weekly new book highlights) Note Books (musicians discuss literature) Shorties (daily music, literature, and pop culture links) Soundtracked (composers and directors discuss their film's soundtracks) Try It Before You Buy It (mp3s and full album streams from the week's CD releases)

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New London County Courthouse New London County New London City Post Office: New London Zip: 06320 WHAT'S NEARCoit Street Historic District Downtown New London Historic District Groton Bank Historic District Hempstead Historic District Joshua Hempsted House Montauk Avenue Historic District Nathaniel Hempsted House Post Hill Historic District Prospect Street Historic District United States Housing Corporation Historic District Williams Memorial Park Historic District The New London County Courthouse was listed on the National Register of Historic Places in 1970. Portions of the content on this web page were adapted from a copy of the original nomination document. [†] Adaptation copyright © 2010, The Gombach Group. The New London County Courthouse (now New London State Courthouse), located at 70 Huntington Street in New London, Connecticut, is a two and a half story gambrel roofed building, which is topped by a centrally located octagonal cupola with a curved and pointed roof. The frame, building is clapboarded and painted white. Beneath the flared gambrel roof the facade has seven bays with three bays on each side of a central pavilion. The entrance is recessed with the opening framed by blocks of wood cut to resemble angle quoins, the lintel having a large wooden key block with angled blocks on each side. This motif is repeated in the framing of the windows of the ground floor. Pilasters composed of vertical stacks of wooden blocks resembling angle-quoins bound the central pavilion on the ground floor level and are repeated at all four corners of the building, but these stop at the second floor, the corners being ornamented at this second level by fluted pilasters which echo those of the second story level of the pavilion. All of these pilasters support a large but simple cornice with cushion frieze. Above this, modillion blocks follow the line of the roof across the gable of the triangular pediment of the pavilion and the rake of its roof. The noticeable discontinuity of the first level with the second points to a major change in the exterior of the courthouse — the removal of a gallery which ran around the entirety of the building. According to F.M. Caulkins this gallery gave the building a "gay and dashing appearance," however, there is no evidence as to when it was torn down. Another important alteration in the original condition of the structure is its changed location: it was moved back from its original portion in the middle of the street. Aside from, the roof framing, little of the interior remains that is original: alterations were made in 1909 and court rooms were added in the back. Dudley St. Clair Donnelly was the architect of these changes. In 1909 also, the front windows were lowered two feet. In 1945 both the windows and the window frames were restored to their original condition. There were some alterations made in 1949, but these entailed only the addition of some partitions and rest rooms. The New London County Courthouse (now New London State Courthouse) is an architecturally outstanding building by a known architect, Isaac Fitch. Its historical significance is tied in with that of the town of New London and with New England. It was a yellow fever hospital in 1795; the Peace Ball was held there in 1815; it was a recruiting center during the Civil War; lying-in-state for Civil War dead took place here; Sunday Schools met here before their acceptance by churches; city and town meetings, political rallies, and abolitionist meetings were held within it. White Pine Series of Architectural Monographs, 1920, Volume 6, Number 1; 1930, Volume 12, Number 6. Historic American Buildings Survey CONN 3-2. Constance Luyster, Connecticut Historical Commission, New London County Courthouse (now State Courthouse), New London, CT, nomination document, 1970, National Park Service, National Register of Historic Places, Washington, D.C. New London County Courthouse Map Street Names Huntington Street **Information is deemed reliable but not guaranteed. You should independently verify any information you use for decision making.Copyright © 1997-2016 • The Gombach Group • www.gombach.com • 215-295-6555 • 137385 • Privacy

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'Michelangelo of the Capitol' Also Painted Religious Art (3351) Sept. 9 issue feature: Constantino Brumidi Murals Are Being Restored in New York Tweet by JOSEPH PRONECHEN 09/09/2012 Comment Murals like this one of Mary are being restored in two New York City churches. – Joe Pronechen In July 11, 2012, painter Constantino Brumidi was honored in Washington, when House and Senate leaders awarded him the Congressional Gold Medal posthumously. At the presentation, House Speaker John Boehner started his remarks by saying: "‘An answer to a prayer’ is how the curator for the architect of the Capitol has described Brumidi’s arrival in this city at the end of 1854. And rightly so." Italian immigrant Brumidi arrived to decorate the interior of the Capitol. He did so with a flourish, creating colorful, detailed frescoes in the congressional space, from the Rotunda to the "Brumidi Corridors." But part of the story of this artist — who is sometimes called the "Michelangelo of the Capitol" — was forgotten. He didn’t just decorate a famous political building. Brumidi also painted magnificent religious murals and frescoes, including several of the largest Crucifixion scenes in the country in Manhattan. The Church of St. Stephen/Our Lady of the Scapular has 45 Brumidi works, which makes for the largest number by this artist in a single church. Papal Paintings The story starts back in Rome, where Brumidi received private commissions and did work in the Vatican Palace for Pope Gregory XVI before a cardinal commissioned him to paint a full-length portrait of Pope Pius IX in 1847. It was to be a personal gift to the new Holy Father. Brumidi next painted a number of portraits of previous popes as well. While in Rome, in the early 1850s, Archbishop John Hughes of New York saw his work and invited Brumidi to do frescoes in some churches in New York City. Church Art While he did a major mural for a Jesuit church in Baltimore and another in Washington in the 1850s and later was to do murals in the Cathedral Basilica of Sts. Peter & Paul in Philadelphia, Brumidi also answered the invitation of the new pastor of St. Stephen’s Church on East 28th Street in New York. Brumidi’s paintings in this church became the high point of his religious art in the United States. Behind the new marble altar, the artist painted the monumental Crucifixion, dated to 1868. The painting remains a moving interpretation of Christ’s suffering and death on the cross: Mary is standing by his side, and Mary Magdalene lays prostrate at the foot of the cross, with the women of Jerusalem lamenting, angels watching and God the Father and the Holy Spirit receiving the sacrifice of Jesus. There are plans for his works’ major restoration, including the scene of the Assumption of the Blessed Virgin Mary, the Stations of the Cross and portraits of various saints. Brumidi’s skill is evident in all of these works. His talent with trompe l’oeil — the effect of fooling the eye by making people and "architecture" on flat walls look 3-D — is still apparent. How grand all the murals will look once they are restored. The same goes for the Crucifixion Brumidi painted only a few blocks across town at the Church of the Holy Innocents on West 37th Street. This edifice was finished in 1870, and Brumidi painted the Crucifixion scene over the altar the same year. The mural was painted over in 1900 by another artist, following Brumidi’s pattern, and now the church is in the process of restoring the mural to its original state. There’s a hint of the process, even though scaffolding and a thin, gauze-like drape shield the restorers, who are specialists in conserving Brumidi’s work. If all goes well, this mural will be restored before the end of the year. Joseph Pronechen is the Register’s staff writer. Visit ChurchofStStephen.com and Innocents.com. Filed under new york city, religious art The time period for commenting on this article has expired. NYC Church With Major Artwork Merges

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Where The Streets Have Lou’s Name Lou Reed’s interviews are never less than interesting, especially when he’s talking to New York magazine: one minute he’s blowing up in public as a result of an interviewer’s perceived stupidity, the next he’s taking a tiny little questionnaire and using it as a platform for asking, probably not entirely seriously, to have a street named after him. On the other hand, the request seems perfectly fair. But what would it be called? Reed suggests Lou Reed Way. Gothamist wonders about Rue Lou. Maybe it should just be one side of the street: the wild side. Below is the video for Reed’s “Dirty Boulevard,” which could also work. (If you have perfect names for Lou Reed’s street, feel free to send them in to us.) The New Yorker offers a signature blend of news, culture, and the arts. It has been published since February 21, 1925.

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The Mercury (http://www.pottsmerc.com) Mann's ‘Voice' soon to be heard at the Keswick By Jarreau Freeman, [email protected] On a stage in front of thousands, Chris Mann stands with his back toward the audience as Christina Aguilera sings the first verse of the �The Prayer.� As her voice trails off, Mann�s operatic voice fills the auditorium unapologetically � the crowd erupts. This moment, which Mann described as �beautiful� during an interview April 15, was one of the pinnacles during his stint on NBC�s hit talent competition �The Voice.� This moment seemed to make Mann�s long and arduous road to success worth it. �My road has been really winding and long,� he said. �I have been doing this for 12 years and had a lot of ups and downs. This is my dream and my passion and I didn�t want to give up on it.� The 30-year-old has been singing classically since he was 15 years old, but always knew that a career in music was what he wanted to pursue. �I have always loved singing � it was always the thing that made me happy. I felt it was my purpose and what I was best at,� he said. �My granddad was a singer and he really inspired me to chase my own musical dream. �I didn�t realize until later in his life that he came to Los Angeles from Kansas, just like me, to pursue a career in music and acting. He ended up coming home, met my grandma and then put it all to bed, had a family and never really spoke of it again. �He was always supportive of me singing and I never really understood that I was carrying a torch for him. I found a stack of recordings he made, which were incredible, and made me feel like this was in my blood.� After studying opera at Vanderbilt in Nashville, Tenn., the Wichita native spent years singing in clubs and auditioning for record labels until he was picked up by a classical label three years ago. However, while working on what would have been his debut album, the label dropped him � an unfortunate bump in the road, but not the end of Mann�s journey. Mann did not give up on his solo career and decided to venture down a road less traveled and auditioned for season two of �The Voice� � a road, it turns out, led him in the right direction. While singing �Because We Believe� by Andrea Bocelli, he turned the chair of �Voice� coaches Cee Lo Green and Aguilera � and chose to work with the pop legend herself. �I tried out for The Voice, because I thought that was the best way for me to get heard,� Mann said. �It was the right opportunity for me to walk out there and say �This is my voice; that is what the show is all about. I have a big voice and I wanted to showcase it on a big stage.� Making it to the finals, Mann said getting on the show was the �best thing that had ever happened to .� �My big struggle was that I really wanted to go on �The Voice� and sing like myself and sing the type of music I love to sing so much,� he said. �Some people thought I shouldn�t do that. But I took a chance and went out there and sang like I wanted to and it really resonated with the country. It was a really great experience to have that validation and support.� Mann has been on fire since his �Voice� debut, appearing on �The Tonight Show with Jay Leno,� performing for President Barack Obama and First Lady Michelle Obama as part of a TNT �Christmas in Washington� special and he had his own PBS special � �A Mann For All Seasons,� which aired in March. In addition, he is headlining a nationwide tour and will be performing at Glenside�s Keswick Theatre May 4. �I can�t wait to come back to Philadelphia,� he said. �It�s one of my favorite cities in America. I really want people to have fun. We will have some really beautiful songs. It�s perfect for a date night. All in all, it should be a really, wonderful musical experience.� Mann described his sound as a fusion of classical and pop, and said he wants his music to reflect all the aspects of music that he enjoys, which is illustrated on his debut album �Roads� that was released last year. The album is a blend of classical tracks such as �Ave Maria� and his rendition of popular songs such as �Need You Now� by Lady Antebellum, and in other instances, a combination of the two, as in �Cuore,� a song Mann co-wrote. �We took a box air and a G-string melody and put an original pop chorus with it,� he said. ��Cuore� means heart . The actual chorus is about being a slave to love, which is spicy.� However, the title track, �Roads,� was the song Mann said spoke to his own personal journey. �The song is about how everyone has a road in their life, and sometimes it might take you down a path that is difficult, but if you stay on the path, it will lead you home,� he said. �That is so true for me and I think it�s true for a lot of people in their lives and I love how people are gravitating toward that song. �It made sense for me to call my album �Roads,� because it is the culmination of my road to this point.� Chris Mann at the Keswick Theatre, Easton Rd. & Keswick Ave., Glenside, PA 19038, Saturday, May 4, at 8 p.m. Tickets cost $34.50 - $44.50. For more information, call 215-572-7650 or www.keswicktheatre.com.

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Home Dalí Bio Gala Gala Biography "I name my wife: Gala, Galushka, Gradiva; Oliva, for the oval shape of her face and the colour of her skin; Oliveta, diminutive for Olive; and its delirious derivatives Oliueta, Oriueta, Buribeta, Buriueteta, Suliueta, Solibubuleta, Oliburibuleta, Ciueta, Liueta. I also call her Lionette, because when she gets angry she roars like the Metro-Goldwyn-Mayer lion" Gala (Kazan, Russia, 1894 - Portlligat, Girona, 1982) Salvador Dalí's wife and muse, whose real name was Elena Ivanovna Diakonova was a mysterious and highly intuitive woman, which was able to recognise artistic and creative genius when she saw it, and had relations with a number of intellectuals and artists. Nevertheless, the truth iss that very little is known about herpersonality: she had two older brothers, Vadim and Nicolai, a younger sister, Lidia; she spent her childhood in Moscowand her father died when she was eleven years old. Her mother remarried later to a lawyer, with whom Gala related very well and thanks to whom she managed to acquire a good education. She was a brilliant student, completing her studies at the M.G. Brukhonenko academy for young ladies with a very high average mark; a degree from the tsar authorised her to become a primary school teacher and to give lessons in people's homes. In 1912 she suffered a worsening of the tuberculosis that had afflicted her for some time, and her family decided to move her intothe Clavadel sanatorium in Switzerland, where she met Eugène Grindel (later to be known as Paul Eluard). Their similar ages and love for reading made them become good friends. Both were discharged from the sanatorium in 1914.Gala returned to Russia and Eluard went to the war front, but the couple proposed to each other before that. They married in 1917, and the following year was born the girl that was to be Gala's only daughter, Cécile. Eluard, who had already been revealed as poet and had changed his surname, had close relationships with the leading figures of the surrealist movementand in particularl with the creators of the Littérature magazine: André Breton, Philippe Soupault and Louis Aragon. Gala also attended some of their meetings. In 1922 she started a relationship with Max Ernst but they broke up in 1924. Max Ernst painted her in a number of portraits. Also noteworthy was her friendship with the poet René Char, and particularly with René Crevel. It was in 1929 when she first met Salvador Dalí. In April of that year Dalí went to Paris to present the film that he had created with Luis Buñuel, Un chien andalou, and it was there where Camille Goemans, a Belgian poet and gallery owner, introduced Dalí to Paul Eluard. Dalí invited them to spend the summer in Cadaqués. Goemans and a friend of his, as well as René Magritte and his wife, and Luis Buñuel, Paul Eluard and Gala, and the couple's daughter Cécile, all spent some time there. When the painter met Gala it was love at first sight. In his Secret Life, he wrote: "She was destined to be my Gradiva (the name comes from the title of a novel by W. Jensen, the main character of which was Sigmund Freud; Gradiva was the book's heroine and it was her who brought psychological healing to the main character), the one who moves forward, my victory, my wife". And Gala was indeed to remain forever at the painter's side, so that from that time on her biography was linked with that of Dalí. In 1948, Dalí and Gala returned from the United States after eight years of exile there. Dalí had achieved recognition in his own country, and his father had come to accept his son's relationship with a divorced Russian woman. From that time onwards, the Dalís would spend the spring and summer in Portlligat and the autumn and winter between New York and Paris. In 1958 Dalí and Gala got married at the Àngels chapel, near Girona. In 1968 the painter bought Gala a castle in Púbol, Girona, and it was agreed that the painter could not go there without her prior permission . Between 1971 and 1980, Gala would spend some time at her castle, always during summer. It was there that Gala was buried, after she died in 1982. Since 1996 the castle has been open to the public as the Gala-Dalí Castle House Museum in Púbol. Dalí Biography Films and video art Dalí in action Theatre, music and fashion Dalí and his work Audiovisual projects Dalí's Last Masterpiece Scriptwriters' Comments

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Image and Territory: Essays on Atom Egoyan In a culture that often understands formal experimentation or theoretical argument to be antithetical to pleasure, Atom Egoyan has nevertheless consistently appealed to wide audiences around the world. If films like "The Adjuster," "Calendar," "Exotica," and "The Sweet Hereafter" have ensured him international cult status as one of the most revered of all contemporary directors, Egoyan's forays into installation art and opera have provided evidence of his versatility and confirmed his talents. "Image and Territory: Essays on Atom Egoyan" is both scholarly and accessible. Indispensable for the scholar, student, and fan, this collection of new essays and interviews from leading film and media scholars unpacks the central arguments, tensions, and paradoxes of his work and traces their evolution. It also locates his work within larger intellectual and artistic currents in order to consider how he takes up and answers critical debates in politics, philosophy, and aesthetics. Most importantly, it addresses how his work is both intellectually engaging and emotionally moving.

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