Datasets:

BAAI

/

IndustryCorpus_literature

like 1

Follow

Beijing Academy of Artificial Intelligence 656

2017-09/0319/en_head.json.gz/18134

Tag: Ed Lyon Singing Mozart & Britten at the Barbican 24.10.201524.10.20154 Comments As a member of the Crouch End Festival Chorus, I was kept busy for the past six weeks as we spent one to two nights a week preparing to sing Wolfgang Amadeus Mozart’s Mass in C minor, K. 427/417a (1782-83) and Benjamin Britten’s Saint Nicolas, Op.42 cantata (1948). With a shorter rehearsal period than usual, we all had to put in extra effort, but I’d say it paid off in our concert at the Barbican on 18 October. Photo credit: FZ It helped that we had the London Mozart Players as our orchestra for the evening. They are an incredible group of professional musicians and it was an honor to sing with them. The soloist lineup was also impressive, the highlight being Grace Davidson, who sang the Monteverdi Vespers with us in February. Fellow soprano K referred to her as, “she who cannot be faulted” — yes, she is that good. Julia Doyle, Ed Lyon, and Dominic Sedgwick blended well with Davidson in the Mozart mass, and Ed Lyon performed a dramatic Nicolas in Britten’s cantata. But on to the music. I would venture to say that Mozart’s Great Mass in C minor is one of the few well-known pieces that Mozart wrote in a minor mode, and it carries every bit of weight and drama you might know from works such as his Symphony no. 25 in G minor, Symphony no. 40 in G minor, Requiem Mass, and parts of his opera Don Giovanni. Our director, DT, believes the Mass in C minor is even better than the Requiem — the latter, of course, is more often performed and enshrouded in the tragedy of Mozart’s early death before finishing it. But the Great Mass is glorious (and also happens to be unfinished). I love singing Mozart because it suits my voice well; the soprano parts sit comfortably in my upper register and I’m able to bring out my operatic vibrato sound, cultivated back in my Oberlin Musical Union days thanks to exposure to many talented voice majors. My favorite movements to sing in the Mass in C minor were the opening “Kyrie” and the powerful “Qui tollis”: Along with the heavy and dramatic bits, Mozart’s mass has plenty of tricky runs and a couple of fugues that hearken back to Bach, Handel, and Monteverdi. Much of the solo writing foreshadows Mozart’s late operas. I just love it. In contrast to the Mass in C minor, Britten’s cantata Saint Nicolas can only be described as “quirky.” Britten wrote it in 1948 for amateur singers and musicians (plus a solo tenor part for his partner Peter Pears to sing), so it has choral parts for boy sopranos, and small choruses for childlike soprano and alto voices. We had three school choirs join us for those parts, which created a lovely balance of adult and children’s voices. Based on the life of Nicolas, who became the patron saint of sailors and children as well as Santa Claus, Britten’s cantata tells a compelling story of Nicolas’ life, works, and piety before he becomes a saint. The cantata has drama, journeys to Palestine, a storm at sea, and even pickled boys. Britten has also embedded two hymns in the work, which DT rehearsed with the audience so they could join in at the right times. An Oberlin friend, who is an accomplished musician himself, came to the concert and said that the chorus was “really quite impressive,” especially for an amateur group. Thanks, S! I think the concert went really well and it was incredible to sing with the London Mozart Players. Some audience members complained that the Mozart Mass in C minor was “too much of a sop-fest,” but I didn’t mind a bit. Britten’s cantata was a nice contrast to the mass and highlighted our chorus’ ability to make musical connections with school choirs as well as professional musicians. Next up: Bach’s Mass in B minor at the Barbican in January. Get your tickets now! Two Years Ago: At the theatre: “The Curious Incident of the Dog in the Night-Time” Three Years Ago: What I Believe and Ukraine: Things I’ll Miss

文学

2017-09/0319/en_head.json.gz/18187

Act II — Scene 2 About A Raisin in the Sun Act I — Scene 1 Ruth Younger Travis Younger Mama (Lena Younger) Walter Lee Younger ("Brother") Beneatha Younger Joseph Asagai George Murchison Karl Lindner Mrs. Johnson (Mrs. Wilhelmina Othella Johnson) The Two Moving Men Big Walter Lorraine Hansberry Biography Applying Literary Terms to A Raisin In The Sun Thematic Structure of A Raisin In The Sun Language and Style of A Raisin In The Sun Three Versions of A Raisin In The Sun Full Glossary for A Raisin in the Sun Summary and Analysis Act II — Scene 2 The scene opens a few weeks later, on a Friday night; packing crates fill the Younger apartment in preparation for the move. Beneatha and George come in from their date and after a brief disagreement, George leaves, puzzled. Mama, still smarting over Walter's previous accusation that she "butchered" his dream, decides to entrust Walter with the responsibility for the remaining money, stipulating that he first deposit $3,000 for Beneatha's education. Filled with renewed hope, Walter tells Travis about his dreams for the future and says that he is about to embark on a new venture — a transaction that will change their lives. In this scene, another character is introduced, a neighbor, Mrs. Johnson. This character, however, was cut from the original stage production in order to reduce production costs. The most recent editions (the complete version) of Raisin includes this character, as did the American Playhouse presentation of this play. When Mrs. Johnson enters, she brings the Youngers a newspaper that tells of a bombing of a black family's home in an all-white neighborhood. Mrs. Johnson's intent is clearly to belittle the importance of the Youngers' getting away from the horrid conditions of their cramped apartment. Still, her warning to the Youngers was a reality in 1959, when this play opened, and, unfortunately, in some communities, even today. Hansberry makes it clear here that George and Beneatha are not compatible. Because of their strong philosophical differences, any marriage between these two is destined to fail. George tells Beneatha that she is too much of an intellectual and that men don't like opinionated, liberated women. He also says that Beneatha is a bit too "moody" and artistic; he tells her that he didn't ask her to go on a date with him to discuss her "thoughts." Beneatha uses George's weak attempts to change her personality as the excuse that she needs to end their relationship. Later, Beneatha is surprised that Mama agrees with her decision about George, which indicates a softening of the tensions that had previously plagued their relationship. The "Mrs. Johnson" character brings laughter to the scene, for she is a comical figure, but she also expresses sentiments that have always been prevalent in the black community. She compares, for example, the overt racism of the south at that time with the covert racism found in the north. In 1959, when this play opened, many blacks who had only recently left the south were surprised to find a different type of racism in the north. Mrs. Johnson's implication is that it is easier to survive the blatant racism of a 1959 southern town than it is to be prepared for the hidden, and therefore more dangerous, racism of the urban ghettos. After Mrs. Johnson leaves and Mama learns that Walter has not been to work in three days, she feels responsible for his despair ("I been doing to you what the rest of the world been doing to you"), so responsible, in fact, that she gives him $6500, all that's left of the insurance check after her downpayment of $3500 on the Clybourne Park house, so that he can feel that he is the "man of the house." She stipulates that $3000 is to go in a savings account for Beneatha's medical schooling, but it is not clear that he even hears Mama. He is overwhelmed and his sudden exuberance over this financial windfall leads him to share some of his many fantasies with Travis. Walter's already exaggerated dreams, however, suddenly turn into an avalanche of pitiful prattle. He says, for example, that one day he will come in from work, "home from my office downtown," and even Travis is incredulous as he reminds his father, "You don't work in no office, Daddy." Walter cannot seem to stop, though, and the more he talks to Travis about his dream, the bigger the dream gets. The bigger the dream gets, the more preposterous it sounds because Walter soon begins to talk about his future gardener, to whom he has given the first name of "Jefferson." It is then that we realize that Walter has reached a "point of no return." He must either take action now to make his dream a reality or just give up on his dream altogether. Drop the Garbo routine When George Murchison admonishes Beneatha to "drop the Garbo routine," he is telling her to know her "place" as a woman. Beneatha intellectualizes everything, is clearly independent, does not defer to men, and argues whatever points of chauvinism she finds in her conversation with men. George wants Beneatha to be more quiet and submissive. He implies in his speech that men do not like aggressive, independent, liberated women, and that if she ever hopes to get married and have a family, she is going to have to "drop the Garbo routine," meaning she will have to stop studying and thinking so much, and start acting "like a [submissive] woman." the nature of quiet desperation The complete quotation to which George refers is "The mass of men lead lives of quiet desperation," a line from Thoreau's Walden. George proves to be as pedantic as Beneatha, peppering his arguments with literary allusions and oftentimes esoteric references — for example, calling Walter "Prometheus." George is trying to persuade Beneatha to abandon her feminist principles when he utters this philosophical truth, but throughout the play, Hansherry shows that many of the characters in Raisin do indeed lead lives of quiet desperation: Mama, although outwardly strong, is consumed with anxiety over the various, disparate directions her children are going; Walter Lee is clearly a desperate man, trying to secure a dream that eludes him; Ruth is pregnant but afraid to have this child (one more mouth to feed), especially since it will be born into a marital relationship that is deteriorating from within; Beneatha is desperately seeking her own identity while simultaneously attempting to escape the stereotypical barriers of her class and gender; and last, even Karl Lindner is a desperate man, rationalizing his rigid beliefs in a rapidly changing world. Of all the characters, Asagai appears to be the most serene, even when his is contemplating justifiable reasons for anxiety — that is, the political turmoil within his homeland and the possibility of his own death in his desire for his country's independence. Note that Asagai calmly accepts whatever his fate might be and even becomes an inadvertent peacemaker when he diffuses Beneatha's vitriolic reaction to Walter's loss of the family's money. He's got a conked head A "conked head" refers to a hairstyle adopted by some black men during the forties and early fifties. Because of what was defined as "self hatred" by psychologists who studied the phenomenon, oftentimes a group that believes itself to be oppressed will mimic the life-style and, sometimes, even mimic the appearance of the "dominant group." During this period in history, some black men (especially those connected with show business) would have their hair straightened through a chemical process that was both demeaning and extremely painful. Looking at old photographs of Nat King Cole, Sam Cooke, Little Richard, Chuck Berry, and other entertainers of that period, we see that they adopted this style. Many times though, men within the criminal element in the black community also wore their hair in this "conked" style when the style became a symbol of affluence. As a result, people within the black community often had negative perceptions about those who adopted this style. If those men were not a part of the entertainment industry, they were either denizens of the underworld or full-fledged or potential gangsters. The person whom Walter Lee describes as having a "conked head" is a part of the entertainment world; he is a musician at the Green Hat, a bar that Walter Lee frequents. the best little combo in the world This phrase refers to the band of musicians that Walter admires in the Green Hat. "Combo" is a synonym for "band." Clearly, we can see by the way Walter talks about them that he appreciates their music very much. peckerwoods no-count riff-raff; poor, shiftless, racially prejudiced whites. Booker T. Washington Booker T. Washington (1856-1915) was one of the most influential black leaders during the period immediately following Reconstruction (1865-77). Extremely hard working, he attended school at night. When he heard about Hampton Institute in Virginia, a school for blacks, he enrolled in order to study brick masonry, paying for his education by working as the janitor. Known mainly for his founding of Tuskegee Institute, Washington believed that blacks should be educated only by trade schools. He felt that they should develop manual skills and improve their craft at the building trades and that blacks should become experts in farming. (One of Washington's first staff appointments was Dr. George Washington Carver, whose brilliance in the field of agriculture is not as well documented as his "peanut" discoveries.) Washington believed strongly that artistic endeavors and intellectual pursuits were not in the best interest of black people trying to emerge from a long period of slavery. Washington felt that having a trade was more logical for black people than painting or poetry. In his "Atlanta speech," Booker T. Washington urged blacks to cultivate friendly relations with white men. He suggested that blacks devote themselves to agriculture, mechanics, domestic service, and the professions — placing more value on acquiring an industrial skill than on attaining a seat in Congress. Washington's long-time opponent, W. E. B. Du Bois (1868-1963), was a man who dramatically espoused the opposite of Washington's philosophy. Du Bois, educated at Fisk, Harvard, and the University of Berlin, was a writer and political activist, activities which Washington perceived as frivolous. Black writers tend to side with W. E. B. Du Bois, who believed in the importance of artistic endeavors (which Washington believed to be a frivolous activity). Hansberry has one of her characters call Booker T. Washington a "fool," which is an elitist comment since only the very well read of her audience would even have known of the political rivalry between the two men. Blacks began to "choose sides," debating constantly over who was right, and over which philosophy was actually in the best interest of black people. Hansberry has the comical character of Mrs. Johnson act as the defender of Booker T. Washington's philosophy, as she says, "I always thinks like Booker T. Washington said that time — 'Education has spoiled many a good plow hand.'" Hansberry, herself, speaks through Mama, who dismisses Washington as a "fool." And when Mrs. Johnson goes on to say that Washington "was one of our great men," Mama counters, almost angrily, with, "Who said so?" The debate does not continue and, at this point, Mrs. Johnson concedes by saying, "You know, me and you ain't never agreed about some things, Lena Younger. I guess I better be going — ." At the beginning of Act I, Scene 2, Ruth announces that she is enrolling in school herself going to look for a job leaving Walter How does Frankenstein relate to Paradise Lost?

文学

2017-09/0319/en_head.json.gz/18195

The Wonderful Place Where Monkey Metaphors Live Harrison Scott Key is the winner of the Creative Nonfiction/ Oxford Creative Nonfiction Writers Conference ‘Southern Sin’ Contest Prize. Key’s winning essay, “The Wishbone,” hilariously details his last hurrah playing football, when as a high schooler, he is coerced by his father to masquerade as an 11-year old for a pee-wee game. Long since retired from the sport, Key now teaches writing at the Savannah College of Art and Design and writes a monthly humor column for the Oxford American called "Big Chief Tablet: Presh Tales from the Lowcountry." His work has been published in The Pinch, The Chronicle of Higher Education, Swink, Defenestration, and more. In "The Wishbone," you write that your father had been a former football star and always had hopes that you would play too, but that you quit the sport to pursue more scholarly interests. Did he ever get over you giving up football? I am 37 years old, and I am sure he still kind of hopes I will call him and tell him I've been drafted by the Saints. "They just really wanted somebody who could run slow and falls over a lot," I will say. He will be so proud. Family is a common source for your work—and writing about family is a tough hurdle for many nonfiction writers. What do you find to be the biggest challenges of writing about people who are close to you? And how does your family feel about being in your essays? Writing about one's family is actually not that much of a problem, as long as you're okay with never speaking to any of them again. The ideal solution is to be related to illiterate people, who will not read your work because they don't know what the words mean. Or maybe Chinese people who speak only Mandarin. My father only reads things that include pictures of largemouth bass. Is there a fish on the cover of this issue? If there is, I may have to get a new father. As for mother, she loves being in my stories. I could give her a cleft palate and chromosome deficiency in the story and she would print it on a sandwich board and wear it to church. She will read my stories sometimes and then say, "Oh, I don't remember that," and then I will remind her that if she ever wants to see her grandchildren again, she will shut her face before I shut it for her. The key is funny. If you can make it funny, you can say anything about anyone, because nobody wants to look like the guy who storms out of the funny dinner party because everyone's having so much fun. As for sad things, I have no advice. As long as you're the biggest jackass in your story, then I think it's okay to make your family look like slightly lesser jackasses. Also, if you're going to say something really terrible about a family member or friend that you think they'll deny or resent, then also say something amazing about them, a real piece of flattery, as long as it's true. They will be less likely to hate you. As someone with an awful memory, I’m impressed by how vividly you portray scenes and characters in your writing, especially from your own childhood. How do you do it? What’s the trick for creating scenes that sparkle with rich detail and dialogue when you might be depicting moments from ten or twenty years ago? It's very impressionistic, like the painting. You're not painting realism. You're trying to convey essences, the way the picture looks on the slideshow screen inside the theater of your brain. Start with a few reliable, factual details (e.g., this scene happened at night, in fall, and it rained) and then extrapolate from there. What does it look like in your head? Does this feel like a reliable picture? The key is not to invent details that alter the plot. If there wasn't a monkey in the garden, but you think, A MONKEY IN THE GARDEN WOULD REALLY ALLOW ME TO TOUCH ON THEMES OF WILDNESS AND MONKEYNESS, don't do it. But if your aunt had monkeys and they got into the garden a lot, and all you're doing is describing what things were like in her garden, then you might consider it. As a reader, what I want to know is, "Do the monkeys help pick the crops, are they just defecating on everything?" It's an important question readers ask about any memoir. Flannery O'Connor wrote about description, and how the physical world has a double meaning: the physical/concrete one and the metaphysical/metaphorical one. She believed in Jesus, and the bread was both bread and Jesus. It had a double meaning. This is what we do in literature; we show that the physical world is not just material. It's got meaning. The scenic details we choose to include from distant memories need to be probable, factual, and always penetrative of the soulless material world into the wonderful place where monkey metaphors live. On remembering: Here's my rule. The past is a long time ago, and that even includes yesterday. The best way to remember a story is to tell it a lot. All these stories I tell, most of them I have been telling over the years, over and over, in short form, in long form, on buses, on porches, whatever. You tell a story enough, you remember more than when you first told it. It's a causal link. Remembering one detail will be your breadcrumb to the next one. And on and on. Deduction plays a big role, too. Remembering the year, the time of year, the season, all those facts: they generate more details (e.g., Let's see, when did I first go to the Neshoba County Fair? I remember I got sunburned. Why? Because I sat in the bleachers all day. Why? Because someone important spoke. Who? Michael Dukakis. That was an election year. '88! That's when I went. Yes.). But I almost forgot: My rule! My rule in writing about my family is that I have to be okay with getting some things wrong. Every story gets things wrong. And my friends and family and me, we tell stories all the time. And we dispute. "Oh, it didn't happen like that at all." "No, that is what happened." "Absolutely not." "Then what did happen?" "The way I remember it is…" It's a battle royale of storytelling, as it should be. Our versions compete at the dinner table. I remember the way my brother kept grabbing his crotch, but he doesn't. Why not? To him, grabbing the crotch was normal, so why should he remember it? But to me, it was a sign of the amazing powers of his more advanced crotch. So that's the part of the story I remember. As long as you're okay with other people at the table disagreeing, then you should be okay as a writer. You don't want to make up so much plot that they storm off. So think about it, Would this story make this person in my life storm off from the table at which we are hypothetically telling this story? Or would they merely joust with you? Jousting is fine. Writing funny might be one of the hardest things to master. As a teacher, do you think writing with humor can be taught, and if so, how do you help bring out that voice in your students? I believe every student can learn to be funny; it's just that with most students, it's probably going to take 500, maybe 600 years. I don't think we have the medical breakthroughs we're going to need to see that happen, and that makes me sad. The hardest part of learning how to write funny is finding funny stuff to read. When I first read Douglas Adams's The Hitchhiker's Guide to the Galaxy in college, it kind of exploded my brain. I had never read anything funny that was, like, literature. And I've spent all my time since trying to find more. I went from Douglas Adams to A Confederacy of Dunces to Straight Man to all the Charles Portis books. And when you're looking for humor, you read a lot of stuff that people tell you is funny, and these people are liars. So many funny books are not funny, and this makes me angry. My goal is to write the funniest truest memoir nonfiction ever in the history of the world, and that when others call these stories funny, they will in fact be funny, and the future readers will not be angry. You can't really learn to be funny, I don't think, but you can learn to be funnier – and everyone has some funny weird anomalous incongruity in them that the Lord put there to keep them normal in world that belongs in a straightjacket. The funny seed inside you can be made to grow, in how you look at the world. In stealing from the best, George Saunders said, "Humor is what happens when we're told the truth quicker and more directly than we're used to." So I try to help students tell the truth in unexpected ways. The best way is to study the funny writers that make you jealous and burn with rage and envy. How do they do it? Anthony Lane, the film critic for The New Yorker, does it with funny similes, comparing bad movies and movie moments to ridiculous things. Sedaris does that, too. The primary figures for making funny are metaphor, simile, hyperbole, litotes. You learn to exaggerate in some kind of true way. Jack Handey is really good at verbal irony and understatement, where you're in the middle of a sentence and think he's going to say X but instead he says Y. Jack Pendarvis is good at dramatic irony, where his characters really have no idea what's going on, these terrible idiots. So that's what you do. But literary techniques will only work if you've already got the comic goggles on your eyeballs, looking for things in the world that others don't see – and looking at your own depraved life and tragic self and affliction with some perspective. And that takes time. Here's the roadmap to being funny: 1. Find funny writers (which will take you 3 to 5 years). 2. Imitate funny writers (3-5 years). 3. Experience a devastating tragedy (5 min.). 4. Recover and gain perspective on tragedy (10-50 years). 5. Apply funny techniques to your tragedy (3-5 years). TOTAL TIME TO BE FUNNY = 18 to 65 years You received your MS in Theater. Do you think your background in acting and theater has had any effect on your writing? Yes. I studied acting, in which I learned many things, primarily that I was bad at acting. Then I studied playwriting, in which I learned that when one's plays are boring, people will leave, and you see them leave, and you want to hurt them. I was not a very good playwright at all, mostly because I was young and talentless, but I did love the intensity of it. When I write my stories, I write them to be both read and heard. Basically, my essays are just little plays where I get to do all the acting and performing, which is great. I also did standup for a very little while, and also comedy improv. The playwriting led me to speechwriting, which I did for five or six years. In a play or a speech, one must write funny "bits," and one learns very quickly how to tell if a bit is not funny, and the way you tell is that nobody is laughing. It's intense to hear actors and speechmakers read one's funny lines, and when you know people are going to be there in the audience and that they may not laugh and that your boss (the one giving the speech) is going to replace you with a more talented writer if people don't laugh where they're supposed to, one learns to find ways to make people laugh. When trying to convey a Southern dialect, writers sometimes rely on a phonetic spelling of the accent, such as dropping the ‘g.’ Do you have any tips for conveying a Southern accent through more nuanced methods that read more naturally on the page? Dropping the g from the gerund and adding an apostrophe is boring and predictable and precious and stupid (e.g., fixin'), but also accurate. It was cool and innovative to do this maybe 100 years ago, but now it's a signal that the writer is too preoccupied with the cuteness of being Southern or writing Southern stories. The problem is that cute Southern stories can make you a billionaire, apparently, by how many cute Southern books are out there. Take my father, for instance. He talks very country. He does not always conjugate his verbs or pronounce the terminal g on a gerund. "We was fixin' to get us some grub." Nothing wrong with this. He might say this. But it's just making me want to vomit. It draws too much attention to itself. The We was is fine and good, but the fixin' just comes off as cliché. And the get us some grub is too obviously trying to be funny or cute. Might he say that? Sure, but it's too much like LOOK THIS HERE CHARACTER IS TALKING REAL SOUTHERN RIGHT NOW AIN'T HE???!!!??? I would be more likely to do this: "We was fixing to eat some dinner." If you ever read it out loud in front of an audience, you can drop the g. But not on the page. That's code for I THINK THIS IS SO DAMNED CUTE AND DON'T YOU, TOO? Just capture the essence of how people talk. A couple of syntactical habits is fine to include, but don't go all the way. You're not writing a grammatology of Southern dialects. You're writing a story. Don't get hung up on making it too cute. And I ain't lyin'! What sparks your essay ideas? How do you know you’ve stumbled upon a subject or experience that will make a great story? If I've told the story to myself or to other people multiple times, then that probably means it's worth writing down. I've been keeping an ideas journal for about seven years, just a Word document on my laptop where I include one or two sentences about something that I think is funny or interesting (e.g., "A story about the time I went to the doctor for excessive sweating."). I write it down and almost never come back to any of this, but it keeps me thinking. So far, it's forty pages long – all just short ideas like the one above, and most of them terrible. Vivian Gornick's distinction between the "situation" and the "story" is a useful tool. Situations are anecdotes. Things that happened to you (e.g., the time my dad made me play on his peewee football team when I was in high school). The story is the drama that plays out on the stage of the situation (e.g., Why did my father want me to play football so badly? Would he ever forgive me for quitting? Would he ever accept that I didn't want to be like him, at least in that way?). Everybody has situations. What you have to do is determine if the anecdote is a suitable stage for some Big Question, some Big Important Story, about what it means to be human. Are you working on anything new you’d like to talk about? I've just about to finish a memoir of my childhood in Mississippi and adulthood in Savannah, Georgia, called Touched in the Head: Memoirs of My Father and Other Afflicted People. It’s a working title. Agents and editors have asked to see pages, so I'm sharing it and seeing what they say. If any agents or editors out there are looking for new life-changing narrative nonfiction humor, then I'm all ears. Let's make hay, people! Get it while it's hot! I'm on the market! I feel like the prettiest girl in school. The stories in the book have all been published, including the one in this issue of Creative Nonfiction and pieces I've done for Oxford American and others. These are stories about the people around me: father, mother, wife, children, neighbors, colleagues, a pair of squatters that tried to burn down our cul-de-sac. Very nice people, all of them. People can find me at @HarrisonKey. Thanks, Creative Nonfiction! You guys are so nice. I'll never make fun of you, I promise. Just keep the checks coming.

文学

2017-09/0319/en_head.json.gz/18263

UFiles #1: A Dark Inheritance by: d'Lacey, Chris Format: PaperbackCopyright: 12/30/2014Publisher: Scholastic Paperbacks SummaryFrom NEW YORK TIMES bestselling author Chris d'Lacey comes a brand-new paranormal action-adventure series!When Michael Malone unexpectedly saves a dog's life, he discovers something extraordinary: He can alter reality. He is quickly recruited by UNICORNE, a secret organization dedicated to investigating strange and paranormal phenomena. He agrees to join under one condition: UNICORNE must help him find his father, who vanished three years ago.Michael's first task is to solve the mystery of the dog he saved -- a mystery that leads him to an eccentric and sickly classmate and a young girl who was killed in a devastating accident. But the deeper Michael ventures into the strange world of UNICORNE, the quicker danger seems to find him. Is Michael strong enough to harness his newfound ability, complete the tasks set before him, and find his father?Author Biography Read moreChris d'Lacey is the author of several highly acclaimed books, including the NEW YORK TIMES bestselling Last Dragon Chronicles series, The Dragons of Wayward Crescent series, and, most recently, the Unicorne Files. He lives in Devon, England, with his wife, where he is at work on his next book.

文学

2017-09/0319/en_head.json.gz/18281

Mitch Albom | Mitch Albom News about Mitch Albom, including commentary and archival articles published in The New York Times. Latest Theater | Connecticut Finding Truth in ‘Tuesdays With Morrie’ Onstage in West Hartford Adapted from the best-selling book, the play adds depth and emotion to the story of a former student who reconnects with his college professor. By DAVID DeWITT A Journalist Who Dabbled In Fiction On June 25, the Associated Press Sports Editors did a ''curious thing,'' in the eyes of Dave Kindred, a former sports columnist. That night, the group gave Mitch Albom, the longtime columnist for The Detroit Free Press (and author of books like ''Tuesdays With Morrie'') its Red Smith Award, the organization's highest honor. Rock on, but Hang on to Your Literary Gigs The Rock Bottom Remainders, whose members include Amy Tan, Dave Barry and Stephen King, are what every garage band dreams of becoming: people with word-processing day jobs who every now and then get to go on tour. Starbucks Picks Novel to Start Its Book-Sale Program With a new novel coming out in September, Mitch Albom, author of “Tuesdays With Morrie” and “The Five People You Meet in Heaven,” is getting a heavy push from Starbucks. Starbucks to Feature Mitch Albom’s New Novel The chain has selected Mr. Albom’s forthcoming second novel as the first selection it will feature in a new program for books. Inside the List Why the dust jacket of "The Ride of Our Lives" seems so familiar. Also, what's selling at independent bookstores. MediaTalk; Meeting a Deadline, Repenting at Leisure For most reporters, deadline trouble means finishing their articles late. But Mitch Albom, author of the best-selling book ''Tuesdays With Morrie'' and a columnist for The Detroit Free Press, faced a different deadline problem with his April 3 column about the scene at the Michigan State-North Carolina game in the Final Four of the N.C.A.A. basketball tournament. Mr. Albom wrote the column -- which described two former players for Michigan State, Mateen Cleaves and Jason Richardson, attending the game -- in the past tense but filed it before tip-off to meet the deadline of a Sunday section that had to be printed before the game. ''They sat in the stands, in their M.S.U. clothing, and rooted on their alma mater,'' Mr. Albom wrote. A Knock on Heaven's Door, And It All Becomes So Clear Eddie's father beat him. Then he met a girl. He went to war, killed civilians, hurt his leg. He came home. He married the girl, worked as a mechanic. The girl died. Then he did. This is the Everyman story of ''The Five People You Meet in Heaven,'' the Mitch Albom juggernaut that recently cleared 60 weeks on the New York Times best-seller list. Because Mr. Albom's previous juggernaut, ''Tuesdays With Morrie,'' engendered a television movie, starring Jack Lemmon, and because that movie won four Emmys, ''The Five People'' should have its own television movie. Now it does. ''Mitch Albom's The Five People You Meet in Heaven,'' a production of Hallmark Entertainment, will have its premiere Sunday night on ABC. When Death Is Knocking at the Door IN his book ''Tuesdays With Morrie,'' the journalist Mitch Albom described the last weeks of his former professor, Morris Schwartz, who was dying of A.L.S, or Lou Gehrig's disease. As presented in the book, Morrie was full of wisdom, joyful in the face of death and devoid of anger. While the real Morrie was no doubt brave and admirable, the one in the book is so saintly he is unrecognizable as a human being, particularly someone facing death. Page after page, Mr. Albom concentrates on his teacher's advice to be ''as human as you can be,'' but in the end the teacher appears less than human, an unfortunate oversight on his student's part. Mr. Albom and Jeffrey Hatcher adapted ''Morrie'' for the theater, and in the play, now at Theaterworks in Hartford, a director has the opportunity to correct this problem by slipping some real emotion into the cracks, letting Morrie's performance reveal what his lines don't. Critics have called Morrie's philosophizing bland and saccharine, but that has nothing to do with the real drama. Here is a man who thought he could conquer death by teaching. He convinced Mitch of that, but did he convince himself? Faith and Narcissism in America To the Editor: David Brooks's March 9 column was a very insightful parsing of the American moral crisis as narcissism versus humility before God. Faith and Narcissism in America To the Editor: David Brooks (column, March 9) chooses an odd time to promote an upsurge in ideological philosophy. As a culture we have been forced to gaze upon fundamentalism's destructive nature. The administration's response was to frame its case for war with rhetoric similar to that of our attackers. Now, both sides consider themselves to be locked in a battle between good and evil that can end only when the other side is destroyed. Faith and Narcissism in America To the Editor: Mitch Albom's ''heaven lite'' is part of a long and insidious cultural tradition (column, March 9). In 1937, H. Richard Niebuhr captured the change from a vigorous to soft religion in this way: ''A God without wrath brought men without sin into a kingdom without judgment through the ministrations of a Christ without a cross.'' Faith and Narcissism in America To the Editor: David Brooks (column, March 9) is correct that a growing narcissism produces a religious way of life that fails to challenge us sufficiently, that minimizes obligation and duty, and does not inspire us to grow and change. But for all we may lament the idolatry of the self, our individualistic orientation is not likely to change. The challenge for today's religious leaders is to use the self as a starting place for a religious search that ultimately leads toward our neighbor, from isolated individualism to creating communities of shared values. Faith and Narcissism in America To the Editor: David Brooks (column, March 9) worries that the soft-core spirituality of Mitch Albom's books is a corrosive cultural force. Many of the Albom fans I know are committed Christians and inveterate volunteers who spend many hours caring for the homeless, the mentally ill or for ailing family members. Faith and Narcissism in America To the Editor: ''Who worries you most, Mel Gibson or Mitch Albom?'' David Brooks asks (''Hooked on Heaven Lite,'' column, March 9). Religious zealot or sweet best seller? Is this a choice? How about neither? Do ''we all owe obligations to a higher authority''? Who says? Is there no philosophy to live by, rigorous or otherwise, that supports a morality not based on religion? Are creedal order and moral traditions necessarily the same thing? PEGGY LISS Washington, March 9, 2004 Hooked on Heaven Lite Who worries you most, Mel Gibson or Mitch Albom? Do you fear Gibson, the religious zealot, the man accused of narrow sectarianism and anti-Semitism, or Albom, the guy who writes sweet best sellers like ''Tuesdays With Morrie'' and ''The Five People You Meet in Heaven?'' I worry about Albom more, because while religious dogmatism is always a danger, it is less of a problem for us today than the soft-core spirituality that is its opposite. As any tour around the TV dial will make abundantly clear, we do not live in Mel Gibson's fire-and-brimstone universe. Instead, we live in a psychobabble nation. We've got more to fear from the easygoing narcissism that is so much part of the atmosphere nobody even thinks to protest or get angry about it. BOOKS OF THE TIMES Dead Men Tell No Tales? Ha. These Won't Shut Up. BLEACHERS By John Grisham 163 pages. Doubleday. $19.95. THE FIVE PEOPLE YOU MEET IN HEAVEN By Mitch Albom 196 pages. Hyperion. $19.95. Here are little books full of big advice, each dedicated to the idea that you can learn an awful lot from a gruff old guy named Eddie. John Grisham's ''Bleachers'' revolves around Coach Eddie Rake, who has taught a small town's high school athletes practically everything they know. A Life Examined as Death Inches Closer Among other things, sentimentality is an approximation. That is, it's not an exact rendering of emotion, but a softened one, with the fingerprints indistinct, so that the pointed barbs of uniquely personal feelings are no longer unique. We share sentimental pain; we suffer real pain alone. Morrie Schwartz, a man who died of amyotrophic lateral sclerosis, better known as Lou Gehrig's disease, suffered real pain with real courage. He chose to live out his last days observing himself, to teacher others what it was like to die and to offer his wisdom on how best to live. His noble example became widely known through a series of television interviews from his home in West Newton, Mass., with Ted Koppel, and then in a book, ''Tuesdays With Morrie'' by Mitch Albom, that became a best seller. It is now a play causing audiences to sniffle at the Minetta Lane Theater. Media Talk; High Hopes for an Old Book in a New Cover With the shelf life for most new books only months, can a publisher right a marketing mistake three years after publication by reissuing a book with a new cover, a new title and an angle linking it to a best seller? Walker & Company is gambling that the technique will work for a book it first published in 1996. The author, a professor named Morrie Schwartz who died of amyotrophic lateral sclerosis, known as Lou Gehrig's disease, four months before publication, shared his thoughts about dying and living. Walker's publisher, George Gibson, marketed them under the title ''Letting Go'' as a death and grieving book. It sold 6,000 copies. FOOTBALL LEAD: BO. By Bo Schlembeckler and Mitch Albom. (Warner, $17.95.) For 20 years, Bo Schembechler has coached the University of Michigan Wolverines, and if success is to be measured by the number of postseason bowl appearances and Big Ten championships a team earns, he has to be judged one of this country's premier college football coaches.

文学

2017-09/0319/en_head.json.gz/18297

Why did Thomas More write "Utopia"? Thomas More wrote "Utopia" to highlight the political struggle between church and state and the influence it had on the daily lives of people. The word "utopia" is Greek. It has two meanings: The first meaning is "no place," and the second is "perfect place." Why is Thomas Putnam bitter? Who are two writers who have written about Utopian societies? What were the beliefs of Thomas Hobbes? Although people have come to refer to a utopia as a perfect place based on More's book, the title "Utopia" is actually the first clue that More's book is meant as a satire and not to be taken seriously. In fact, More's "Utopia" is ultimately anything but. Rather, it is a place in which even the most minute details of citizens' lives are monitored and policed by the state. The ultimate moral of the story is that the "perfect place" is "no place." It doesn't exist, even in places that believe themselves to be utopian in nature because some element of human interest is always going to be at odds with another. The only way to keep people from regressing to a perpetual state of war is to police them as much as possible. Ironically, though "Utopia" is set in the "new world," it is a place that is contrary to the ideas expressed in the Constitution and based on the philosophical theories of Hobbs and Locke. In More's "Utopia," the wages of civilization are the sacrifice of individual freedoms. Learn more about Classics classiclit.about.com sparknotes.com What is a moral tale? A moral or morality tale is a type of story, popular during the 15th and 16th centuries, that uses allegory to portray the struggle between good and evil, ... What is the meaning of Langston Hughes' "Salvation"? "Salvation" is a short personal narrative from Langston Hughes' childhood about the struggle to reconcile adult concepts with a childish mind. Detailing an... What is the main theme of "Waiting for Godot"? The main theme of Thomas Beckett's absurdist play "Waiting for Godot" is the struggle between faith and nihilism, the belief that nothing of significance o... What are the themes of "Raymond's Run"? The themes of Toni Cade Bambara's short story, "Raymond's Run" include feminism, African-American family life, platonic connections based on empathy, the s... Why does Mercutio say "A plague o' both your houses"? What is the metaphor in "Lord of the Flies"? What would be a good thesis to write for ''A Farewell to Arms'' by Ernest Hemingway? What is the setting of the "Most Dangerous Game"? Why was "Of Mice and Men" banned? What is meant by the seven ages of man? Thomas More's Utopia Summarized Utopia Society Be Created Thomas More Thomas More Utopia Essays Thomas More Utopia Synopsis Thomas More's Accomplishments Timeline of Sir Thomas More Sir Thomas More Biography Facts on Sir Thomas More What are some examples of romanticism in "Frankenstein"? Why did Thoreau leave Walden Pond? What kind of people come to Gatsby's parties? What is the definition of a Shakespearean tragedy?

文学

2017-09/0319/en_head.json.gz/18406

Collection of iconic photographs assembled by Eric and Louise Franck donated to Tate Bruce Davidson, Girl with kitten 1960 © Bruce Davidson / Magnum Photos. LONDON.- A major photographic collection assembled by Eric and Louise Franck has been promised as a donation to Tate it was announced yesterday. The outstanding collection of photographs of London include iconic works by Henri Cartier-Bresson, Robert Frank and Irving Penn. A selection from the collection, by photographers for whom London was a foreign city, will be exhibited in Another London opening at Tate Britain on 27 July 2012. Created over twenty years, The Eric and Louise Franck London Collection comprises in the region of 1400 photographs by 120 photographers and spans the period from the 1880s to the 2000s. The collection is unified by its subject matter: the photographs document the lives and communities of a single city, London. The estimated value of the gift to Tate is over £1million and comprises more than two thirds of the entire collection – the largest gift of photography ever made to Tate. The remaining work in the collection will be acquired on a purchase basis. The Eric and Louise Franck London Collection will more than double Tate’s holdings of photography and will form a significant basis on which to build. This donation from Eric and Louise Franck follows recent gifts of a group of photographs by Don McCullin and a major vintage print of London by Henri Cartier-Bresson as well as contemporary film works by Tacita Dean and Jaki Irvine gifted to Tate in 2007. Highlights of the collection include Henri Cartier-Bresson’s Waiting in Trafalgar Square for the Coronation Parade of King George VI 1937, Bruce Davidson’s Girl with Kitten 1962, Elliot Erwitt’s Bus Stop, London 1962, Robert Frank’s London (Child Running from Hearse) 1951 and Irving Penn’s Charwomen, London 1950. The majority of the works in the collection are from the 20th-century and include those by some of the century’s finest photographers such as Ellen Auerbach, Eve Arnold, Ian Berry, Dorothy Bohm, Bill Brandt, Horacio Coppola, Bruce Davidson, Elliott Erwitt, Martine Franck, Robert Frank, Stephen Gill, Karen Knorr, Marketa Luskacova, Roger Mayne,Irving Penn, Chris Steele Perkins, Marc Riboud, George Rodger and Chris Shaw. The collection also contains work by lesser known but historically significant figures from places as diverse as East and West Europe, the Soviet Union, The United States, Latin America, Africa and the Caribbean. As well as being a unique document of London and its communities, this collection demonstrates the technical skill, sensitivity and originality of photographers in the face of a subject as overwhelming, diverse and complex as London. It also provides an important survey of photographic processes like cyanotypes, albumen prints, silver gelatin prints and colour prints. Nicholas Serota, Director, Tate said “In recent years, photography has become central to Tate’s activity in relation to exhibitions and the development of Tate’s Collection. The acquisition of The Eric and Louise Franck London Collection significantly enhances our holdings of photography in important areas both in terms of particular photographers and iconic works. We are incredibly grateful to Eric and Louise Franck who have been extremely generous in promising this gift and others before it.” Simon Baker, Curator, Photography and International Art said “This collection is completely unique, with both an intense focus on London as a subject and great diversity in the range of backgrounds and approaches of the photographers included. It will fundamentally transform Tate’s holdings of photographs, and make a major contribution to our photography acquisitions strategy, adding at a stroke substantial bodies of work by some of the twentieth century’s most important photographers.“ Eric Franck said “Louise and I have a long association with Tate, and we are delighted to be able to make such a significant impact to Tate’s permanent photography collection with this promised gift. It is thanks to Louise that this collection exists as it was following her initial suggestion that we began to collect works depicting London.” Eric Franck has been a key figure on the international art scene for many years. Since 1994, he has owned Eric Franck Fine Art, dealing predominantly in 20th-century photography and photographic literature. He owned Galerie Eric Franck, a contemporary art gallery in Geneva from 1982 to 1994 and co-founded Galerie Franck & Schulte in Berlin in 1990. Franck is also an award-winning film and theatre producer. His production credits include Palermo oder Wolfsburg (Dir. Werner Schroeter, 1980) which won the Golden Bear at the Berlin Film Festival in 1980. Franck’s sister, photographer Martine Franck was married to Henri Cartier-Bresson and Eric Franck is an advisor to the Henri Cartier-Bresson Foundation in Paris. Louise Baring (Franck) is a journalist and has written two photography books: Martine Franck (published in 2007) and Norman Parkinson (published in 2009). Louise Baringis working on a new book to be published in 2013 on the Dutch photographer Emmy Andriesse. Edvard Munch's 'The Scream' fetches record $119.9 million at Sotheby's auction Christie's Latin American sale presents masterpieces by Matta, Carrington, Portinari & Botero Major and unprecedented survey of the work of Lucio Fontana opens at Gagosian Gallery Exhibition of Pablo Picasso's most celebrated series, The Vollard Suite, opens at the British Museum Important 17th century masterpiece unveiled at the National Gallery of Victoria Personal Hebrew seal from the end of the First Temple period discovered in Jerusalem Biggest Bauhaus exhibition in the UK in over 40 years opens at Barbican Art Gallery Masterpieces by one of Russia's highest selling female artists, believed destroyed, offered by Bonhams Christie's Spring Impressionist and Modern Art Evening Sale achieves $117 million Lifetime collection of prominent Washington, DC lawyer to be sold at Heritage Auctions 1949 Bigsby Solid Body, only the fourth guitar crafted by famed maker, brings $266,500 Phillips de Pury & Company announces highlights from its London photographs auction David C. Yu appointed Development Director at Aperture Foundation Exhibition of provocative new work by Rachel Lee Hovnanian on view at Leila Heller Gallery Belgian artist David Claerbout opens exhibition at Vienna's Secession Two highly acclaimed moving image installations by Douglas Gordon on view at the Mead Gallery Helsinki council nixes building Guggenheim museum Most Popular Last Seven Days

文学

2017-09/0319/en_head.json.gz/18462

You are hereHomeStudiosOur StudiosOld Manor Park Library Old Manor Park Library About the Old Manor Park Library Bow Arts in partnership with Create London, supported by Newham Council, have managed the redevelopment of The Old Manor Park Library in the London Borough of Newham, into new creative workspaces and a public space. The Library, a Grade II listed Carnegie building has been closed as a public library since 2011. Bow Arts has brought the building back into public life as a centre providing accessible creative workspaces for artists, and Create London will offer a lively and creative community focused project space. Architects Nicholas Lobo Brennan and Astrid Smitham of Apparata were commissioned to conceive the new design. Lobo Brennan is a recipient of the Swiss Art Award for Architecture and was a founding member of the award-winning architectural collective Gruppe. Both architects collaborated with Richard Wentworth on Black Maria at King’s Cross during Lobo Brennan’s time with Gruppe. The project has been supported by £177,500 from the Mayor of London’s High Street Fund and the building has been provided on a seven-year lease from Newham Council. Mayor of Newham, Sir Robin Wales, said: “This fantastic initiative will not just bring this Grade II listed building back to life but turn it into an innovative vibrant cultural space that can be used and enjoyed by the local community. We want to help budding local artists further develop their skills and we want other local residents to be able to enjoy the vast amount of artistic talent we have in Newham. The revamped centre will benefit the whole community by hosting a range of other activities including training and employment advice.” The new centre opened mid-November 2015, revealing affordable artist studios, meeting spaces and the Rabbits Road Institute, a pioneering new art space currently led by OOMK. The redevelopment provides support for artistic practices encompassing making, performance, research and group activities. It hopes to allow artists and residents of east London to connect with each other in new ways, enabling a radical new sharing of knowledge, skills and resources and the furthering of cultural engagement. The rationale for the reimagined library is inspired by research led by Beale and Feneck on The Free Library Movement of the mid-Victorian period that developed alongside several other workers’ education movements, striving for the improvement of universal municipal education services. The Old Manor Park Library brings the ethos of the Movement into the 21st century, asking what creative practice requires today and what it will continue to need over the next decade. The project also asks what it is that artists can bring to a neighbourhood through self-education, skill sharing and the reimagining of a municipal heritage building. Lobo Brennan and Smitham, who are based in the Newham Borough of London, and Zurich, responded to the commission by conceiving a design that both conserves the historical richness of the building and provides a new type of public building for the future of creative industries in London communities. They performed extensive research into the nature of work, production and collective life to conceive its design, looking back at the history of municipal learning spaces and investigating the specific history of this Carnegie building. They also mapped local businesses and building suppliers, and aim to incorporate some of these into the build, as well as working with local volunteers. Elements of the new interior features of the building are transparent and moveable, allowing for a freely adaptable space that can respond to the needs of its users, whilst always maintaining a visible link to its history. An arcade-style walkway runs through the studios on each floor, resembling a streetscape and providing welcoming but secure workspaces. The original decorative features and floors of the building have been beautifully exposed and restored to their original state. The Old Manor Park Library will continue to grow and flourish into a centre of creative excellence that aims both attract and support established and emerging artists in the area. Rabbits Road Institute is a new public space for community, educational and creative activity. Drawing on the history of the Old Manor Park Library building, Rabbits Road Institute celebrates the Free Public Library and Worker’s Education Movements by creating an open space dedicated to self-education and independent thought. It exists to promote the development of culture, ideas and debate through everyday knowledge and experience. It is a space for new ways of thinking and creating inspiring activities that are open to all. The Institute hosts an artist-led public programme of study sessions, events, performances and social gatherings, alongside regular and one-off activities run by local community groups and individuals who want to get involved. Rabbits Road Institute is a flexible space and can be used for meetings and workshops as well as larger public events and gatherings. The Rabbits Road Institute takes enquiries and proposals from local people and community groups who wish to use this beautiful space. More information and listings The Old Manor Park Library is delivered in partnership by Bow Arts, Create, and Newham Council. It is supported by the Mayor of London’s High Street Fund. Rabbits Road Library is supported by Newham Council and Arts Council England All images by Emil Charlaff Address: Old Manor Park Library, 835 Romford Road, London, E12 5JY Artists: Old Manor Park Library ArtistsAvailability: Available StudiosHow to Apply: Apply for a Studio

文学

2017-09/0319/en_head.json.gz/18510

Archived Story Straight No Chaser leaves audience drunk on a capella, modern music A capella group Straight No Chaser performs at the Jorgensen Center for the Performing Arts in Storrs, Connecticut on Saturday, April 2, 2016. (Rebecca Newman/The Daily Campus) Without instruments and without background tracks – armed only with their voices – the 10-man a capella group Straight No Chaser lit up the Jorgensen Center for the Performing Arts Saturday.The group, originally formed by a group of friends at Indiana University in 1996, impressed the crowd with a capella versions of popular songs.“We want to assure you that everything you hear is coming out of one of these guys, out of the speakers to you,” said Walter Chase, a founding member of the group. Straight No Chaser’s musical style and success is unique, as the group performed a capella versions of songs like Meghan Trainor’s “All About that Bass,” Hozier’s “Take Me to Church” and Michael Jackson’s “Thriller.” As one of the group’s members explained, Straight No Chaser became popular after a viral video of the group singing “The 12 Days of Christmas” became an Internet sensation.“We got our start because of a video that went viral,” group member Don Nottingham said. “Why am I telling you this? Because if you want to take photos or video, you go right ahead.” The group markets itself on both its musical ability and its humor. The performance was full of humor and jokes from the introductory video – which parodied shows like “Shark Tank” and “Naked and Afraid” – to rewritten lyrics. And those jokes frequently came at each other’s expense.The talent of each group member was on display as each member took the lead in singing a different song, with the rest either singing the tune of the song, backing up the main singer or, in one member’s case, beatboxing.“Just think back to the fall,” group member Tyler Trepp said. “Back then, Donald Trump was saying inflammatory things that divided the country, and Hillary Clinton was embroiled in an email scandal. Think of how far we’ve come.” The group performed songs like Simon and Garfunkel’s “Bridge Over Troubled Water,” Walk the Moon’s “Shut up and Dance” and Mark Ronson’s “Uptown Funk.” The group lamented the fact that the theme songs for most movies do not have lyrics, and so sung several movie theme songs with lyrics written by the group.“Sylvester Stallone was a nobody, until he wrote this great story,” the group sang, imitating the tune to the “Rocky” theme song. “There are dinosaurs in Jurassic Park. Oh no, they got out,” they continued, singing to the theme of “Jurassic Park.” The group went on to perform a mixture of “12 Days of Christmas,” blended with Toto’s “Africa,” “Dreidel, Dreidel, Dreidel” and “Rudolph the Red Nosed Reindeer.”“We’ve always done things a little differently from other bands,” Nottingham said.The group’s encore was unlike any of the other songs that had been performed in the show up to that point, however. The group performed their original viral hit “The 12 Days of Christmas,” without any microphones, they let the audience know what was it like for the group to work together “when they first started up.”The audience was dead silent for the rendition, which became one of the most memorable moments of the performance.“Thank you so much,” Nottingham concluded. “We’ll come back next year and the year after that and the year after that.”Edward Pankowski is life editor for The Daily Campus. He can be reached via email at [email protected]. Nostalgia: Incubus’ 'Morning View,' a decade later Women's Basketball: UConn advances to 4th-straight National Championship

文学

2017-09/0319/en_head.json.gz/18568

Wednesday, 6:29am The magazine that wasn’t Aspen, the cultural journal that challenged the limits of its form, goes on display at Whitechapel Gallery in London To read an edition of Aspen magazine is to flip through a booklet, unfurl a concertina, shuffle some postcards or to unfold a poster, writes Elizabeth Glickfeld. Copies of the cult 1960s artists’ magazine are now so prized that the tactile experience of reading any one edition is necessarily denied the viewer of the exhibition ‘Aspen Magazine: 1965–1971’ (in the Pat Matthews Gallery at the Whitechapel Gallery in London). Nevertheless, at a time when the conditions of reading are more varied than ever, and when printed publications are increasingly designed to enhance their material qualities, it is still a pleasure to be able to see the entire run of the ‘magazine in a box’, as it was known, even if the editions are laid out behind glass. Aspen vol. 1, no. 1 of Aspen. © Aspen Magazine / The authors. Courtesy of Boo-Hooray NYC, Victoria and Albert Museum, and Museu d’Art Contemporani de Barcelona (MACBA).Top: view of the installation in the Pat Matthews gallery at the Whitechapel. Photograph: Patrick Lears. Courtesy of Whitechapel Gallery. With its attention to formats – it also included sound recordings and a reel of Super-8 film – Aspen magazine prefigured more contemporary notions of multimedia engagement and interactivity. Curated by Nayia Yiakoumaki, the exhibition translates the magazine's multimedia content into an gallery environment by including listening stations for interviews with various editors, contributors and designers. The initiative of former Women’s Wear Daily and Advertising Age editor Phyllis Johnson, Aspen began as a lifestyle magazine about the Colorado ski resort after which it was named. This changed from issue three whereupon Aspen became thematic, documenting various art and counter-culture movements with contributors who were the luminaries of the day. Where magazine editors and art-directors normally use their skills to balance disparate content with coherent voice and vision, Johnson was determined to emphasise the magazine’s variety. Aspen no. 3, edited by Andy Warhol and designed by David Dalton, came packaged as a box of soap powder.© Aspen Magazine / The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York / DACS, London 2012. Courtesy of Boo-Hooray NYC, Victoria and Albert Museum, and Museu d’Art Contemporani de Barcelona (MACBA). Each of the ten issues was undertaken with a different editor and designer at the helm. With Andy Warhol as editor and New York-based David Dalton as graphic designer, issue 3 (above) documented the concerns of Pop Art and came packaged as a box of soap powder. A series of essays on the effects of LSD were designed as a ‘Ten Trip Ticket Book’. There was also a flip-book of art movies and a one-off newspaper from Warhol's Factory. Issue 4 was designed by Quentin Fiore and was effectively a teaser for his collaboration with Marshall McLuhan on The Medium Is the Massage (see Eye 8). Designed with the signature combination of images and slogan-scale sans serif typography, it contained an untrimmed indigo printers proof of the book, including crop marks, to emphasise its being ‘hot off the press’. Aspen no. 9 (Winter-Spring 1970). Edited by Angus and Hetty MacLise. Folder designed by Hetty MacLise. © Aspen Magazine / The authors. Courtesy of Boo-Hooray NYC, Victoria and Albert Museum, and Museu d’Art Contemporani de Barcelona (MACBA). While later issues recorded the occupations of Fluxus, psychedelia, performance, British and Asian art, Johnson’s determination to keep to the literal definition of a magazine as ‘a storehouse of things’ paradoxically lead to the downfall of Aspen. A poster on the wall of the exhibition documents the US Postmaster General’s 20 August 1971 ruling maintaining that ‘each issue of Aspen is complete unto itself and bears no relation to prior or subsequent issues’ and that ‘each issue of Aspen could be considered to be an independent work, capable of standing alone’. On this basis the postal service withdrew the lower postage rates afforded to conventional magazines and Aspen subsequently folded. Issue 5+6 of Aspen magazine. Edited and designed by Brian O’Doherty; art-directed by David Dalton and Lynne Letterman. © Aspen Magazine / The authors. Courtesy of Victoria and Albert Museum, and Museu d’Art Contemporani de Barcelona (MACBA). Significantly, it was in the pages of the 1967 double issue 5+6 on minimal and conceptual art that the French critic Roland Barthes’s oft-quoted essay ‘The Death of the Author’ was first published in English. The exhibition includes archival material relating to its translation and hand-written correspondence between Barthes and that issue’s editor, the Irish artist and future writer of the seminal ‘White Cube’ essays, Brian O’Doherty. In the 1990s Barthes’s liberation of the meaning of a text from the author’s intention was used to fuel graphic designers’ claims to their own authorship. The result was many designer-initiated publications and work that was variously idiosyncratic, expressive and opaque (see Michael Rock’s ‘The Designer as Author’ in Eye 20). Given this, it is interesting to note that on its first publication, Barthes’s essay received a wilfully ascetic design treatment in the context of a highly designed magazine. Typeset in a small, square booklet, Barthes’s proclamation that ‘The birth of the reader must be at the cost of the death of the author’ was expressed in the visual language of conceptual art. Published alongside work by artists such as Sol Le Witt and Mel Bochner, the essay looks less the revolutionary gesture it was in literary circles. Barthes’s invocation for a more empowered and active reader fits in well with conceptual art’s disregard for conventional notions of genius based on traditional artistic skill, as well as the issue’s invitations to its readers to assemble and execute the content. Mel Bochner, Seven Translucent Tiers [(N+2) Center Sets Odd], 1967, as published in Aspen, no. 5+6 (Fall 1967). © Mel Bochner. Courtesy of Victoria and Albert Museum. See ‘Mel Bochner: If The Colour Changes’, also at the Whitechapel from 12 Oct–30 Dec 2012. The exhibition ‘Aspen Magazine: 1965–1975’ continues at Whitechapel Gallery until 3 March 2013. The exhibition curator, Nayia Yiakoumaki, will give a gallery talk on Aspen on 6 December at 7pm. Admission free, but booking necessary. View of the exhibition at the Whitechapel Gallery. Photograph: Patrick Lears. Courtesy of Whitechapel Gallery. Eye is the world’s most beautiful and collectable graphic design journal, published quarterly for professional designers, students and anyone interested in critical, informed writing about graphic design and visual culture. It is available from all good design bookshops and online at the Eye shop, where you can buy subscriptions, back issues and single copies of the latest issue. Aspen Magazine: 1965-1971, Whitechapel Gallery Aspen magazine on UbuWeb

文学

2017-09/0319/en_head.json.gz/18571

Ysabel Review Ysabel, by Guy Gavriel Kay, was the first novel by the author I have read. I was fortunate enough to win a copy from Pat's Fantasy Hotlist, which has a lot of book giveaway contests. This will definitely not be the last of Kay's novels I read; I almost picked up Tigana the other day but opted to buy a copy of Patrick Rothfuss's debut novel The Name of the Wind without the Fabio cover instead while I had the chance.Ysabel is supposed to have ties to Kay's earlier work, The Fionavar Tapestry trilogy. Apparently, a lot of events the character's mention without really filling in the details of what happened occurred in these books. I'm sure it helps to have read The Fionavar Tapestry before reading Ysabel, but I don't think it's necessary to read them first. I didn't feel lost reading the book because of not having read The Fionavar Tapestry, although I was curious about the parts of the backstory that were referred to without being explained.From what I understand, the writing style of Ysabel is very different from Kay's other work. It was not what I had expected after reading about his beautiful prose. Ysabel is very simply written and reads like a young adult novel, which isn't necessarily a bad thing - it fits since the main character is a 15 year old boy, and although it is not written in first person, the only character's thoughts who are revealed to us are his thoughts.This is also different in that it is contemporary fantasy, meaning it takes place in the present (and that was entirely in the present - it wasn't one of those books where somebody from the modern world gets taken to some sort of fantasy world). I haven't read much contemporary fantasy, so I found it kind of amusing to read references to Starbucks and google and iPods in a fantasy book.I don't want to give away too much of the plot of this book since it was one of those books where you didn't want to put down the book because you wanted to find out what happens next and I don't want to take that fun away from anybody. So I'll just say a little about the beginning of the story.Fifteen year old Ned Marriner is on a trip to Aix-en-Provence in France with his father, a well-known photographer working in the area. Ned explores the Saint-Saveur Cathedral while they are there for a photo shoot, and meets a geeky American exchange student around his age named Kate who knows a lot about the history of the area. While they are in the cathedral, a man comes up through the grate saying that "he" wasn't there and that "he" enjoyed playing games. Ned and Kate think the man has left, but Ned finds he can sense the man's presence and tells him to come out. The mysterious man does come out and informs them that they have "blundered into the corner of a very old story" and that they should leave it alone. Of course, they just become further entangled in the events of the story and the competition between a Roman and a Celt.The characters are all unique and interesting, but I wouldn't consider it a character-driven book. You don't really get into any of the character's heads other than Ned's and it's not one of those books where I was sad about leaving the characters behind or felt like there was really deep characterization. It was a page-turner, though, and wanting to find out what happens kept me reading. I also liked the little tidbits about the history of the area, and the details about the area were probably pretty exact since Kay actually wrote the book while staying near Aix-en-Provence.I'd give it 8/10, and I would definitely read it again sometime. contemporary fantasy, Ysabel Thief of Time Review After reading Hyperion, I decided it was time to read something lighter, so I picked up Thief of Time by Terry Pratchett. At this point, I've read most of the Discworld series, but there are a few of them I haven't yet read and this one was next in publication order.Thief of Time is definitely an enjoyable, humorous story. Other than Death and Susan and a couple of brief appearances by Nanny Ogg, it does not contain any of the usual Discworld characters but it does introduce several new ones. Somebody could pick up this book without having read any of the other Discworld books and still enjoy it, although it might be helpful to know some about Susan's past just to see where she is coming from in the story (but that certainly is not necessary for reading this book).In Thief of Time, a woman known as Lady LeJean visits a young clockmaker named Jeremy and gives him supplies (including an Igor) for building the world's first truly accurate clock. Jeremy, who is very obsessed with time and clocks, is intrigued by this idea and begins work on the clock not knowing that it will cause time to stop once it has been completed.Meanwhile, a sweeper/monk of the order of the Monks of History named Lu-Tze is training a new apprentice, Lobsang, who has a natural talent. Lu-Tze learns all about Lobsang's mysterious abilities while Lobsang learns all about Rule 1 ("Do not act incautiously when confronting a little bald wrinkly smiling man"). Lu-Tze and Lobsang find out about the imminent destruction of the Discworld and travel to Ankh-Morpork to try to stop it.Death begins preparing for the upcoming Apocalypse. He first tries to get his grand daughter Susan involved in trying to stop the end of the world, then rides off to attempt to gather the other 3 horsemen of the Apocalypse, which turns out to be harder than he thought - Pestilence is too frightened, Famine is too arrogant, and War is too hen-pecked by Mrs. War.This was not my favorite Discworld book, but it certainly wasn't my least favorite either. (I tend to like the Watch books, Death books, and Small Gods - a great stand alone Discworld book - the best and the Witch books the least.)Thief of Time is a fun book you can read pretty quickly, but while it could be considered light reading, it still contains deeper meaning. I've never seen anybody able to write humorous, non-verbose books that are still very philosophical like Pratchett does. He must be a genius to have that talent.I would definitely read this book again.Rating:8.5/10 Discworld, Terry Pratchett, Hyperion Cantos Review I was quite busy for a while and unfortunately hadn't had time to write. Or the time to read much, for that matter. I seem to be getting more time to read in now, though. Currently, I'm reading Thief of Time by Terry Pratchett. It was time for a lighter read since I just finished the four books in Dan Simmons' Hyperion Cantos (Hyperion, The Fall of Hyperion, Endymion, and The Rise of Endymion).Overall, I liked the series, although I would not consider it one of my favorites by the time I was finished with it. It was definitely an enjoyable series, but it had a few continuity issues that were mildly annoying to me, and were even more annoying to others (like my fiance, who couldn't even bring himself to finish the series because of the continuity issues). The other problem both my fiance and I had with the series was how fantastic things just happened with no explanation whatsoever as to how or why. The last two books seem to me as though perhaps they would have been better as a part of a separate series since Simmons had to change parts of the previous two books in order to make them work and they used mostly different characters anyway. They also failed to answer a lot of the questions I had after reading the first two books, and a lot of the mysteries that were repeatedly mentioned in The Rise of Endymion were never solved.The first book in the series, Hyperion, starts with 7 individuals who have been sent on a pilgrimage to the planet Hyperion. To pass the time, the pilgrims decide to each tell their story about why they were chosen for this pilgrimage, so the book is basically made up of a few short stories with their journey told in between each tale. I am not generally a fan of short stories, but I found each of these stories to be interesting, although some were more than others. I found I appreciated some of the ones I did not enjoy as much initially far more when I read the sequel and found out more about how the stories related to each other and the world Simmons created.My favorite story was the tale of the scholar Sol Weintraub about his daughter Rachel, followed by Brawne Lamia's telling of her involvement in a murder case as a private investigator. I also loved the stories about Martin Silenus writing his Cantos and the priest Lenar Hoyt's search for Father Paul Dure, who had been exiled to Hyperion. Colonel Kassad's story focuses on his military experience and encounters with a mysterious woman named Moneta. The Consul's tale tells of his grandparents fated meeting on the island of Maui-Covenant. Each story is, of course, much more interesting and involved than that, but I don't want to spoil the most interesting parts for people who have not read the book!Hyperion set the stage for The Fall of Hyperion, which delves more into how the various stories told in Hyperion tie together and what the actual society is like. It introduces a new character who has the ability to dream about what is happening to the Hyperion pilgrims. Their stories on Hyperion are completed in this book. I don't want to say too much about the plot and spoil the book because I found the way all the stories tied together a lot of fun to discover. I did enjoy this book more than Hyperion for that reason.Endymion takes place 247 years after The Fall of Hyperion ends and has a new set of main characters. The narrator, Raul, is found by Martin Silenus and sent on a mission to rescue Brawne Lamia's daughter Aenea from the clutches of the Catholic Church (which is now a major force in the universe due to their control of a symbiote allowing people to resurrect when they die). This book focuses on the travels of Raul, Aenea, and the android A. Bettik as Father Captain de Soya of the Catholic Church tries to capture them and fulfill the mission given him by the pope. This book tells you about what the future in this universe is like, but it does not really involve further world building. There are some really humorous lines in it and I found both the beginning and end of the book a lot of fun, but around the middle it seemed to go a bit slowly. The Rise of Endymion could be infuriating, but it was also my favorite book in the series. This book had a lot of continuity problems and it said that a lot of what happened in The Fall of Hyperion did not happen the way the book said it did. It also mentioned a lot of things that just kind of happened without any explanation as to why or how. A lot of mysteries went unsolved. I found the lack of closure about who the Others were very annoying since they were mentioned many, many times throughout the book. Also, I had predicted the largest parts of the ending to the novel about 3 or 4 hundred pages before it was done (and I'm really not at all good at figuring out how books will end).If you can look past all that, the story of Aenea and Raul told in The Rise of Endymion is beautiful. There were moments toward the end that I kept thinking about and was still thinking about two days later. I even went back and read some of them again the next day. Characterization is one of my favorite parts of reading, so I'd like to say something about the characterization. The characters are certainly interesting, but we never get to see inside enough of the characters in the first two Hyperion books for me to feel too attached to them. They have their good points, and they have their flaws, but I think there are just too many of them in a short span to really get attached to any of them too much. The exception to this is Sol. I loved his story and I loved his character, and it always seemed to me like all the other characters liked him best and looked out for him the most. I guess he was just a likable guy.Since the Endymion books focus more on a smaller cast of characters, I felt like you got to know them a bit better, but other than Raul and Father de Soya they seemed a bit flat to me although I liked them well enough. Raul was a bit on the slow side but he had some great humorous lines as the narrator and he was loyal to Aenea and very courageous and unselfish. Actually, the Ship was a great character - I found it more amusing than most of the other characters when I was reading Endymion.So that's basically what I thought of the Hyperion Cantos. I had a lot of mixed feelings about the books, but overall I think they're worth reading.Would I read them again? Yes, but probably not immediately.I would rate them as follows (on a scale from 1 - 10):Hyperion - 7.5The Fall of Hyperion - 8Endymion - 7The Rise of Endymion - 8.5 Dan Simmons, Endymion, Hyperion Cantos, The Fall of Hyperion, The Rise of Endymion

文学

2017-09/0319/en_head.json.gz/18575

The article “Stone Soup” by Barbara Kingsolver is about the certain types of marriages and how it is okay for families to be different then the outline of the “Dad, Mom, Sis, Junior.” She starts the article by showing an example of a non-nuclear family at a soccer game cheering on a member of the family that has just scored a winning goal and she states “ I dare anybody to call this a broken home.” implying that even though they are not a common structured family, they still care about each other. Then she goes into detail on how she was raised in a nuclear family but now realizes that even though she is a single parent, her and her daughter are fine. Then she explains how people think that if a family is not nuclear, it is a mess of a family and if the marriage ends in a divorce it’s not labeled as finished, it is labeled as a failure. She states that she used to believe in this ideology of divorce being the lazy way out and as a child , she wanted to be part of a “Family of Dolls” but soon realized after she got married that there is a story that did not fall into her prince charming fairy tale which lead to a dead marriage. Kingsolver then relives the time right after she got divorced and how American customs claim that she was burdened with the task of single parenthood and some of her friends emphasized that by leaving her in her time of need. Then after she recovered she felt like her and her daughter was pitied but her daughter always looked on the bright side of having parents that don’t talk to each other. Kingsolver then goes back to family structures and states that to judge a family by its harmony is like judging a book by its cover . She goes back in time to show how nuclear families struggled to survive and how most of the family members had to work just to get by. Kingsolver goes to into detail about families during the Great Depression and explains that families where multigenerational due to lack of money for housing, She writes about how the “Family of Dolls” theory was introduced once the economy rose to make sure women gave their jobs to returning soldiers and single parent families sank and struggled economically. She states that families are always being reshaped due to economic tides and how single mothers are more likely to be employed now rather than in the fifties and are able to get a divorce and able to support a family in order to be “happy”. Kingsolver concludes the article by saying the faster we can get over the fairy tale nuclear family, the faster we can create an idea of community. I didn’t like this essay at all because I believe that a family should have two parents and it is vital for the children to have two role models so they become successful in life. I was raised in a nuclear type of family and I do not cause as much trouble as kids that come from non nuclear families. This article was also jumpy. She kept jumping to different topics and It was hard to concentrate on the actual main topic. It was also hard to concentrate because she used a lot of vocabulary that I have never heard in my life before.I considering actually buying a dictionary like you said. I did like the part near the end were she explained why Kingsolver named her title “Stone Soup”. It was puzzling me why the title made no sense when I started to read the article. David Juarez I disagree with your opinion. You are neither right or wrong about the concept of a nuclear family being necessary for a child to be raised correctly for him/her to be less trouble sum, at the end of the day each of us has the choice rather to do the right thing or not. Coming for a non nuclear family doesn't mean the child will cause trouble. Most of the successful people came from a non nuclear family, some individual didn't even have parents. I understand that children need a role model to understand the world and how it works but it doest necessarily mean the rome models a nuclear family has are always good. At the end it all depends on the morals the role model they chose to look up to have.

文学

2017-09/0319/en_head.json.gz/18588

A blog devoted to historical and fantasy fiction My Novel: Enoch's Device What Is Fresh-scraped Vellum? Fantasy Cliché #3 – Orcs! After a two week diversion, I'm back with the fourth post in my six part series on The Top 5 Clichés in Fantasy Fiction. On the surface, today’s cliché has Tolkien to blame. Ever since the first orc crawled out of Mordor in his 1954 novel The Fellowship of the Ring, these misshapen beasts, in one form or another, seem to have flooded the shelves of fantasy fiction. Is this where the first orc crawled from? Of course, before Tolkien called them “orcs” they were the goblins of his 1937 masterpiece The Hobbit. And after that came a small legion of doppelgangers including the Mord Wraiths from Terry Brooks’ Shannara series (1977), Cavewights from Stephen R. Donaldson’s The Chronicles of Thomas Covenant (1977), Trollocs from Robert Jordan’s The Wheel of Time series (1990), and even the Urgals of Christopher Paolini’s Inheritance Cycle (2003). What makes these creatures appear cliché is their arguable resemblance to Tolkien’s orcs, but I wonder if that’s fair. For the concept of a “monster” is practically a universal ingredient in fantasy fiction. This concept existed long before J.R.R. Tolkien. He borrowed heavily from Old English and Norse mythology and admitted that the word “orc” is derived from an Old English word for demon, stemming perhaps from the Latin word “Orcus” and similar to a Norse word for “ogre.” Meanwhile, goblins in English, French, and German folklore were considered to be a type of evil phantom related to gnomes or brownies. More than 1,200 years before the Hobbit, we had the monster Grendel from the epic poem Beowulf. That story, which was based on an older Norse myth, depicted Grendel as an ogre, although some have suggested his mythical origins are more tied to the biblical Nephilim, the giant-like offspring of the unholy union between human women and fallen angels first referenced in Genesis 6:4. And Greek mythology is filled with monsters: the Cyclopses, Gorgons, and Minotaurs are just a few. In other words, the monster in storytelling goes back a quite a ways. Poor Grendel goes back to anicent times. The monster is rarely the primary antagonist in fantasy fiction. Rather, it is an embodiment of evil in a broader, collective sense. Perhaps in some stories the monsters are symbols for the real monsters of our world, such as the Nazis during the time when Tolkien began his epic series. Or maybe their presence in literature and mythology is due to the existence in human history of creatures that mankind, at one time, simply did not understand. Michael Crichton proffers this theory in his novel Eaters of the Dead, where a race of Neanderthals coexisted with early medieval men but were perceived by the humans as monsters who lived in darkness and literally ate the dead. Here's one explanation for the monster in mythology. Another explanation is that the monster reflects human perceptions or superstitions of demons and other paranormal beings that haunt our imagination. But whatever the reason, the monster in literature has existed since ancient times and has found its incarnation in various forms, the orcs and its fictional offspring being just the most recent examples in the past two or three thousand years. For this reason, I believe the monster, like the archetypes of the Wise Wizard and the Messiah, are here to stay. And in this light, it’s hard to call any of these elements “cliché” once one realizes how fundamental they have been to storytelling throughout the ages. Posted by Joseph Finley Clichés in Fantasy Fiction, Fantasy Fiction, “Beginning” of the Week #7 Season 2 of HBO’s Game of Thrones debuts this upcoming Sunday, and I can hardly wait! This season is based on A Clash of Kings, George R.R. Martin’s second novel in his epic series A Song of Ice and Fire. So I decided that this week’s “beginning” should be the one that started it all – the opening passage of A Game of Thrones: “We should start back,” Gared urged as the woods began to grow dark around them. “The wildlings are dead.”“Do the dead frighten you?” Ser Waymar Royce asked with just a hint of a smile.Gared did not rise to the bait. He was an old man, past fifty, and he had seen the lordlings come and go. “Dead is dead,” he said. “We have no business with the dead.”“Are they dead?” Royce asked softly. “What proof have we?” – George R.R. Martin, A Game of Thrones An epic fantasy masterpiece! I’ve written before that A Song of Ice and Fire is one the finest epic fantasy series of our time, and A Game of Thrones is a true masterpiece. I question, however, whether this is one of the great “beginnings” of all time. Maybe it is proof that the opening passage is important, but far from critical in determining the greatness of a novel. But let me know what you think – is this one of the great “beginnings,” and how much does the “beginning” really matter? Beginnings, A Princess of Mars This week I’m taking another short break from my series on The Top 5 Clichés in Fantasy Fiction for a review of Edgar Rice Burroughs’ A Princess of Mars, as well as some comments on the new film John Carter, which is based on the novel. Not bad for 1912! I probably first read this novel in the early '80s and only re-read it because of the new film. It’s hard to believe this story was written 100 years ago. This book is a tremendously fun read and the writing holds up extremely well by today’s standards. The novel tells the story of Captain John Carter, an ex-Confederate soldier who travels to Arizona in search of gold. After a hostile encounter with Apaches forces him to hide inside a small cave with seemingly magical properties, Carter find himself transported astrally to Mars. While Burroughs spends little time trying to explain how this is possible, he accomplishes this transition quickly, for after the first ten pages the story proceeds on Mars where the real fun begins. Carter is captured by a race of giant, green Martians called Tharks, who live in an excessively violent tribal society and inhabit the ruins of ancient cities long abandoned by those who built them. His captivity and his relationship with two of the Tharks, the warrior Tars Tarkas and Carter’s caretaker, Sola, comprised many of my favorite scenes in the novel. Carter, who inherits super-human strength and the ability to leap great distances due to Mars' lower gravity, uses his fighting skills to advance to a position of respect in the Thark’s warlike culture, all the while accompanied by Woola, a dog-like creature that becomes Carter’s lovable sidekick. The plot takes off after the Tharks capture Dejah Thoris, a human-looking, red Martian princess from the city of Helium. Carter is drawn toward the beautiful princess, but must contend with her mysterious customs and fierce pride, creating some of the most classic scenes in the novel, which at its core is a love story. Carter’s struggle to save Dejah Thoris, first from the Tharks and later from a hostile race of red Martians called the Zodangans, dominates the rest of this rollicking adventure tale. While some of the scenes may seem a bit cliché, that’s only because this novel is the original source material which inspired so many later works of science fiction and fantasy written in past hundred years. And that’s why this book, to me, is little awe inspiring – for without it, it’s hard to imagine what the world of scifi and fantasy fiction would look like today. If only we'd had more Tharks and less religion ... Which brings me to the film John Carter, which inexplicably sheds any reference to Mars in its title. While I thought the film did a nice job of capturing some of the story’s more fascinating elements, including the Tharks, Woola, the flying machines and the Martian landscape, I found it to be overly complicated and probably confusing for anyone not familiar with Burroughs’ novels. The reason, I believe, is that the filmmakers chose to inject a religious-based plotline that is missing from the book. I understand this plotline may have derived from later books in Burroughs’ series, but I think it unnecessarily muddles what should have been a wonderfully simple and straightforward story. All of the religious talk throughout the film also helped dour its tone, and at times it felt like a tedious lecture on Martian religion and some alien goddess (which, by the way, reeks a little too much of the earthy religious elements of Avatar). My favorite part of the novel – Carter’s captivity with the Tharks – is rushed in the film, which doesn’t do justice to it or a related storyline involving Sola and Tars Tarkas. The Dejah Thoris of the movie is a warrior and a scientist – in other words, unlike the princess of the novel – and many of the scenes I enjoyed so much in the book involving Carter’s failure to understand her culture and its rules are omitted from the film in favor of a need-to-save-the-world plotline that distracts from the central love story. These factors likely contributed to the movie’s average reviews and underwhelming box office performance. This is not to say the film was not enjoyable at times, but I much preferred the novel. For a different perspective of John Carter, I encourage you to read the review by Ryan Harvey of The Realm of Ryan. In my opinion, he has written some of best reviews and commentaries on Edgar Rice Burroughs’ Mars novels available on the web. For others who have read the book and watched the film, I am curious as to your take. What did you think of John Carter and A Princess of Mars? This week’s “beginning” is among my favorites. It's the opening passage of Ken Follett’s The Pillars of the Earth. This is a great novel, and its beginning, in my view, sets the tone perfectly for the story that lies ahead: The small boys came early to the hanging. It was still dark when the first three or four of them sidled out of the hovels, quiet as cats in their felt boots. A thin layer of fresh snow covered the little town like a new coat of paint, and theirs were the first footprints to blemish its perfect surface. They picked their way through the huddled wooden huts and along the streets of frozen mud to the silent marketplace, where the gallows stood waiting. The boys despised everything their elders valued. They scorned beauty and mocked goodness. They would hoot with laughter at the sight of a cripple, and if they saw a wounded animal they would stone it to death. They boasted of injuries and wore their scars with pride, and they reserved their special admiration for mutilation: a boy with a finger missing could be their king. They loved violence; they would run miles to see bloodshed; and they never missed a hanging.– Ken Follett, The Pillars of the Earth Is this the best "beginning" yet? Patrick: Son of Ireland This week I’m taking a brief respite from my series on The Top 5 Clichés in Fantasy Fiction in honor of Saint Patrick’s Day, one of my all-time favorite holidays! Appropriately, I’m focusing today’s post on Patrick: Son of Ireland by Stephen R. Lawhead. I had little appreciation for the story of Saint Patrick until I began researching my first novel, which begins in Derry in what is now Northern Ireland. Prior to that, Saint Patrick’s Day was merely a good excuse to drink Guinness at a raucous Irish pub. But once I began my research all that changed, especially after reading How the Irish Saved Civilization by Thomas Cahill. I cannot recommend this book more strongly to anyone who is of Irish descent or who’s even remotely interested in the amazing role the Irish played in the survival of Western civilization during the Dark Ages. Cahill’s book contained the first account I had ever read about Saint Patrick. Here's the abridged version. By the beginning of the fifth century, with the Goths and Huns threatening Rome, the Roman garrison in Briton became depleted as troops moved back to defend the continent. This exposed Briton to attacks by foreign enemies, including the Celtic Irish who ravaged Briton’s western coast. One of the largest raids occurred around the year 401 A.D., when literally thousands of Britons were captured as slaves by Irish raiders. One of those captured was a teenage boy who we know today as Saint Patrick. Patrick was a Romanized Briton and the son of a noble family. He was not born “Patrick,” and his original name remains in question, yet at least one source has him named Succat. Patrick served his enslavement as a shepherd to an Irish chieftain named Miliucc, who ruled a kingdom in the hills of Antrim. According to legend, Patrick remained captive for six years before escaping after hearing a voice in a dream about a trader’s ship that would return him to Briton. After finding the ship and returning to home, Patrick eventually made his way to Gaul at a time when hordes of Germans were crossing the Rhine to engage the Roman army. There, Patrick studied religion, became a priest, and later a bishop – the title he held when he returned to Ireland as one of its first and most famous Christian missionaries. It is with this background that I read Stephen R. Lawhead’s Patrick: Son of Ireland. I had anticipated that this novel would tell the story of how Patrick converted the Irish Celts to Christianity. I was wrong. The book actually tells the tale of Patrick's early life, before he returned to Ireland. Aside from a brief epilogue, the novel provides no account of Patrick’s later years which earned him his sainthood. Instead, the author focuses on Patrick’s captivity and enslavement. And this is where the novel truly shines. Patrick’s enslavement introduces him to a druid named Cormac and his sister, Sionan, the woman with whom Patrick falls in love. After surviving several failed attempts at fleeing his captivity, Patrick, with Cormac’s aid, escapes his brutal life by agreeing to serve in a house of druids, and eventually studies to become a bard. This is where the novel becomes both fascinating and controversial. The bards and druids of Lawhead’s Ireland can use magic, which firmly places this novel on the fine line between historical fiction and historical fantasy. Many of the druids and bards who teach Patrick are also members of the Ceile De, essentially Christian druids who believe in the one true God. Patrick ultimately becomes one of the Ceile De; he never becomes a priest or a bishop, though this is not necessarily foreclosed because the novel ends before the reader learns what becomes of Patrick later in life. Not surprisingly, this plot point is controversial for those who feel the novel downplays or even eliminates Patrick’s Roman Catholicism. After all, they argue, the Roman Catholic Church would never have canonized a druid. But I view Stephen R. Lawhead as taking artistic license for the sake of his story. And overall, his story works – especially the two-thirds or so of the novel that take place in Ireland. Although it was not what I expected, I enjoyed this novel, very much at times. And while the author may have taken artistic license with his subject, it works well in the end, telling a story of faith once lost only to be discovered again. Historical Fiction vs Historical Fantasy, With Saint Patrick’s Day less than a week away, Fresh-scraped Vellum is focusing on all things Irish! So for the “beginning” of this week I’ve chosen the opening passage from Morgan Llywelyn’s Bard: The Odyssey of the Irish. This novel was an easy call for today’s “beginning” because it tells the story of the legendary origin of the Irish and their founding of Ireland. As I’ve written before, Morgan Llywelyn is considered one of the great novelists of early and medieval Irish history; you can read my review of one of her finest books, Lion of Ireland, here. The opening passage of Bard focuses on the story’s protagonist, Amergin, and his yearning for a green land he has yet to discover outside of his imagination: See a tall man pacing alone on the twilight beach, caught between the dying day and the incoming tide. Smell the moist air, heavy with salt. Hear the lapping of the waves slapping the shore, the hiss of their withdrawal, their rushing return. Tide flirting with sand, seducing, inviting, whispering tales from beyond the dark sea. Dark sea, fading light, and an old familiar restlessness combined to haunt Amergin the bard. All his life he had suffered an itch in his soul, a formless yearning that blew toward him on the north wind. The green wind, he named it to himself, for to Amergin it seemed laden with verdant aromas from some fair otherworld existing only in his imagination. Yet the north wind persisted in torturing him with hints of that achingly beautiful and unreal land, his heart’s home.– Morgan Llywelyn, Bard: The Odyssey of the Irish Read about the Sons of Mil and the Tuatha Dé Danann! While these first two paragraphs contain only a hint of conflict, the passage suggests for the reader that a long and rich journey lies ahead. But I’m curious as to your thoughts – does this opening make you yearn to read more? Fantasy Cliché #2 – The Wise Wizard In the third post in my six part series on The Top 5 Clichés in Fantasy Fiction, I’m discussing the second of my listed clichés: The Wise Wizard. This character is so recognizable in fantasy novels it almost seems like a mandatory ingredient. He’s the one who teaches the protagonist how to be a hero – and frequently how to be a wizard. We’ve seen him with many faces, though often ones similar to those who proceeded him. Just look at Merlin from Arthurian myth, Gandalf from J.R.R. Tolkien’s The Lord of the Rings, and even Dumbledore from J.K. Rowling’s Harry Potter novels, and try to identify each one out of a police line-up. Odds are you can’t. As with Cliché #1, The Farm Boy with a Secret, the reason this character is so common is because it represents another archetype in fiction. This archetype goes by a number of names, including the "Mage,” the "Mentor” and the "Guardian,” but the purpose of this character is always similar – he (or she) is the wise teacher who sets the protagonist on a path critical to the storyline. In this respect, the Wise Wizard may indeed be a necessary character in many novels. After all, lots of us have had a teacher or mentor, someone who for better or worse shaped our choices in life and made us, in part, the person we are. Since this is nearly universal to the human experience, it’s no surprise that it’s a familiar element in stories, at least those about people, whether it’s part of the protagonist’s backstory or the main plot line. Sometimes this character can be a hard or even abusive teacher who proves to be more villain than hero, but he or she still profoundly impacts the main character and his or her direction in the story. Examples of this archetype in film and fiction abound – here are just a few in addition to the three bearded gentlemen mentioned above: Obi-wan Kenobi and Yoda from Star Wars, Morpheus from The Matrix, Allanon from The Sword of Shannara, Polgara and Belgarath from The Belgariad, Ogion from The Wizard of Earthsea, and Cort from The Gunslinger. In my view, the frequency of this Guardian or Mentor character is a testament to the universal appeal of this archetype. Maybe we’ll see less of them with long beards and pointed hats from now on as reaction to the cliché, but I believe the Wise Wizard, in one form or another, is here to stay. Name this Wise Wizard? With the debut of the film John Carter, I chose the opening passage of Edgar Rice Burroughs’ first John Carter novel, A Princess of Mars, for the “beginning” of this week. Burroughs wrote this novel in 1912, so the writing may differ a bit from today’s norms, but I think the first passage delivers an interesting hook even by today’s standards. I’d be curious to know what you think? In the meantime, if you want to know more about this novel or the John Carter of Mars series, author Ryan Harvey has been posting reviews on the series, starting with A Princess of Mars. The Passive Guy also just posted an article on the topic, which you can read here. But without further ado, here’s the “beginning” that started it all: I am a very old man; how old I do not know. Possibly I am a hundred, possibly more; but I cannot tell because I have never aged as other men, nor do I remember any childhood. So far as I can recollect I have always been a man, a man of about thirty. I appear today as I did forty years and more ago, and yet I feel that I cannot go on living forever; that some day I shall die the real death from which there is no resurrection. I do not know why I should fear death, I who have died twice and am still alive; but yet I have the same horror of it as you who have never died, and it is because of this terror of death, I believe, that I am so convinced of my mortality.– Edgar Rice Burroughs, A Princess of Mars John Carter was superman before Superman! Also Available In Paperback At: CreateSpace eStoreBarnes & Noble.com Literature sites Copyright Joseph Finley 2011. Ethereal template. Powered by Blogger.

文学

2017-09/0319/en_head.json.gz/18624

Fearless by Mike Dellosso A child mysteriously appears in the lives of Jim and Amy Spencer. Will her presence be a blessing…or a curse? When a nine-year-old girl named Louisa mysteriously appears in the middle of a house fire with no memory of how she got there or where she came from, Jim and Amy Spencer agree to take her in. Wrestling with the recent loss of their own child, Amy is hurt and angry while Jim is just trying to make it through each day and hold their marriage together. For Jim, Louisa is the daughter he always wanted, but Amy isn’t as comfortable with her. The girl has a special gift, and soon that gift will unknowingly push them all into contact with a serial killer who has been terrorizing the small town of Virginia Mills. Only by uniting can Jim and Amy save themselves and Louisa before it’s too late. About Mike Dellosso Mike Dellosso is the author of numerous novels of suspense, including Darkness Follows, Darlington Woods, and Scream. He is an adjunct professor of writing at Lancaster Bible College and frequent contributor to Christian websites and newsletters. Mike is a member of the American Christian Fiction Writers association, the Christian Fiction Blog Alliance, the Relief Writer’s Network, and FaithWriters, and he plans to join International Thriller Writers. He earned his BA degree from Messiah College and his MBS from Master’s International School of Divinity. He lives in Hanover, PA, with his wife and daughters. … more by Realms. Religion & Spirituality, Mystery, Thriller & Suspense, Literature & Fiction. Reader Rating for Fearless

文学

2017-09/0319/en_head.json.gz/18720

I did not make it past the second round of the Spring For Music blogging challenge, but I'm grateful for the public support I received, and I'm happy that Elena SB and Will Robin have made it to the final four. I had a great vacation in Key West, a wonderful Easter with my family, and am now tackling a book proposal that is due by the end of the month. In the meantime, here are some strange composer deaths. I would include some more: 1) jazz trumpeter and composer Lee Morgan. He was murdered onstage by his wife, the details are questioned. 2) Maurice Ravel suffered from brain lesions, and died after experimental surgery. 3) Schumann died in an insane asylum like Wolf, though the exact causes are debated. 4) Alessandro Stradella, assassinated due to an affair. Feel free to add your own "favorite" deaths in comments, and make sure to vote for Elena and Will next week. Two strange deaths that aren't included are Marc Blitzstein, whose murder somewhat outdoes Vivier's, and franco Evangelisti, who was killed by a cerebral hemorrhage caused by being hit by a bunch of keys thrown down to the poor-visioned composer by his mother from a window above the entrance way when he came home late one night. Atychiphobia How to rename a contest

文学

2017-09/0319/en_head.json.gz/18858

Signing on for another round of the TBR Dare I am thankful that James of James Reads Books is hosting another round of his annual TBR dare. This year, it's the Double Dog Dare! You may already know the dare: to read only from your TBR shelves from January 1st to April 1st of 2015. Any books on hold at the library by Dec. 31st of this year are also eligible. This will be my fourth year of participating, and it's not easy. But I do feel a sense of accomplishment (and a bit of relief) in crossing books off the TBR list, while trying not to add too many new ones. This year again I'll donate a dollar for every book (finished or not) to RIF (Reading Is Fundamental), a children's literacy non-profit. As the (pretty flexible) rules allow, I am claiming exemptions for book club books, and also for the new book by Laurie R. King, a Sherlock Holmes & Mary Russell story to be released in February. I am also mulling over allowing myself one comfort re-read each month if needed - because I'd still be reading from my own shelves. I have an idea in the back of my mind that I might carry this on past April. We'll see - that's easy to say now. But for the last couple of years, I've had these little notes posted on my computers: "TBR Free in 2015." They're on my computers because that's where I often learn about new (or new-to-me) books and authors, from blogs and email discussion lists. And that's also where I all too easily click over to book-buying websites. Realistically, there is no way I will make that goal now. And there will be new books that I want to read, and some to add to my shelves. I don't think I'll ever not have a TBR stack - but it would be nice to have a stack and not shelves of them. Sometimes I feel like a book hoarder, sometimes I feel guilt over all these unread books, sometimes I'm almost paralyzed by so many choices of what to read next. So I have my eye on 2016 instead. Maybe. We'll see how the Dare goes first. My introduction to Maria Edgeworth The Absentee, Maria Edgeworth A copy of Maria Edgeworth's 1801 novel Belinda has been sitting on my TBR stacks for years. Only recently did I realize that I have had her confused with Frances Burney, who wrote several novels with single-word titles (including Evelina, which I've read). I still haven't read Belinda, but when I came across this at Half Price Books, I was intrigued by the back-cover summary: The Absentee centres around Lord and Lady Clonbury, a couple more concerned with London society than their duties and responsibilities to those who live and work on their Irish estates. Recognizing this negligence, their son Lord Colambre goes incognito to Ireland to observe the situation and trace the origins of his beloved cousin Grace. To put matters straight he finds a solution that will bring prosperity and contentment to every level of society, including his own family. Published in 1812, this is a fairly short book (256 pages in my Penguin edition), but it packs in a lot of story. It opens in London, where Lady Clonbury is desperately trying to gain a foothold in Society. Though she is oblivious, her son recognizes that she is failing, in part because she is trying too hard, with entertainments so ostentatious that people question her taste. Even more damning in Society's eyes, Lady Clonbury goes to extremes to deny her Irish roots, speaking with an artificial accent that makes her sound more like a Cockney than a member of the Ton. At the same time her lavish parties, with their expensive London way of life, have driven her husband Lord Clonbury to the moneylenders. These include an unfortunately stereotypical Mr Mordicai. According to the introduction, an American woman named Rachel Mordecai wrote politely but firmly to Marie Edgeworth to protest (in the editor's words) her "vicious portrayal of Jews in general and Mordicai the coachmaker in particular." Lady Clonbury has high hopes that her son will make a match with the heiress Miss Broadhurst, but he has fallen in love with his cousin Grace, whom his mother took in after she was orphaned. Lady Clonbury disapproves of cousins marrying, "because they form no new connexions to strengthen the family's interest, or raise its consequence." Her son will not marry against her wishes, but neither will he marry just to please her. In part to escape those expectations, and in part to find a way out of the family's financial quagmire, he decides to travel over to Ireland. It will be his first visit since he left as a child, to be educated in England. In Ireland, Lord Colambre rediscovers his native country, meeting both the best and the worst of Irish society. Through his experiences the reader is also introduced to Ireland and its people. The editor notes that Maria Edgeworth is considered a pioneer in the "regional" novel and in the new realistic mode of fiction. Her books, which she preferred to call "tales" because "novels" were morally suspect, also "portray[ed] the Irish differently than the traditional, comic Irish stage persona." In Dublin, Lord Colambre meets people of education and culture, whose society is much more congenial than he found in London. He also meets social-climbers, and a rapacious mother on the hunt for a new son-in-law. Irish titles count for less than English, but they are still titles, and Colambre is a viscount. The real heart of Edgeworth's story, though, lies in the countryside, on the Clonbury estates. There Lord Colambre finds waste and ruin, under agents who are cheating both the tenants and their employer. The lands at Colambre, under an honest and enlightened agent, are prospering. In fact, they are a kind of Eden, where the Catholic and Protestant children attend school together, the Catholic priest and Protestant minister work together. The wicked Clonbury agents are scheming to take over this district and run it like their own. Lord Clonbury over in England is oblivious to all of this, concerned only that regular payments arrive. His son comes to see that it is the family's moral duty to return to Ireland and take their place as the landlords. This will also allow them to live within their means, freeing them from crippling debt and the possible loss of their estates. In Edgeworth's view, the absence of the hereditary ruling class across Ireland threatens the stability of the entire country. I knew that Jane Austen was a fan of Maria Edgeworth's books. She famously wrote to her niece Anna, "I have made up my mind to like no Novels really, but Miss Edgeworth's, Yours & my own." I was reminded of Austen as I read this book. Its scope is of course larger, moving from England to Ireland and back again, and including different levels of Irish society. Unlike Austen, Maria Edgeworth felt comfortable writing scenes between men, with no women present, and with the lower social classes. She also wrote about a higher level of society than Austen's country families, but with the same sharp eye for pretension and snobbery, as well as the quiet cruelties masked by politeness. Edgeworth's story felt a little contrived, in part I think because it is a book with a message. It is probably not fair to judge just by one book, but Edgeworth's characters also felt a little contrived. I think Austen's speak more naturally, even if their language sounds stilted to our ears today. Lord Colambre in particular tends to moralize a bit, and occasionally breaks into a minor soliloquy, though that may also be due to this story's origins as a play. As I mentioned in the previous post, reading E.O. Somerville's Irish Memories finally nudged me to pick this up, and I'm glad it did. I'm looking forward to reading more of Maria Edgeworth's books. Maria Edgeworth A tribute to a beloved partner, and a memoir of life in Victorian Ireland Irish Memories, E.O. Somerville & Martin Ross I am glad to see the back of two very stressful weeks, particularly at work. I am even gladder to have the coming week off from work. I don't have any particular plans, except that I will not be shopping on Thanksgiving or the Day After (all emails with "Black Friday" in the subject line are immediately deleted). The best part of the entire week will probably be the relaxed mornings, not rushing off to work, chronically late (usually because I've been reading when I should be getting ready). I doubt I'll be able to sleep in, since the cats take a dim view of any delay to their breakfast service. I did get some reading done this week, but I had no time or energy to write about it until now. I had chosen this book off the TBR stacks on a whim, wanting something different after the Great War. (Overflowing TBR shelves offer a lot of options for whimsical choices.) Two years ago, when I went looking for a replacement copy of E.O. Somerville and Martin Ross's The Irish R.M. (after foolishly giving away my copy), I found next to it on the shelf another of their books. In the Vine Country is a charming account of a tour they took of the Médoc region of France in 1891. At that point I knew very little of Somerville and Ross themselves, and nothing of the other books they had written. Re-reading The Irish R.M. and then touring the Médoc with them made me want to learn more, and to read more of their work. Irish Memories is a memoir written by E.O. (Edith) Somerville and published in 1917. As with their other books, Martin Ross (née Violet Martin) is listed as the co-author, though she had died in 1915. Somerville continued to write after Ross's death, and she continued to credit her as co-author, claiming Ross was collaborating from beyond the grave. When I read that, I decided to focus on their pre-1915 work, though I made an exception for this book. Edith Somerville and Violet Martin were second cousins on their mothers' side. They were raised in different parts of Ireland, Somerville in Cork and Martin in Galway. Their mutual great-grandparents, Charles Kendal Bushe, the Chief Justice of Ireland from the 1790s, with his wife Anne counted among their friends Maria Edgeworth and her family. Both the Somerville and Martin branches were Anglo-Irish landed gentry, who lost land and much of their livelihood over the course of the 19th century. I knew little of the context, as I know little of Irish history during this period, between the Famine and the Easter Rising of 1916. Somerville clearly assumed her readers were better informed, if not in the same situation themselves. However, it was enough to know that the changes left both branches of the family in difficult circumstances, particularly with children to provide for. In the introduction to this book, Somerville wrote, "These vagrant memories do not pretend to regard themselves as biography, autobiography, as anything serious or valuable." She thought they would be valuable as "a record, however unworthy, of so rare and sunny a spirit as [Martin's], and also, perhaps, in the preservation of a phase of Irish life that is fast disappearing." Those are two of the main themes of the book, a tribute to Violet Martin, and an account of life in rural Ireland from the 1860s to 1917 (but not including the Rising the previous year). Somerville wrote about the collaboration with Martin in their books, starting with their first, An Irish Cousin, published in 1889. (Their families disapproved of this gothic story, which they referred to as "The Shocker.") As "Martin Ross," Violet Martin wrote for journals and newspapers long before she began working with her cousin. Edith Somerville, who studied art in Dusseldorf and Paris, found occasional work as an illustrator. As unmarried daughters, both also spent a lot of time at home, where riding and hunting were shared passions. There is a good deal about hunting in this book, and an entire chapter devoted to Somerville's favorite dogs. She took Anthony Trollope to task for writing with William Thackeray so many "odious women" in their books. I couldn't help wondering what she thought of his many hunting scenes (not to mention his Irish novels). I have read quite a few books set in Ireland, mostly 20th-century fiction. Reading this, I was immersed in a very different world. It felt more akin to the Ireland described in the journals of Elizabeth Grant, published as The Highland Lady in Ireland and The Highland Lady in Dublin, though Grant was writing in the 1840s and 1850s. I already have on the TBR stacks The Selected Letters of Somerville and Ross, as well as their second novel, The Real Charlotte. I learned from this book that they wrote two more travel accounts, one about a riding tour of Wales. I also discovered that both Somerville and Ross were ardent supporters of women's suffrage, as were their mothers. I hope to learn more about that work. As much as anything, this book is a tribute to Violet Martin. Edith Somerville greatly admired and loved her cousin, whose death left her bereft. I found her descriptions, her attempts to capture Martin's personality and spirit, very poignant, and occasionally over the top. There is more than a hint of hagiography here, but she never really brought Martin to life for me. Perhaps she was too close, or the loss was still too recent. I expect the letters to give me a clearer picture of Violet Martin, in her own words. Reading about their family's friendship with Maria Edgeworth has inspired me finally to try one of her novels. (I will confess that for the longest time I had her confused with Fanny Burney). It has also solved an enduring, nagging mystery. In Louisa May Alcott's Eight Cousins, Rose and Dr. Alec discuss Rosamund and her mother, "in that little affair of the purple jar." Rose tells her uncle, "I always want to shake that hateful woman, though she was a moral mamma." I've always wondered who the "moral mamma" was, so I jumped when I came across this line in the chapter called "Mainly Maria Edgeworth," about a book the author presented to the Chief Justice: the one "in which the unfortunate Rosamond is victimised by the dastardly fraud of the Purple Jar." E.O. Somerville and Louisa May Alcott clearly agreed on this particular story of Miss Edgeworth's. I will have to find a copy, now that I know where to look. N.B. The edition I read is an American one, published by Longmans in 1918. It has a sticker from "The Old Corner Book Store, Boston, Mass." inside the front cover, as well as an inscription, "Oliver Wolcott from S.W. June 1918." However, I'll be using the original 1917 publication date for my sadly-neglected Century of Books. Addendum: The Easter Rising was in 1916, not 1917 - I've corrected those dates. A short book on a long war The First World War, Michael Howard My branch library has a small exhibit up on the First World War, and there is a cart of "suggested reading" books next to the case. Reading Vera Brittain's Testament of Youth several years ago made me realize how much I have forgotten - or never learned in the first place - about the Great War. As is my wont, I quickly bought a couple of books to remedy that: Barbara Tuchman's classic The Guns of August and John Keegan's The First World War. As is also my wont, I added them to the TBR stacks and left them there, though I did get a few chapters into the Keegan book at some point. When I saw this short book of 154 pages, and read in the Foreword that it is "intended simply to introduce the vast subject of the First World War to those who know little or nothing about it," I decided it would be a better start for me. However short, I knew this wouldn't just be "WWI for Dummies," since it is from the Oxford University Press, the work of Sir Michael Howard, a professor at both Oxford and Yale. And I was right. The first chapter sets out the background of "Europe in 1914," covering the major powers, their alliances and continuing conflicts. The second explains "The Coming of War." The chapters that follow are divided by year, focusing on the major campaigns and briefly touching on the home-fronts of the major powers. The last chapters cover the Armistice and the 1919 peace conference. I found the narrative generally easy to follow, helped by the excellent maps showing both the Western and Eastern fronts. The sheer number of generals and other leaders was sometimes a bit confusing, though I only had to resort to the index once or twice.There are just a few illustrations, but they are well-chosen, particularly of the devastation of the battlefields. I learned a lot from this book, brief as it is, and I have ordered a copy for myself. It reminded me of things I had learned and forgotten, and it helped me make connections with things I already knew, from Vera Brittain and Dorothy Canfield Fisher and Helen Dore Boylston. I loved how it stretched my mind and made me think. I took as many notes on this book as I have on books three times its size. After reading it, I feel more ready to tackle those two books already on my shelves, as well as another (an unread book club choice) on the Paris peace conference. There is also a brief section on "Further Reading" to consider. It felt appropriate to be reading this on November 11th. I was also reminded as I read of how big a part the Great War plays in books I love, starting with Peter Wimsey. I took down The Unpleasantness at the Bellona Club last night, which opens on Remembrance Day, as Peter arrives for a quiet dinner hosted by Colonel Marchbanks for friends of his son, killed at Hill 60. The war shapes the story in Laurie King's Folly, in my opinion her best book, as well as the first two books of the Holmes-Russell series. And I am still discovering its place in Dorothy Canfield Fisher and Elizabeth von Arnim's books. Michael Howard, Death by drowning, in shallow water The Watersplash, Patricia Wentworth I have to be careful, or I will find myself binging on Patricia Wentworth's books - perhaps alternating with Emily Kimbrough's (if I were only doing the 20th Century of Books, I could knock out of couple of decades with their books alone). I've read several of the Miss Silver mysteries now, and I've enjoyed each of them, though not all to the same degree. I think this is my favorite so far. It was a recommendation from vicki at bibliolathas, in a comment on a post about cats in books. Her words "there is a wonderfully funny Crazy Cat Lady" were enough to send me searching for a copy of this book, and I'm so glad they did! This story, published in 1951, is set in the small village of Greenings. The residents there are pleasantly scandalized by the unexpected return of Edward Random, who has been missing for five years. His widowed stepmother Emmeline never gave up hope, but his uncle James did, making a will that left everything to his brother Arnold rather than his nephew. Now James is dead, Arnold has taken possession of the estate and the family home, the Hall, and he shows no signs of sharing the inheritance with his suddenly-resurrected nephew. Edward doesn't help matters by refusing to say where he has been for the past five years. Many in the village assume he was in prison for unspecified but obviously dark crimes. Edward's own father had nothing to leave his son or second wife. Emmeline lives in the estate's lodge, courtesy of James and now Arnold. She has filled it with cats and kittens, though "She would rather have been making believe that Edward's children were her own grandchildren . . ." Two newcomers arrive in the village shortly after Edward's return. Susan Wayne, whose Aunt Lucy lived in the village for many years, has been hired to catalogue the library at the Hall. She met Edward on her previous visits and is very glad to see him home again. Clarice Dean, a nurse who cared for James Random in his last illness, is even gladder. She had contacted the local doctor to ask if there are any patients who might need her services, as she would like to return to the area. Dr Croft recommended her to Miss Ora Blake, who "enjoyed ill health, and her nurses never stayed." As soon as Clarice meets Edward again, she begins a blatant pursuit. She is distracted from that, however, when a man is found is found drowned in the watersplash outside the village. On a visit to London, she meets Maud Silver, whom she knows by reputation, in a tea shop and confides her uneasiness over the man's death. Later Miss Silver decides to pay a visit to an old friend's daughter, now the wife of the Vicar of Greenings. I won't say anything more about the plot, to avoid spoilers, except to say that Patricia Wentworth led me down the garden path with this one. In the last of her books that I read, The Traveller Returns, Miss Silver had a rather passive role, consulting and advising. Here she takes a much more active role, and in fact she drives the denoeument of the mystery, over the objections of the police. I couldn't help thinking what a formidable team she and Miss Climpson would make. She also helps both Edward and his Uncle Arnold in moments of crisis, in part simply by listening to them and then giving them her advice. I've noticed throughout these books that people who ignore her advice usually come to regret it (if they survive to regret it). The cats and kittens in this book are great fun, though they are never allowed to take over the story as they have Emmeline's house. She and Susan are both lovely characters.** I couldn't help envying Susan her job, working through a library of old books. Well-read herself, she can't resist dipping into some of them. Susan spent a dusty morning finishing up the Victorian novelists. There seemed to be an incredible number of them. An entire set of Mrs. Henry Wood, including no less than three copies of the famous East Lynne. A notorious tear-jerker - but three copies! There were also sets of Charlotte M. Yonge, an author beloved by Susan's Aunt Lucy, and whose descriptions of vast Victorian families she herself had always found enthralling. There they were in their original editions, and obviously well-read. . . There was something tranquilizing about the ebb and flow of of these family histories, even when they dealt with such tragedies as this. I need to find a copy of East Lynne! And I am glad that I have built up some credits at Paperback Swap, because Patricia Wentworth's books are hard to find around here. I came across a copy of Spotlight at Half Price Books, and when the clerk scanned it, she told me that the aged paperback was $60. Fortunately, she was able to correct the price by 95%. I've requested a copy of The Ivory Dagger, because that case is mentioned several times in this book. **Possible mild spoiler: I can just picture how happy Emmeline will be with the ending of the story. I found it very satisfying myself. A memoir of family and politics Prison and Chocolate Cake, Nayantara Sahgal There are three of us - Lekha, older, myself, and Rita, younger than I. We grew up at a time when India was the stage for a great political drama, and we shall always remain a little dazzled by the performance we have seen. This is the story of its influence on our lives, and as such it may interest people whose childhood was different from ours. Our lives were as normal as our parents could make them, but because they themselves had chosen to play a part in that drama, we could never live in quite the same way other children did. We had a somewhat unusual background and, perhaps as the result of it, we have had some unusual opportunities. . . . Much of the atmosphere we knew as children is fast vanishing, for already Gandhiji's name is history and Anand Bhawan, our home in Allahabad, is a deserted house. I read about this book in Emily Kimbrough's Water, Water Everywhere. She described it as "one of the most delightful and sensitive books of the year before" [1954], an account of the author's "childhood in India and girlhood in America." She met Nayantara Sahgal in London, while staying at the Indian Embassy as the guest of her mother, the High Commissioner Vijaya Pandit. The book sounded interesting even before I learned that Mme. Pandit was the sister of Jawaharlal Nehru. Many years ago I studied Indian history in college, and while much of what I learned has faded, not the struggle for independence. As the niece of Jawaharlal Nehru, and the daughter of equally active parents, Nayantara Sahgal was at the center of that movement. Mrs. Sahgal began her account in 1943, when she and her older sister Lekha were preparing to sail on their own from India to the United States. Their younger sister Rita would remain in India. Her parents made the difficult decision to send them to America because "apart from the fact that the political situation was tense and not conducive to study, education at that time was surrounded by restrictions." They had to send their daughters alone because they were jailed for their part in the Congress Party's non-cooperation campaign during the Second World War (her father would die in prison the next year). The two older sisters sailed from Bombay on an American troop ship. Due to war-time security, the passengers were told nothing of the route. The sisters were surprised to learn they were sailing east, when "the only person whom our parents knew personally, and who was awaiting our arrival, lived in New York City..." They landed in California "without the slightest idea of what to do or where to go." Mrs. Sahgal then turned back to India, to write about her childhood and the events that had brought her with her sister to America. It seems like she was also trying to explain India to Americans. Many of the people she met had only the vaguest ideas of where India was, or what life was like there. Perhaps this was still true in 1954. She also wanted to explain the struggle for independence, and the role played by her family. We did not see Gandhiji often. To us, India's fight for freedom and all that it symbolized in the way of valor and idealism was represented by our uncle, Jawaharlal Nehru (whom we called Mamu), who had guided the political destiny of our family toward Gandhiji. It was Mamu, among the first to respond to Gandhiji's call when he came to India from South Africa in 1916, who influenced our grandfather, Motilal, to join his ranks. Their father, who came from the same area of western India as Gandhi himself, was another early member of his movement. Mrs. Sahgal wrote about their family's involvement, which meant frequent separations as her parents were arrested and imprisoned. But she also wrote about the life that went on around these interruptions, in the family's home in Allahabad, in the state of Uttar Pradesh, and on their country estate of Khali, in the northern mountains. Her parents were determined to make their daughters' childhood as happy and carefree as possible, despite the difficulties of their position. As Mrs. Sahgal admitted, "Certainly we were in no sense average, if one took the word to mean representative of the whole of India." Theirs was a life of privilege, and not just in a material sense. But on the other hand they grew up in the "Swadeshi movement" that encouraged simplicity of life and the rejection of foreign goods. They "grew up believing that ostentation in any form was out of keeping with the times and with our patriotism." There were also victories, as when her parents stood as Congress Party candidates in the 1936 elections, and both won seats in the state legislature. Her mother was then appointed Minister of Health for the state, "the first Indian woman to become a Cabinet minister. . ." Mrs. Sahgal wrote with admiration and love of the courage her parents showed, in sending their daughters to the United States. She and her sister also showed great courage, I thought, in coping not just with leaving their family behind, but also with the culture shock of life in the U.S. Describing their new experiences, she compared and contrasted them with her life in India. I enjoyed seeing America in the 1940s through her eyes. After graduating from Wellesley College, she returned to India, where she lived with her uncle while her mother was serving as Ambassador to the Soviet Union. The book ends with the assassination of Gandhi in 1948. "The curtain had rung down over a great drama, but another one was about to begin. Gandhi was dead, but his India would live on his children." This is the first memoir I have read by an Indian writer, let alone one so close to center of the independence movement. Mrs. Sahgal wrote that she "had not worked with Gandhiji, gone to prison at his call, or made any sacrifice for my country's sake." She was however involved in the movement, and very much aware of its impact on her family and on India. She suffered from the losses it brought. I saw some comments dismissing this book as a story of privilege, and overly-nostalgic. It is certainly not a hard-hitting political history of the independence movement, or the Congress Party, but I still found it insightful and informative. It does feel a bit disorganized, as the author moved back and forth in time, but she anticipated that criticism. In the Preface, she wrote, "If I write haphazardly, it is because I describe events as I remember them and not necessarily in the order in which they occurred. It is like putting together the pieces of a jigsaw puzzle." My other quibble is that large parts of the book consist of conversations. While Mrs. Sahgal was only 26 when she wrote it (and this does feel like a young person's book), I still question whether she could remember discussions from years past in such detail. In looking for information on the author and her family, I learned that she is also an award-winning novelist. I am hoping that her other books are available in the United States, at least through the libraries. Nayantara Sahgal Giving up on Pendennis - and maybe W.M. Thackeray, except for Vanity Fair I knew the title of Pendennis before I ever heard of William Makepeace Thackeray, because characters from other books read and talk about it. In Louisa May Alcott's An Old-Fashioned Girl, "One snowy Sunday afternoon Tom lay on the sofa in his favorite attitude, reading 'Pendennis' for the fourth time, and smoking like a chimney as he did so." I don't remember Alcott ever mentioning Thackeray by name, but at this point in the story Tom is an idle, expensive young man who is "sky-larking" his way through college. And he sits selfishly snug at home with book and cigar, rather than taking his little sister Maud to visit Polly. There is a parallel in his other sister Fanny, who stays indoors on a snowy day to curl up with Lady Audley's Secret. Given the context, I don't think Alcott approves of Pendennis or Lady Audley's Secret, but at least they aren't those dangerous "yellow-backed French novels" that tempt Rose Campbell and others. The book is also mentioned in Dorothy L. Sayers' Gaudy Night, where Miss Martin, the Dean, complains that the students "go about looking all bits and pieces, like illustrations out of Pendennis - so out of date of them! But their idea of modern is to imitate what male undergraduates were like half a century ago." There is a second, sly reference to the book in the old Professor Boniface, "ninety-seven and practically gaga," whom the Dean shepherds around one afternoon - Boniface being the college that the title character in Pendennis attends. The first book of Thackeray's that I read was Vanity Fair, and it just bowled me over. I assumed that it was the start of a literary love affair, and I began collecting his other books. I read The History of Henry Esmond first, partly to discover why Anthony Trollope thought it was "the best novel in the English language." I found it a bit of a slog, but I kept reading even after I accepted it was no Vanity Fair. It would never make my "Best" of anything list. Last week I started Pendennis, a chunkster of 977 pages in my Oxford World's Classics edition. It begins well, with the young man of the title, Arthur Pendennis, in love at age eighteen with an actress ten years his senior, and determined to marry her. His uncle and guardian Major Pendennis posts down to the west country to break up the affair, though it means leaving a social London life for weeks of rural boredom. The Major is a friend of wicked Lord Steyne, who also appears in Vanity Fair, and I found them both a lot more interesting than young Arthur. I persevered to page 412, but today I decided I didn't want to spend any more time on this book, even if it is a classic. I've never written a post before about a book I didn't finish, but I have been trying to figure out why these two books do not appeal to me, and whether Vanity Fair is an outlier among Thackeray's work. It is certainly not the length of his books that is the problem. I enjoy meandering Victorian narratives, with Trollope's at the head of the list. But there is an energy in his books, as in Dickens and Dumas, where these two books of Thackeray's just seem to drag. In part I think that's because the heroes are rather glum. They're active, getting into trouble, but boring. They don't seem to have much fun even in their scrapes. I finally admitted to myself today that I don't care enough about Pendennis to read any further. I think the bigger problem for me - in these two books - is the women characters. In both they are angels of the home, who sit passively by the fireside, waiting for their adored sons or brothers to come home, so they can coddle and worship them. When the heroes are absent, out getting into trouble, the mothers and sisters cry over them and pray for them. And they pinch pennies so the boys can have their horses and drinks and fine clothes. The narrator of Pendennis tells us at one point that women like these "were made for our comfort and delectation, gentlemen, - with the rest of the minor animals." With hindsight, that sentence was probably the beginning of the end for me. Trollope's women characters are generally bound by the social conventions, but they have so much more life, not simply as adjuncts of the male characters. And then there are the women who break the rules, in Rhoda Broughton and Margaret Oliphant's books, who may not always get a happy ending but who come to vivid life. So does Becky Sharp in Vanity Fair, for that matter. Other than Vanity Fair, I don't see much about Thackeray's novels in discussions or on blogs, compared to Trollope, Dickens or Wilkie Collins. Do people still read his other novels, I wonder? I have two more on the TBR shelves. Barry Lyndon is a shorter novel, about "an accomplished rogue - a liar, a gambler, a libertine." The Newcomes is another 1000-page doorstop, about "the fortunes and misfortunes of a 'most respectable' extended middle-class family." I will probably give them the 50-page test. Meanwhile, I'll be passing Pendennis and Henry Esmond on to the library sale. A catering job turns deadly Aunty Lee's Deadly Specials, Ovidia Yu This is the second mystery to feature Rosie "Aunty" Lee, a lady of a certain age who owns a café in Singapore, Aunty Lee's Delights. There she cooks traditional Peranakan dishes, while also experimenting with new foods and techniques. She is nearly as interested in crime as she in cooking. I read the first book, named for her café, earlier this year and enjoyed it very much (my review is here). When I saw that a sequel was coming out in the fall, I put my order in. I had hoped to review this for the R.I.P. Challenge, but a streaming cold last week left me too exhausted in the evenings to write coherently. The "deadly specials" of the title are a traditional dish called buah keluak, made from the seeds of kepayang tree, which I learned is a type of mangrove. The golf ball-sized seeds contain cyanide, as does the entire plant. But the seeds can be treated to removed the poison, in a complicated process that involves boiling and burying and digging up and soaking - essentially fermenting them. Once treated, they can be added whole to recipes, or made into a paste that is cooked within the seed's shell. Both the seeds and the dishes that use them take a lot of preparation, and there can be an element of risk if the seeds aren't properly treated. As the story opens, Aunty Lee has been hired to cater a brunch for the Sung family, to celebrate their daughter Sharon's new partnership in her mother's law firm. Mabel Sung has specifically ordered buah keluak, which Aunty Lee serves in a chicken curry. Mabel prepares a plate of food to take to her son Leonard, who has returned from the United States seriously ill, some say dying. She is clearly distracted, as are her daughter Sharon and husband Henry, a doctor. Aunty Lee overhears some interesting conversations among the guests, including another doctor, Edmond Yong, and a prayer group whose members have had special surgeries, cosmetic and rejuvenating, in private clinics. Then Mabel Sung and her son are found in his room, both dead, surrounded by buah keluak shells. As the caterer, Aunty Lee immediately comes under suspicion, though everyone else who ate her food is fine. The police close her café to look for evidence, even before a series of complaints are filed against her food by the Sungs and their prayer-group friends. Aunty Lee doesn't need the money from the café, but she does need the work and the busyness. With her assistant Nina, she begins to investigate the Sungs, asking questions about both the law firm and the prayer groups that Mabel ran. She wonders too about another death, that of a young man from China, who came to Singapore to sell one of his kidneys, part of a busy black market in organ trafficking. I thought this was a very interesting mystery, both for its setting and its story. In an interview I read, Ovidia Yu compared Aunty Lee to Lucy Eyelesbarrow, from Agatha Christie's 4.50 from Paddington. Here I thought she was more in the Miss Marple mode, deliberately playing a slightly-addled older lady who wanders around, asking questions and poking into things with Nina. Despite the accusations against her, she still has the police on her side, including Police Commissioner Raja and an officer from her local station, Senior Staff Sergeant Salim. They follow the letter of the law in shutting down her business, and then do everything they can on the side to help her. I have not yet been to any of Houston's Indonesian restaurants. I am tempted to see if they have buah keluak on their menus. According to one website I found, it is an acquired taste, "a rich, earthy, botanically bitter-yet-nutty flavour that’s almost reminiscent of a good single origin dark chocolate." (You can read more here, including a recipe.) Ovidia Yu includes a simpler version at the back of the book, a curry using candlenuts or macadamias. I have certainly acquired a taste for these books, and not to sound greedy, but I hope there will be more stories of Aunty Lee, Nina and the café to come. Ovidia Yu A tribute to a beloved partner, and a memoir of li... Giving up on Pendennis - and maybe W.M. Thackeray,...

文学

2017-09/0319/en_head.json.gz/18881

An unpredictable mix and match Tuesday 11th August 2015 Cramming together Auckland's creative community in the Basement Theatre for a mysterious five-day festival, the organisers wait tentatively for The Experiment to begin. Photo: Supplied When you try something out for the first time, you don’t always know what to expect. But even in its second year, this Auckland art festival is planning on being unpredictable. The Experiment is a five-night art carnival kicking off tonight. The Basement Theatre will be transformed into a hive of urban art with over 30 artists and installations including live music, street art, comedy, and dance. The event, which is true to its name, will be larger and slightly more structured than last year, says event organiser Karl Sheridan. “[Last year] it was something that people hadn’t seen before, which is why it’s called The Experiment, because no one really knew what was going to happen. “It was an experiment that could have gone either way. Some things worked, some things didn’t. It was about trying them out in the first place. It was about trying new collaborations and introducing the artists to crowds.” This year, hosted by production company Monster Valley, The Experiment marks the return of sculptors, hospitality, and public speaking in one space, and watching what unfolds along with their audience. “We’re consciously putting [different] people together hoping that something will happen,” says another event organiser, Taylor MacGregor. “It's exciting not knowing how it's all going to turn out.” Featuring a varied lineup, including Tourettes, Rackets, and Randa, this year’s festival will also include a special artistic performance by Chris Knox. MacGregor says one of the most exciting moments for him came when Knox confirmed his interest in The Experiment via a Facebook selfie. “[Having him involved] has been a dream come true,” MacGregor beams. As well as showcasing immersive art, this year Sheridan and MacGregor are also collaborating with Boosted and The Arts Foundation, hosting panel discussions and educating creative people about how to fund their careers. Boosted are also crowd-funding to donate directly to the artists involved. Auckland based musician Randa [Mainard Larkin] is excited to soak up the creative environment and see what Auckland’s creative community has to offer. “I think it’ll bring people together who will be friends, but might never have met if they hadn’t been at this festival. It’ll be cool to see what comes from that. What kind of relationships are formed,” Larkin says. “If you buy a ticket for the night, you’re not just going to see one thing. You're going to experience a whole range of things.” Performance artist Robin Gee will be returning to the festival again this year after being “blown away” by the last festival. “The venue was small, but it resulted in creative relationships with people. That intimacy was good.” Gee says that the five day duration provides enough time to build community and form relationships with other artists. “You talk about your work and what it’s about. You find the commonalities, you find the things that people are doing differently and you cross-pollinate each other's work. It’s quite an exciting thing to be able to do.” With almost 40 artists involved, and more than double the space, no one knows exactly how this year’s Experiment will operate, but that’s exactly how the Monster Valley duo like it. “I like that whole ethos of it being a really open platform for people to try stuff out on,” Sheridan says. “[It’s] about trying new collaborations and introducing the artists to crowds and that kind of thing.” Find out more about The Experiment here. Elizabeth Beattie Elizabeth is a journalist from Wellington currently living in Melbourne. She would appreciate it if you tweet her puns @Eliz_Beattie @Eliz_Beattie A few new tricks Emily Edrosa overcame writer's block and internet addiction ahead of making her new solo EP. Gallipoli's experiments Learning how to sing in a way that feels honest has taken years for Ron Gallipoli. Kick Out The Jams: Beatcomber Interviews and live sets from the New Zealand music underground. This week, we catch Beatcomber. Tom Scott's guide to Melbourne Home Brew's Tom Scott took a year to decide that his decision to move to Melbourne was the right one. Going the Others Way A new music festival showcasing local independent music is set to take over Auckland's Karangahape Rd tonight.

文学

2017-09/0319/en_head.json.gz/18891

New York: 19th-century Holy Land photos Yeshiva University Museum in New York has opened the first exhibition of 19th-century photographs of Israel by James Graham (1806-1869) and Mendel Diness (1827-1900). It will be open through April 6, 2008."Picturing Jerusalem" offers 70 rare prints of the Holy Land by Diness and Graham, and original items used by them. It features some of the earliest known images of the city.The exhibit is the result of a garage sale discovery in St. Paul, Minnesota. In 1989, an American photographer found old boxes of glass plate negatives, silver prints, ntoebooks and other materials. The last known showing of Graham's work was in 1862 in London, and this exhibit is an international traveling exhibit; the last stop will be the Israel Museum. A Scottish missionary, Graham was among the first Europeans to travel to the region under Ottoman rule in the 1850s. He documented landscapes, temples, tombs and other historic sites, and was one of the first photographers to live in Jerusalem.Graham's student, English-born Mendel John Diness, a former watchmaker, became the first Jewish photographer in Jerusalem. He later converted to Christianity, eventually settled in the U.S. and became a preacher. The exhibit includes unique albums by both men, photographs of historic sites, related paintings and prints, a camera lens, a wooden negative box and notebook. Images include the Dome of the Rock, the Temple Mount and Bethlehem's Church of the Nativity. The notebook holds Diness' handwritten notes (1853-1857, Jerusalem). A unique album of 87 Graham photographs was donated in 2005 to the Center for Jewish History and the Israel Museum by Katja B. Goldman and Michael W. Sonnenfeldt, as inspired by James Garfinkel, in honor of the Center for Jewish History's former executive director Peter A. Geffen. This album is jointly owned by the Center for Jewish History and the Israel Museum, Jerusalem. "Picturing Jerusalem" was organized by the Israel Museum, Jerusalem, and curated by Nissan N. Perez, senior curator of the Noel and Harriette Levine department of photography. The Yeshiva University Museum is located at the Center for Jewish History, 15 W. 16th St, in New York City.For more information, click here

文学

2017-09/0319/en_head.json.gz/18983

Culture » Events London museum celebrates Charlotte Bronte's 200th birthday Charlotte Brontë by George Richmond London - AFP Manuscripts, portraits and even a pair of cloth boots belonging to English author Charlotte Bronte went on display in London on Monday to celebrate the 200th anniversary of her birth. The small exhibition at the National Portrait Gallery, which runs until August 14, offers glimpses into the life of the novelist who lived between 1816 and 1855 and is best known for "Jane Eyre". It revolves around a famous portrait by her brother Branwell Bronte with Charlotte, her sisters Emily and Anne, and his own ghostly shadow in the middle. "We wanted to illustrate her literary career and success but also her home life which perhaps is lesser known to some of our public," Lucy Wood, an assistant curator at the National Portrait Gallery, told AFP. Through her private correspondence, her drawings and her journals, the exhibition invites visitors into Bronte's tragic personal life, marred by the deaths of her two older sisters and her own poor health. Charlotte, Emily, Anne and Branwell developed rich imaginations since early childhood, helping each other's spirits with poems, plays and novels. "We wanted to bring her life to life because we are the museum of biographies, the museum of people and she is one of the most important people in British literature," Wood said. "We wanted to capture her life and celebrate that. It's a celebration really." Egypt launches region's largest book fair amid economic crisis Fez 2nd International Gathering Explores Photography in Time of Crisis Egypt celebrates reopening of Museum of Islamic Art Morocco, Guest of Honour at Cairo International Book Fair Morocco Takes Part in Norwegian Travel Fair Al Ain’s diverse programme of cultural activities announced Bonne attends "French Day" at Sagesse Brasilia View News in Arabic - Culture: أحداث ثقافية

文学

2017-09/0319/en_head.json.gz/19002

Search HomeAbout AustraliaAustralian StoriesAustralian architecture Listen Australian Indigenous architecture Convicts and the British colonies in Australia European discovery and the colonisation of Australia Australian architecture Glenn Murcutt, Marika-Alderton house, Yirrkala Community, 1991-94. Photograph by Glenn Murcutt. Courtesy of the Pritzker Prize Jury Media Office 2002. Architects in Australia have created some of the most unusual and outstanding buildings in the world. Internationally recognised Australian icons include buildings like the Sydney Opera House (architect Jørn Utzon) and the new Parliament House in Canberra (architect Romaldo Giurgola). Distinctive Australian architecture is also recognisable in the rural icons of 'the Queenslander', the 'wool shed' and the 'beach house' which have developed in response to climate, history, place and identity. Characteristically, these designs used local materials as well as corrugated iron and emphasised space and light as well as a connection to the landscape. These classic qualities were often sacrificed in the development of the Australian suburbs where 85 per cent of Australians have lived since 1900. Australian architect and critic Robin Boyd once described the Australian suburbs as Australia's worst failing. Australian architects like Boyd and Roy Grounds have argued for the importance of modern Australian architecture as an expression of a local identity which balanced the ideals of art and architecture against local climate and social realities. Architecture ... one word ... countless possibilities. It can delight or disturb, change our lives, and finally outlive us .. So with a leap of faith, we put our trust in the mind of the architect.Australian Broadcasting Corporation, Program Transcript of episode 1 of Keeping the Faith Early public buildings Under the dome in the Great Hall, Royal Exhibition Building, Melbourne. Photograph by James Lauritz. Courtesy of Museum Victoria. Many of the first buildings in Australia were constructions associated with the immediate needs of the colonies. Port Arthur settlement and Point Puer (juvenile prison) were designed by the convict architect Henry Laing. The Round House in Fremantle, built in 1831 as a gaol, was the first permanent building in the colony of Western Australia. In Sydney, one of the first permanent buildings was Fort Phillip, built by Governor Phillip in 1804 in the area known as The Rocks. Both a military hospital (1815) [later Fort Street School (1850–1974)] and also the Sydney Observatory (1858) were later built on this site. Early public buildings were constructed around the importance of influencing community and civic identity. There was a sentimental attachment to the idea of public space with a city square ringed by great civic buildings 'to the glory of god and humanity'. In the founding of the first buildings in Australia, a duality of approaches existed: those which dominated the landscape and those designed to blend in. In 1789 Governor Arthur Phillip placed himself firmly in the first group when he wrote: ... there can be few things more pleasing than the contemplation of order and useful management arising gradually out of tumult and confusion ... by degrees, large spaces are opened, lands formed, lines marked, and a prospect at least of future regularity is clearly discerned. Convict architect Francis Greenway, from the second group, was responsible for the Macquarie Lighthouse on South Head, the forts at Dawes Point (blended into the folds of the landscape) and Bennelong Point (raised on platforms of local sandstone) as well as the large female factory at Parramatta, Hyde Park barracks, the District Courts and St Matthew's church, Windsor. Hyde Park Barracks is regarded as one of Greenway's best works, and was heritage listed in 2007. The Royal Exhibition Building was constructed in 1880 to house Australia's first international exhibition of cultural, technological, and industrial achievements. The design reflected Melbourne's position as a prosperous city basking in the wealth from the richest gold rush in the world. On 1 July 2004 it became the first building in Australia to achieve World Heritage listing. The Arts and Crafts movement Blackwood House. Image courtesy of the State Library of Victoria The English Arts and Crafts movement had an influence on the architecture of Australia, from the late 1800s, where the style of building was adapted to the Australian landscape and conditions. English Arts and Crafts houses in Australia feature strong lines and some subtle gothic touches with a high level of attention to detail. Several English Arts and Crafts style houses have been built in neighbourhoods around Canberra. Blackwood House in Melbourne was designed and built in an Arts and Crafts style by Butler and Ussher in 1891. Redleaf is a large house in Sydney, built in 1899 to an English Arts and Crafts style by Howard Joseland. After several alterations over the years that did not fit with the English Arts and Crafts style, it was restored to its original style and is now heritage listed. Maryborough Town Hall designed by Robin Dods. Image courtesy of the Maryborough City Council [amalgamated into the Fraser Coast Regional Council]. Australian Arts and Crafts churches Some Australian churches of the early 1900s also reflect the English Arts and Crafts style. These include the All Saints' Church, Tamrookum and the Maryborough Town Hall, both in Queensland and designed by the architect Robin Dods. Alexander North (1858–1945) was also influential in designing churches around Australia, particularly in Tasmania, such as St Stephen's Anglican Church in Wynyard. He developed an individual style similar to that of his English Arts and Crafts contemporaries and used native flora and fauna for many of his motifs. In Australia in the 1900s, the use of new materials and technology coincided with a flood of utopian ideas about what it meant to be modern. While physical function was seen as important, it also needed to be balanced by an emotional, spiritual and social sense, often influenced by the ideals of the Australian Arts and Crafts movement to reflect on something that was uniquely Australian. Australia's modern residential architecture also reflects this change with architects using new environmental materials and producing designs that address social needs. Residential architecture and discrete climates Sam Hood (1872-1953), Family with car & Queenslander house, 1920's. Courtesy of the State Library of New South Wales. PICMAN PXE 789 (v.10). Early Australian residential architecture was a response to the Australian landscape and the climate with its unique flora and fauna, intense sunlight and dappled shadows. Early buildings needed to respond to these discrete climatic elements. Queenslanders, beach houses and wool sheds The early houses of Queensland were characterised by broad verandas shaded by gracefully curved expanses of corrugated roofing iron, tall stumps, lattice, and roof ventilators. These qualities had the effect of cooling the house, allowing for breezeways, and allowed for the run off of tropical down pours. Shutters were also effective against the rages of cyclones. Constructions which had fully opening walls were often essential for cooling down the buildings. This was developed in early beach houses. Similarly the pitch of a roof varies according to the latitude and climate of the region. Overlapping layers of roofs are used so that air can move between the layers. Like lattice-work verandahs on 'the Queenslanders', slats can be found in many 'wool sheds' or 'shearing sheds' to prevent the sun heating up the building. In modern day constructions, slats are set at particular angles as screens for sun control allowing for entry of light in winter or cool seasons and excluding it in the heat of summer. Slatted floors used in wool sheds were also used as verandahs in tropical areas to encourage air flow. Modernist Australian architecture has also used these innovations for their design and practical appeal. They can be seen in sub-tropical and tropical Australia in northern New South Wales and throughout Queensland, the Northern Territory and the Kimberley. The Australian architect Glenn Murcutt has adopted all these practices 'in building houses that float above the land'—buildings which 'touch the earth lightly'. This phrase, an Aboriginal saying from Western Australia, is used by Glenn Murcutt to convey the idea that buildings should not disturb nature more than necessary. Murcutt was named the Pritzker Architecture Prize Laureate 2002, the only Australian to be so recognised. Federation houses, bungalows and post-war housing development Federation house in Cairns, 1914. Image courtesy of the State Library of Queensland: 196394. The ornate Federation house, built mainly between 1900 and 1914, was a sign of prosperity—an Australian version of the English Edwardian house. Federation houses were detached, with gardens, and with Australian motifs and a roof of terracotta tiles with detailed fretwork in the roof gables and windows. Many houses had a sunrise motif in the front gable as a sign of the dawning of a new century. Add-ons and renovations with heritage restraints were a constant experience of living in a federation house. By the First World War (1914–1918), there was a shortage of tradesmen and materials. The cost of houses had to be reduced, so the ceilings were lowered to create 'bungalows', houses which were built between 1915 and 1940. Gone was most of the detail, and a plainer style lead lighting was put into the front windows. Post-war housing (1950s and 1960s) could be made from anything, varying from either weatherboard, asbestos cement or brick veneer. Redevelopments were anything from three storey, walk-up flats to town houses, villas and dual occupancies. It was this development which the Australian architect and critic, Robin Boyd referred when he described the Australian suburbs as 'the ugliness of bad conscious design'. Structuring an Australian architecture? The desire for people to express their identity through a building is very powerful but understanding and describing who we are is never easy. Mainstream Australia has this problem of its own identity ... what, who are we? They desperately hold on to the English model of housing for example, and this fascination that they have, or obsession with this Federation. (Dillon Kombumerri, architect) Uluru - Kata Tjuta Cultural Centre. Courtesy of the Department of the Environment, Gregory Burgess, architect for the Kata Tjuta cultural centre at Uluru, described his design process as both listening and collecting stories from different Anangu people who each carried a different fragment of the same story and also 'listening to the wind in the casuarinas and ... the desert oaks'. This process continued until one of the elder men said, 'you've got all our stories now, we've rounded them up, got them in the yard for you, you're inside, now do it, draw it.' Burgess responded by building massive walls that linked the project parts and making all the walls from the sand at the site. ' The columns are small ephemeral shade structures, often made with an upturned desert oak trunk with the roots above.' You know, if we set out to design an architecture that's Australian we're in trouble ... The important thing is that we address the issues, we address the landscape, we address the brief, we address the place. If we address those things and do them rationally and poetically at the same time, we must be getting somewhere. (Murcutt) The history and scope of Australian identity can be seen in the range of its buildings—from both the austere and also grand regent style colonial architecture through the practical minimalism of Australian modernism to a post-colonial world which incorporates the Indigenous experience of country. This is reflected in the 2006 submissions from Australia to the Venice Biennale. These buildings range from 'industrial woolsheds to shipwreck lookouts, from riverside apartments to rural art spaces' - of different scales, types and uses. 'The projects were selected to highlight eight different aspects of our contemporary urban landscape and demonstrate creative architectural responses to Australian conditions.' Henry Laing – convict architect Francis Greenway Sydney Observatory Hyde Park barracks Colonial architectural history NSW Government Architects, Government architects since 1816 Australian Heritage Council Sydney Living Museums (Historic Houses Trust of NSW) Twentieth century architectural history The Twentieth Century Heritage Society of NSW Early construction and heritage properties: 1900-1930 History of a federation house Contemporary Australian architecture Architecture Media: incorporating Architecture Australia, Artichoke and Landscape Architecture Monument Magazine Pritzker Architecture Prize Laureate 2002 – Glenn Murcutt Australian Heritage Commission, Our House – histories of Australian homes Listen, look and play Sydney Living Museums, Learning resources, video and articles Royal Exhibition Building , video, 5 mins. Part of Australia's Heritage: National Treasures . National Film and Sound Archive.

文学

2017-09/0319/en_head.json.gz/19170

Memory Wall: Stories Anthony Doerr. (Winner of the 2010 Story Prize) Two prizewinning stories are included among the six tales of memory and meaning in this collection by Anthony Doerr. In the luminous and beautiful title story, which won the 2010 National Magazine Award for Fiction, a young boy in South Africa comes to possess an old woman's secret, a piece of the past with the power to redeem a life. In "The River Nemunas," a teenage orphan moves from Kansas to Lithuania to live with her grandfather, and discovers a world in which myth becomes real. And the O' Henry Prize winner "Village 113" is about the building of the Three Gorges Dam and the seed keeper who guards the history of a village soon to be submerged.

文学

2017-09/0319/en_head.json.gz/19187

‘Siegfried’ on the radio!!! For those so interested, the final San Francisco Opera Radio Broadcast of Siegfried will be Sunday, November 6 at 11:00 p.m. (EST), 10:00 p.m. (CST), and 8:00 p.m. (PST) on KDFC 90.3, San Francisco. Below is the link that will take you the “Listen Live” page for the live-stream internet broadcast. Please take a listen as ‘yours truly’ dispatches the role of Mime with as much aplomb as I can muster. I hope you have the time to enjoy this hard earned effort by myself, and all my wonderful colleagues, of the new Francesca Zambello staging of this Wagnerian epic classic!!! (Click on the link below!!!!) http://www.kdfc.com/Listen-Online-/5809385 Why the Lyric Opera of Chicago?? As I sit today (Saturday October 15) and listen to the 32nd annual Operathon on 98.7 WFMT here in Chicago (in between studying my Russian for our upcoming production of Boris Godunov), I am compelled to outline in writing something that I articulated earlier today in my “on-air” appearance. Why donate to the Lyric Opera of Chicago?? The answer it pretty simple, but it goes far beyond the operatic art-form: The Chicago Symphony Orchestra, The Lincoln Park Zoo, The Newberry Library, The Art Institute of Chicago, The Museum of Science and Industry, as well as other such organizations in the greater Chicago area are–by definition–cultural INSTITUTIONS in this great city. Therefore, by this designation alone, they have “withstood the test of time”. This is an important distinction to consider when deciding where to invest your extra dollars for the purposes of cultural development and expansion. With the current economic metric in place, it is important to know that your hard earned (disposable) income is helping to underwrite an organization that will be at your disposal to enjoy today, next week, next year, or a decade from now. My experience has been that the Lyric Opera of Chicago is disciplined both fiscally, and artistically. It regularly gives back to the community, and helps make Chicago one of the great cities of the world. While all the other aforementioned organizations deserve your attention–as they will no doubt vie for your dollars–; today is Lyric Opera of Chicago’s day in the bright, autumnal, fund-raising sun. I hope you will consider it worthy of your support… When Life Interrupts… (Opening night at Lyric Opera of Chicago, October 1 2011) Saturday October 1, 2011 will most certainly be remembered for many things in the annals of Chicago operatic history: It will have marked only the third time that the Lyric Opera of Chicago has mounted a production of The Tales of Hoffmann in some 35 years; it also marked the beginning of a new era in Lyric Opera history as a new General-Director (Anthony Freud) was passed the proverbial baton. It further heralded the continuing ascension of an old colleague of mine (Matthew Polenzani) with whom I began my career so long ago; and sparked the start of what might well be a fine future for a new colleague (Emily Fons). Furthermore, it celebrated the artistry of an operatic “old-shoe” (but Gucci or Prada for sure!!), in one James Morris, as well as continuing to welcome legendary soprano Renee Fleming to the artistic staff, as special consultant. Yes, there was something for everyone at the opening of Lyric Opera of Chicago’s 57th season–including an appearance by ‘yours truly’ for the 15th consecutive year. (For the record: The Lyric also greets a new interim Chorus Master, a new Wig & Make-Up Mistress, along with an assortment of new choristers.) It was originally to have been a new production, but resulted in a thirty-some-odd year old rejiggered import instead. This was hardly the auspicious beginning that incoming General-Director Anthony Freud may have hoped for, but ultimately this decision was not his to make, given the pace at which productions are chosen in the years preceding their mounting on the stage. But still, it is no exaggeration whatsoever to proclaim that a new chapter (or should I say a new ‘volume’) is being written at the Lyric Opera of Chicago. As City construction workers raced like mad to complete the new stretch of road that borders the entire opera complex (one enormous city block) for opening night, it seemed as though the limousines had been lining up for days–readying for the release of the well dressed Chicago elite who wait all year for the opening night festivities that include a 5:00 p.m. swanky cocktail party, an early performance curtain, free flowing non-stop champagne and hors d’oeuvres during intermissions, and–of course–the piece de resistance…the ever anticipated Opera Ball. Paparazzi, Glitterati, a Red Carpet, Long Gowns, Tuxedos, and a sumptuous classic ballroom at the Chicago Hilton and Towers, replete with the finest food and the most beautiful flowers imaginable, make for the perfect dream-night for the wealthy, the “see-and-must-be-seen-crowd”, and–oh yes, opera fanatics!! Even the most well connected, social event-weary regulars cannot help but gasp at what is surely the best show in town (The Ball, that is). It is truly something to behold…except “When Life Interrupts”… You see, we opera singers are part of the show! Not just on stage, but at The Ball too!! We are invited guests. In fact, we are the real stars of the evening, along with our spouses, dates, soul-mates, or significant others. We purposefully mingle with, and are seated amongst the biggest donors, board members, top administrators, et al; except “When Life Interrupts”… But instead of heading to the Opera House with my tuxedo pressed and ready for the post-performance party, and instead of walking into the building with my beautiful girlfriend donned in a glorious gown that she purchased in San Francisco months earlier, and green satin Louboutin shoes that she purchased in Paris; I walked in the backstage door alone–dressed in sweat pants and a sweater–and ambled to my dressing room in a state of exhaustion. This is what happens “When Life Interrupts”… At 4:30 a.m. Saturday October 1, my girlfriend awoke with the type of excruciating pain that sends the observer of that pain into abject terror. In moments, we were off to the hospital…no time to call 911…it’s just a matter of getting to the hospital ASAP…no time to wait for an ambulance, that’s for sure. The innocent vanity of the masses that would permeate the grand lobby of the Civic Opera House just hours later that same day does not exist in an Emergency Room; there are no wig and make-up rooms, only receiving rooms; no dressing rooms, just treatment cubicles where clothes are unceremoniously stripped off of you; no parade of Opera House Administrators tending to your needs/nerves or bolstering your confidence, just doctors and nurses moving in an endless scramble to deal with a steady flow of the suddenly ill or severely injured. With too many questions and not enough answers, we endure the Triage process; and then we wait what seems like an eternity before the intravenous pain medication makes its way through a willing vein and into the bloodstream. Long story short: Kidney Stones scuttled months of expectation and excitement for her, and relegated me to one of my most exhaustive on stage performances in years (as a result of spending 12 hours in the ER waiting for a diagnosis and a room). She lay in the hospital while I walked the two lonely, unremarkable blocks home amongst a giddy opening night crowd post performance. No one recognized me (no matter), and the night had turned a silvery cool as the breeze had increased; but at least I was finally home. There was no Ball, no recognition, no dinner, no dancing, no limousines, no champagne. All that remained was concern for my girlfriend’s well being, and the unmistakable perspective that is the residue of what is left in the wake of: “When Life Interrupts”… P.s. The stone passed after about 72 hours; life went on, and so will the next performance. As a friend wrote to me: “The Show Must Go On ‘pill’ is tough to swallow sometimes.” But as Hyman Roth said in The Godfather, Part II: “This is the business we’ve chosen”… Click here for David's Gallery

文学

2017-09/0319/en_head.json.gz/19220

HomeMedia Books & MagazinesJunior BookSplendour - Anna Godbersen Splendour - Anna Godbersen Paperback: 400 pages / Publisher: Puffin / Published: 7 Jan 2010 „ A good end to The Luxe but sorry to see it end! Splendour is the fourth and final novel in the Luxe series by Anna Godbersen. Set among the upper classes of New York at the turn of the twentieth century, it follows four young women as they make their first steps into an adult life, full of passion, heartbreak and backstabbing.In book number three, Envy, we saw Elizabeth Holland marry Snowdon Cairns to avoid disgrace; her sister Diana was determined to follow her love Henry Schoonmaker when he enlisted in the army to escape the wife he loathes, Penelope Hayes; and Carolina Broud finally got her dream of untold riches.The series, including Splendour, is very much about the characters. The setting, both time and place, is very important to the story, but although the time is perfectly evoked with descriptions of clothes and details of the strict social rules of the period, the setting of New York is underused. The city could be as much of a character as the people in a story like this, but a lot of the time it just happens to be the place where events are taking place.In Splendour, we finally get to see what will become of these four young women we have been following for four books. Although I was a bit underwhelmed by The Luxe, the first book in the series, I became steadily more attached to the girls, and more hooked on the story.Elizabeth was the dull one at first, but revealed hidden depths when she ran off to California with Will, the Holland family driver. Now in Splendour she is married to her father's friend Snowden Cairns, but although they are affectionate it is a marriage in name only. When Elizabeth finds a strange clue about her father's death, she finds herself in danger. However, although she is in a perilous situation and I wanted to find how things would turn out for her, Elizabeth's sections of Splendour were a bit dull, with not much happening. True to form, she had been a meek and dutiful woman and got herself a bit stuck.The other Holland sister, Diana, is a much more lively character. When the novel opens we find her in Cuba, on Henry's trail so they can be reunited. Diana has big dreams and cares little for the social constraints that her older sister lives her life by. Out of the four main characters, Diana was the one I cared about most; I really wanted her to get her happy ending, even if that meant she ended up with the rather pathetic Henry. Diana is the youngest of the four girls at seventeen years old in Splendour, and her youth combined with her positivity and determination make her a very engaging character.Penelope is the villain of the piece. She cajoled Henry into marrying her so she wouldn't reveal his romance with Diana, which had stepped far over the boundaries acceptable for a young woman of her class. But now that Penelope has Henry, she doesn't really want him - she just wants to be Mrs Schoonmaker. In Splendour her head is turned by a visiting European prince, and she begins to wonder if maybe she set her sights too low when she married Henry. Penelope has never been a likeable character; she is the kind of nasty person that makes you want to shout at the other characters so they are not taken in by her false charms. She has always been interesting though - always up to something, with at least one evil plot on the go at any given time. In Splendour however, she is bored. And as such is boring. Even once she meets the prince her sections of the book remain a little dull. The big question for fans of the series, however, is does she get her comeuppance? That would be far too much of a spoiler...Finally, Carolina who began the series as Elizabeth's maid is now very wealthy, and feels the world is at her feet. She even falls in love, and is loved in return. But Carolina has been telling lies about her background for a long time, and one thing which is clear through Splendour is that they are really piling up and starting to weigh very heavily on her. Although not quite in the realms of Penelope, Carolina is not a character that you want to root for. I found her personality to be a bit unpleasant from the beginning, and I have never wanted her to realise her dreams. On the other hand, Tristan resurfaces in Splendour, the rather unsavoury shop assistant who knows all Carolina's secrets, and set alongside him, Carolina comes across as eminently likeable. Tristan's presence meant that for the first time I wanted Carolina to get her happy ending, as it would mean he had lost.So, the endings. I'm certainly not going to say what happens, but I will say that there is one happy ending, and the other three are rather more ambiguous, more open. The reader is really left to come to their own conclusions as to what will happen to the characters. I wasn't happy with this open-ended conclusion when I finished the book, but as I reflect on it now, I am happy with how things ended. One ending in particular points to a happier future, as well as righting a wrong.Splendour is an enjoyable and fitting conclusion to a series I have enjoyed more with each book, and I am sorry that this is the last installment in The Luxe. Although aimed mainly at young adult readers, this series would be enjoyed by anyone looking for a light read. Comments The Scariest Thing of All - Debi Gliori My Spooky Activity and Sticker Book My Abc Sticker Activity Book The Littlest Dinosaur - Michael Foreman Even My Ears are Smiling - Michael Rosen

文学

2017-09/0319/en_head.json.gz/19222

Jolt Awards: The Best Books Andrew Binstock, October 01, 2013 Five notable books every serious programmer should read. 1 2 3 4 5 6 Next E-mail Jolt Awards: The Best Books As we do every year, Dr. Dobb's recognizes the best books of the last 12 months via the Jolt Awards — our cycle of awards given out every two months in one of six categories. Traditionally, no category gets more entrants than books, and this year was no exception with more than 40 nominees submitted by publishers, vendors, and readers. The award covers all books published during the twelve months ending June 30th of this year. Due to the large number of candidates, the Jolt judges did an initial triage pass that cut the field to a readable number of entrants. Then followed a second pass in which the top five picks were selected and ranked — after long deliberation and considerable discussion. As always, the book of the year receives the Jolt Award; the two runner-ups each receive a Jolt Productivity Award, and the remaining two books are known as Jolt Finalists. Reviews of these five volumes are included in this article. The judges for this category included Andrew Binstock, Robert del Rossi, Gary K. Evans, Roberto Galoppini, Larry O'Brien, Gary Pollice, Roland Racko, Mike Riley, Rick Wayne, and Alan Zeichick. Given the large number of judges, you can have high confidence that the award winners represent the very best of the available books for the 12-month contest period. We thank the Jolt sponsors, Rackspace, for providing virtual machines for the judges' use and Safari Books Online for enabling us to read most of these titles online in a format that presents technical information far better than do eBook readers. And now, to the winners, starting with the finalists… 1 2 3 4 5 6 Next INFO-LINK

文学

2017-09/0319/en_head.json.gz/19267

The Count of Monte Cristo (French: Le Comte de Monte-Cristo) is an adventure novel by Alexandre Dumas, père. It is often considered, along with The Three Musketeers, as Dumas' most popular work. It is also... Elinor and Marianne are two daughters of Mr. Dashwood by his second wife. They have a younger sister, Margaret, and an older half-brother named John. When their father dies, the family estate passes to John... Richard Connell "The Most Dangerous Game" features as its main character a big-game hunter from New York, who becomes shipwrecked on an isolated island in the Caribbean, and is hunted by a Russian aristocrat. The story is an... The Art of War (Dell'arte della guerra), is one of the lesser-read works of Florentine statesman and political philosopher Niccolò Machiavelli. The format of 'The Art of War' was in socratic dialogue. The purpose,... Wuthering Heights is Emily Brontë's only novel. It was first published in 1847 under the pseudonym Ellis Bell, and a posthumous second edition was edited by her sister Charlotte. The name of the novel comes... The rich landowner Sir Charles Baskerville is found dead in the park of his manor surrounded by the grim moor of Dartmoor, in the county of Devon. His death seems to have been caused by a heart attack, but the... Emma is a comic novel by Jane Austen, first published in December 1815, about the perils of misconstrued romance. The main character, Emma Woodhouse, is described in the opening paragraph as "handsome, clever,... Great Expectations is a novel by Charles Dickens first serialised in All the Year Round from 1 December 1860 to August 1861. It is regarded as one of his greatest and most sophisticated novels, and is one of... Oscar Wilde's story of a fashionable young man who sells his soul for eternal youth and beauty is one of his most popular works. Written in Wilde's characteristically dazzling manner, full of stinging epigrams... Twenty Thousand Leagues Under the Sea (French: Vingt mille lieues sous les mers) is a classic science fiction novel by French writer Jules Verne, published in 1870. It is about the fictional Captain Nemo and... Japanese Fairy Tales Yei Theodora Ozaki This collection of Japanese fairy tales is the outcome of a suggestion made to me indirectly through a friend by Mr. Andrew Lang. They have been translated from the modern version written by Sadanami Sanjin.... Tommy &Tuppence #1 Hiring themselves out as “young adventurers willing to do anything” is a smart move for Tommy and Tuppence. All Tuppence has to do is take an all-expenses-paid trip to Paris and pose as someone named Jane... The Casebook of Sherlock Holmes The last twelve stories written about Holmes and Watson, these tales reflect the disillusioned world of the 1920s in which they were written. Some of the sharpest turns of wit in English literature are contrasted... Moby-Dick is an 1851 novel by Herman Melville. The story tells the adventures of the wandering sailor Ishmael and his voyage on the whaling ship Pequod, commanded by Captain Ahab. Ishmael soon learns that Ahab... Lucius Apuleius The story follows Lucius, a young man of good birth, as he disports himself in the cities and along the roads of Thessaly. This is a wonderful tale abounding in lusty incident, curious adventure and bawdy wit. An Inquiry into the Nature and Causes of the Wealth of Nations Adam Smith's masterpiece, first published in 1776, is the foundation of modern economic thought and remains the single most important account of the rise of, and the principles behind, modern capitalism. Written... The Happy Prince and Other Tales (sometimes called The Happy Prince and Other Stories) is a collection of stories for children by Oscar Wilde first published in May 1888. It contains five stories, "The Happy... A Study in Scarlet is a detective mystery novel written by Sir Arthur Conan Doyle, which was first published in 1887. It is the first story to feature the character of Sherlock Holmes, who would later become... The Lost Girl James Tait Black Memorial Prize for Fiction 1920 Alvina Houghton, the daughter of a widowed Midlands draper, comes of age just as her father’s business is failing. In a desperate attempt to regain his fortune and secure his daughter’s proper upbringing,... To the Lighthouse (5 May 1927) is a novel by Virginia Woolf. A landmark novel of high modernism, the text, centering on the Ramsay family and their visits to the Isle of Skye in Scotland between 1910 and 1920,...

文学

2017-09/0319/en_head.json.gz/19268

It Can't Happen Here is a semi-satirical political novel by Sinclair Lewis published in 1935. It features newspaperman Doremus Jessup struggling against the fascist regime of President Berzelius "Buzz" Windrip,... Adventures of Huckleberry Finn (often shortened to Huck Finn) is a novel written by American humorist Mark Twain. It is commonly used and accounted as one of the first Great American Novels. It is also one of... Gulliver's Travels (1726, amended 1735), officially Travels into Several Remote Nations of the World, in Four Parts. By Lemuel Gulliver, First a Surgeon, and then a Captain of several Ships, is a novel by Jonathan... The Canterville Ghost is a popular 1887 novella by Oscar Wilde, widely adapted for the screen and stage. “The Canterville Ghost” is a parody featuring a dramatic spirit named Sir Simon and the United States... Supernatural Cre... 2 B R O 2 B 2 B R 0 2 B is a satiric short story that imagines life (and death) in a future world where aging has been “cured” and population control is mandated and administered by the government. Austen's "most wicked tale," Lady Susan is a short epistolary novel by Jane Austen, possibly written in 1794 but not published until 1871. Lady Susan is a selfish, attractive woman, who tries to trap the best... Password Incorrect Nick Name 25 short, sometimes funny and sometimes mean stories ideal to rediscover the joy of reading a book as shiny and beautiful as a brand new cell phone. A look from a distance at the absurdity of our present day... Miguel Cervantes Don Quixote, errant knight and sane madman, with the company of his faithful squire and wise fool, Sancho Panza, together roam the world and haunt readers' imaginations as they have for nearly four hundred years.... Flatland: A Romance of Many Dimensions Edwin Abbott Abbott Flatland: A Romance of Many Dimensions is an 1884 science fiction novella by the English schoolmaster Edwin Abbott Abbott. As a satire, Flatland offered pointed observations on the social hierarchy of Victorian... Juvenilia – Volume I Perhaps as early as 1787, Austen began to write poems, stories, and plays for her own and her family's amusement. Austen later compiled "fair copies" of these early works into three bound notebooks, now referred... Jerome Klapka Jerome Three Men in a Boat (To Say Nothing of the Dog), published in 1889, is a humorous account by Jerome K. Jerome of a boating holiday on the Thames between Kingston and Oxford. The book was initially intended to... Juvenilia – Volume II Perhaps as early as 1787, Austen began to write poems, stories, and plays for her own and her family's amusement. Austen later compiled "fair copies" these early works into three bound notebooks, now referred... My Man Jeeves P. G. Wodehouse My Man Jeeves is a collection of short stories by P. G. Wodehouse, first published in the UK in May 1919 by George Newnes. Of the eight stories in the collection, half feature the popular characters Jeeves and... A satiric masterpiece about the allure and peril of money, Our Mutual Friend revolves around the inheritance of a dust-heap where the rich throw their trash. When the body of John Harmon, the dust-heap’s expected... Juvenilia – Volume III A series of stories which each explore some individual aspect of life in a paralytically sleepy Central American town while each advancing some aspect of the larger plot and relating back one to another in a... Right Ho, Jeeves Right Ho, Jeeves is a novel by P. G. Wodehouse, the second full-length novel featuring the popular characters Jeeves and Bertie Wooster, after Thank You, Jeeves. It also features a host of other recurring Wodehouse... A Connecticut Yankee in King Arthur's Court This is the tale of a 19th-century citizen of Hartford, Connecticut who awakens to find himself inexplicably transported back in time to early medieval England at the time of the legendary King Arthur in AD... The Toys of Peace and Other Papers This is the last collection of short stories written by the witty British author, Hector Hugh Munro, better known by his pen names "Saki" or "H. H. Munro", compiled posthumously by his friend, Rothay Reynolds.... In this sardonic portrait of the up-and-coming middle class during the prosperous 1920s, Sinclair Lewis (1885-1951) perfectly captures the sound, the feel, and the attitudes of the generation that created the...

文学

2017-09/0319/en_head.json.gz/19461

HomeAbout JeanLittle DiscussionsA Little BlogLittle MomentsContact JeanSite MapSearch “This is a special book. Like a warm friendship, it makes one different.” -- Children's Book Review Service Main Menu The Sweetest one of all Monday, 14 July 2008 09:37 Jean Little’s most recent book, The Sweetest one of all, is a picture book for very young children and their parents. In it, barnyard animal babies ask their mothers who they are and each of them is told that he or she is the sweetest one of all. The book ends with a human mother telling her little one the same thing. And getting a loving hug in response. The playful text should continue to delight both children and adults even after many readings. The colourful illustrations by Marisol Sarrazin are endearing and filled with lively detail. Each will hold small readers spellbound. Jean Little Jean Little is recognized throughout Canada and the United States for her candid and unsentimental portrayals of adolescent life. Once a teacher of handicapped children, Little herself is only partially sighted, and she uses much of her real-life experience as the basis for her books. Read More Last Updated on Monday, 14 July 2008 19:21 His Banner over Me Novels Novel, Penguin, 1995, 207 PagesBased on the Jean's mother’s childhood. Winner of the IODE Violet Downie Award.For as long as she can remember, Flora Gauld has lived in Taiwan, but now her family is going home to Canada, a place she has only seen in pictures.At first she’s a bit intimidated by all the cousins she meets in Kippen, Ontario, but after a while she begins to feel at home. Then her parents explain that they must go back to Taiwan, where they work as missionaries. Flora will be left behind with her aunt and uncle, whom she hardly knows, in yet another town. She is given the special responsibility of looking after her younger brother, William—but who will look after her?With time, Flora is buoyed by the love of her Aunt Jen and her "adopted" family, but then the Great War begins, and Flora’s world is turned upside down.Based on the true story of Jean Little’s remarkable mother, His Banner over Me brings a distant time and place to vivid life. Add Comment (6) More Publications

文学

2017-09/0319/en_head.json.gz/19589

7 Questions For: Literary Agent Kim Lionetti Note: Kim is interested primarily in young adult fiction, not middle grade. After eight years at Berkley Publishing, Kim Lionetti left her position as Senior Editor to join BookEnds in March 2004. While there, Kim enjoyed overseeing an eclectic list comprised of romances, westerns, young adult, mysteries, nonfiction, and general fiction. While she's narrowed her focus a bit with the books she represents, she still enjoys using her editorial skills to help authors shape their work into more marketable products and helping them to see their writing as part of the "bigger picture." Kim's obsession with books began in middle school when she was introduced to her grandmother's collection of gothic romances by Phyllis Whitney, Victoria Holt, and Mary Stewart. To this day, Kim harbors a soft spot for dark, tortured heroes, but also enjoys a good romantic comedy. A member of AAR, Kim is looking for fresh voices and compelling storytelling. Originally from Pennsylvania, Kim currently resides in New Jersey with her son, daughter, cat, guinea pig, and very patient husband, who puts up with her crushes on Mr. Darcy, Eric Northman, blind dukes, and Ryan Gosling. You can follow Kim through Twitter at www.twitter.com/BookEndsKim. Kim's areas of interest are women's fiction, historical and contemporary romance, cozy mysteries, and young adult fiction (except fantasy or sci-fi). She'd love to be invited to speak at a SCBWI chapter meeting or conference. And now Kim Lionetti faces the 7 Questions: It’s just impossible to pick only 3! So I’m dreaming up 3 categories and my favorites in each… Favorite classics: JANE EYRE by Charlotte Bronte and anything Austen or Dickens (And not to cheat by jumping to the next question, but I also love any movie or mini-series adaptation of any of these! I think Johnny Lee Miller as Knightley is my favorite!) Nostalgic favorite: SNOWFIRE by Phyllis Whitney — It launched my love of all gothic romances, which I shared with my mother and grandmother. When I was in high school I wrote a letter to Phyllis Whitney and received a lovely response back. I still have that letter. More recent favorites: THE FIFTH WAVE by Rick Yancey, THE FAULT IN OUR STARS by John Green and ME BEFORE YOU by Jojo Moyes Question Six: What are your top three favorite movies and television shows? "The X-Files” — I’m so happy that Scully and Mulder are back (for now anyway)! I re-watched many, many of the old episodes in preparation for the new season and it just reminded me how brilliant it was. The way their relationship was written and acted is unparalleled. “Outlander” — So well done and unlike anything else on television. “Notorious” — The Alfred Hitchcock film with Cary Grant and Ingrid Bergman. I’m a sucker for almost anything Hitchcock and, well…. Cary Grant. Question Five: What are the qualities of your ideal client? Honest, hard-working, open-minded, determined, professional, communicative — and talented, obviously! Question Four: What sort of project(s) would you most like to receive a query for? Right now, I’m most eager to find a YA thriller that’s both suspenseful and emotional, and women’s fiction that’s both moving and romantic (ala Jojo Moyes). Question Three: What is your favorite thing about being an agent? What is your least favorite thing? My favorite thing is helping authors realize their dreams. I know that sounds corny, but it’s true. I recently made a first sale for a new YA client. I love her book so, so much. I was already on top of the world when I received the offer, but then when I was able to share the news with her, and listen to her reaction… it was awesome. I was literally jumping up and down and crying happy tears that day. Best feeling in the world. My least favorite thing is having to nag editors. I was an editor for over eight years so I know how busy they get, but now I understand the authors’ frustrations when waiting and waiting for answers. Now that I’m on the other side of the fence, I need to nudge — a lot — to get responses. I hate pestering, but it’s a necessary part of the job. Perseverance is probably the most important quality for any successful author. I think what some writers don’t understand is that you don’t have to just persevere until you get published. You have to be perseverant for the entirety of your career. If that third book doesn’t take off, then you have to be just as determined as you were before you received your first publishing contract. Be open-minded about how you’re going to build yourself a successful writing career. That doesn’t mean you have to be a “sell-out”, but maybe there’s more than one way to get to where you want to be. Don’t ever give up. But also, don’t ever think it’s going to be easy. Being a writer is never going to be an easy job. But as Phyllis Whitney wrote to me in her letter: “You write, because you HAVE to write.” And it may be a hard, hard road, but it can also be so very rewarding. Phyllis Whitney, but I’d want it to be a whole heavenly book club meeting. I’d want my mom there and my late grandmother too, since most of my gothic romance collection belonged to her first. My grandmother died when I was just 11 years old, but I still feel so connected to her when I hold those books in my hands. bookendsliterary.com 7 Questions For Literary Agents, Book Ends Literary Agency, Kim Lionetti, finnthefearlessFebruary 11, 2016 at 6:19 PMThanks for these interviews, Robert! They keep me motivated to write on.ReplyDeleteAdd commentLoad more...

文学

2017-09/0319/en_head.json.gz/19637

Learning How to Argue: An Interview with Ran Yunfei Ian Johnson Ian JohnsonRan Yunfei One of China’s most outspoken public intellectuals, Ran Yunfei was detained last year after calls went out for China to emulate the “Jasmine Revolution” protests sweeping North Africa. He was held without trial for six months until last August. Interestingly, prosecutors turned down police requests for Ran to be formally charged, sending the case back to police with requests for more evidence. When police failed to come up with more evidence, he was then held under house arrest until early February. Ran works for the government-run Sichuan Literature, where he writes often about classical Chinese. He is also the author of over a dozen scholarly books, including a meticulous history of a local temple, The Lungs of Old Sichuan: The Temple of Great Charity, which was released after he was detained last year. But it was his blogging—where he sometimes goes for the jugular, mixing humor and exaggeration—that got him into trouble. After anonymous calls were made on overseas exile Chinese websites for a Jasmine Revolution in China, Ran wrote China needed reform or would end up like the North African states that were then in turmoil. (He also has an account on Twitter (@ranyunfei) with 57,000 followers—viewable in China only with a VPN or proxy—and another blog on a permitted Chinese microblog, Sina Weibo with 70,000 followers.) Most recently, Ran, who is 47, has been concerned with freedom of expression and what he sees as a need for a change in the country’s moral education. Born in a rural county that is now part of the city-state of Chongqing, he is a member of the Tujia ethnic group, one of China’s 55 recognized minorities. I talked to him at his house in Chengdu, in the southwestern province of Sichuan, where he has lived since going there to study literature in the early 1980s. Ian Johnson: Since you were detained last year, the word on the street has been that police thought you were involved in the Jasmine Revolution here in China. Of course there was no revolution here—not even really a protest movement inspired by North Africa. So what were they worried about? Ran Yunfei: They’re worried about networks. But the thing is, I’m not someone who’s often in touch with others. They asked if I was in touch with Wang Juntao (the famous Tiananmen uprising leader) and other (leading dissidents). I said: none. I really am not in contact with anyone. I’m just me with my views. I think the guobao (State Security agents) eventually believed me but at first they couldn’t. They think everyone is linked up. What did you do in jail? Mostly I read. Books like the Bible are banned because they think it’s against the government. But they allowed me to read all the classical Chinese literature I wanted. What they didn’t realize is that classical Chinese also has some (subversive) ideas. But they can’t understand classical Chinese so they let me read what I wanted. It’s interesting that despite all these troubles you still have a job with a government-run publication. How can that be? Do the authorities see it, in effect, as a way of paying you off? No, the money is almost nothing and I rarely go to work. It’s a management technique. If something happens, then they don’t have to deal with you directly; they let your relationships and obligations put pressure on you. Let’s say you have a good boss, you like him and then he’s under pressure. They ask him to deal with you and then he asks you…well, what do you do? So they say, “Hey, what’s up with Ran?” Then they ask you and then chat with you about how [whatever you are doing] is going to hurt your boss and then you feel, well, do I want to hurt him? Can’t you just quit? No! They keep sending you your salary and saying you’re part of the system. I saw a statistic somewhere that apart from Beijing, Sichuan has more political dissidents than any region in China. Sichuan doesn’t have the largest population of a Chinese province and it’s not the poorest; nor is it, like Guangdong, near Hong Kong and the freer media there. So why is there so much going on here? It’s a lot of things. There is this teahouse culture here—you have these places where you can meet publicly. Not a lot of Chinese cities have these. Everywhere there are tea houses and people meet and talk. There are signs not to talk about national affairs but everyone does. And then there’s the paoge culture (the mafia-type associations that used to regulate daily life rather than official laws and rules). People are accustomed to thinking independently of the government. Also, we’re just far away from Beijing, separated by rivers and mountains. Even the guobao are different. They sometimes say, “I’m just doing this to have my rice to eat.” You’ve just written a book about a temple down the street, Dacisi (大慈寺) that has a vibrant tea house. Was it hard to get that book published? The Lungs of Old Sichuan: The Temple of Great Charity by Ran Yunfei I finished it last year before being detained and it was printed. But then after I was detained the publisher refused to release it. So I told this to the guobao and they said, “You are detained but you haven’t been convicted so you can publish. You’re not yet a criminal and you have the right to publish.” I said, “Hey, can’t you tell the publisher that?” They said, “No way, we can’t call up the publisher like we’re your agent or something. Anyway, we’ll frighten them to death! But you can tell them our views.” So I did and they published it but it’s not available on any online service. We had a press run of 5,000 and I’ve sold about 2,000. They sell it at the temple but only if you ask for it. It can be bought but it’s unavailable. It’s a beautifully produced book on the temple’s history, including what happened over the last few decades. Yes, I show how the monks were attacked after Liberation and declared Rightists. A monk as a Rightist! What nonsense. But that’s how it was. It’s all in there but I don’t go out of my way to rub the government’s nose in it. It’s just stated factually. That’s how I like to write books: factually and clearly. Why did you pick a Buddhist temple to write about? Are you a believer? Buddhism? Christianity? No, no, no. but I do have ties with Christianity. My wife is a Christian. I’ve been influenced by Christian thought through her and a friend who is a pastor of a local church. I’m not a believer but nor am I an atheist; I know the value of spirituality. I don’t deny the value. The communists really destroyed religion. They don’t understand it at all. Look at Tibet. I told the guobao that, “you guys have gone too far. You don’t allow them to hang pictures of the Dalai Lama. You don’t have faith so you don’t understand. So the Tibetans get very angry and depressed. And then you go into temples and instead hang pictures of Mao and Jiang (Zemin) or Hu (Jintao). You’ve gone overboard! This isn’t right. Think about it. No wonder they set themselves on fire.” So you’re not a person of faith but you seem to have a high view of religion. If this country wants to develop well it needs faith. It also needs NGOs. I’ve said that Chinese intellectuals don’t get NGOs. They think it’s “good people doing good work.” But this is wrong. NGOs are necessary in the same way that Churches are. The unregistered churches are public spaces. They’re maybe the only real public space in China right now. You’re working on a new book about education in China. What’s the link between belief and education? You have a society where the educational materials are all about loving the party—of course it leads to a spiritual crisis. Everything they teach you to admire is jiade (fake). Right now they’re pushing Lei Feng (the Communist hero who was a model of selflessness) again. But everyone knows that Lei Feng is made up. All of their model heroes are false: Wang Jie, Liu Wenxue, Lai Ning: fake fake fake. So when they teach morality their teaching tools are fake. Completely fake. After a while the students learn that Lei Feng is a fake. He existed but all the stories are made up. It’s destructive—it destroys everything you’ve been taught. You feel that nothing is real. How can they teach virtues? It’s impossible. The problem is they don’t have a bottom line. There is no bottom line in society. You find out that the things you’re supposed to admire the most are untrue. So it seems nothing is real. So the only way the party can succeed is by cheating you. That becomes their biggest success. That’s who you’re ruled by. How do you combat that? You have to learn how to argue. Too few public intellectuals in China have learned to argue logically. They don’t know how and end up cursing each other all the time. Like Ai Weiwei? Old Ai reacts excessively. Like that guy from Global Times (a nationalistic newspaper that criticized the famous artist). The editor called Ai names, but then Ai put a recording of his telephone conversation online. That’s just not right. You can call me names but it doesn’t give me the right to disclose private conversations. This country makes you angry but you should be angry at the government or the system. Don’t destroy your own standards. To defend freedom you can’t use methods that destroy freedom. The main point of most discussions in China is to make someone so angry: “Hahaha, I’ve got you, take that!” “[I] Tweak your nose, spit in your face. Na na na na na!” That’s an argument? No. So how does your new book fit into this? I’m collecting material for a book on education in China. Those two black wooden cabinets are filled with teaching material. There’s stuff from the Qing, from the Republican era, from after 1949. I have materials from universities, elementary schools, the military, Buddhist schools, prisons, peasant literacy campaigns—a lot, a lot. I’m going to write a two-volume book. You can see how (approaches to education) changed from the KMT to the CCP and how they didn’t change. My research is based on statistics and qualitative analysis—for example, how much one word changes versus another in teaching materials. What are some things you’ve noticed? Let me give you an example of the problem first: the discussion about the Nanjing Massacre. Right now the government says 300,000 (were killed) and the Japanese say the number is much lower. Some Japanese even claim it wasn’t a massacre. They say, “Okay, if it was a massacre show us the list of the dead. Where’s your list of 300,000?” The government can’t provide this, not even 10 percent of it. Why? Because Chinese governments don’t value an individual life. It’s true. After 70 years they’ve only accounted for 10,000. That’s because they don’t care about individuals. Just the other day the Ministry of Foreign Affairs issued a statement. It said the Nanjing Massacre can’t be discussed; it happened. You can’t discuss it! That’s ridiculous. They could say, “According to the Tokyo War Crimes Tribunal, the Nanjing Massacre was declared to have been a crime. Legally it’s been discussed and exists. So you can’t deny its existence. You can discuss it on an academic level but legally it’s a fact.” That’s how they should counter these Japanese deniers. They should say, “Your officials shouldn’t be denying facts that are legally established by international forum.” That would be the way to handle it. It would be restrained but firm. Instead they say: don’t discuss it. It’s forbidden to discuss it. But you should be able to discuss how many died. They don’t care. And how does this relate to teaching? So in the teaching materials you see this. You can see how the Communists tried to use history for its own purposes. The Kuomintang did this too. Both are in favor of aggrandizing the role of the state. Neither talked about individuals or rights. Everyone was instrumentalized for the state. Over the past century, most textbooks pushed nationalism. But of the two, the Communist Party has twisted history more. They push on the one hand patriotism and on the other how foreigners damaged and invaded China. The idea is to create a sense of anger and shame that only can be solved by the party. People are saying that this year might be a year of reform. The leadership will change in the autumn and there seems to be more recognition about the need for reform in official thinking. There was a widely read People’s Daily editorial last week calling for more reform. I saw it but you have to understand that People’s Daily always has some articles like this to give intellectuals false hope. They are talking about reform. Even Global Times talks about it. They see there are problems but I’m doubtful it will lead to political reforms. Maybe some more economic reforms. The good news is that blogging and the Internet have damaged the CCP’s monopoly on information. So change is happening slowly, from the grassroots. But the damage of years of living under this system is profound. You, as a foreigner, can live here and learn to use chopsticks and learn Chinese perfectly but you might not know how Chinese people think, especially in sensitive areas. If you ask ordinary people about a sensitive thing, how they react is different than how you’ll react. It’s hard for you to imagine their sense of fear. You might be expelled but it’s not like being here. The system of language has to be analyzed. The CCP created a parallel language system (of untruth) that is on an equal basis with the language of truth. You have to analyze what it’s like to grow up in this kind of an unfree country. This is the only way to really know this country. Can education fix these problems? If I could change two things it would be freedom of expression and to make education more neutral. If we could have those two, China would have a huge change. Before 1949 there was considerable freedom of expression and much better education. There were private universities and religious universities. That’s because the Kuomintang was much less controlling than the Communist Party. Academics in the Republican period were much better—both specialists and public intellectuals. Nowadays the specialist academics publish rubbish and the public intellectuals aren’t public. This is why academics are so looked down upon by ordinary people. That’s why they’re called “barbarian teachers” (教兽 ). You think about it. The Japanese can still deny the Nanjing Massacre because intellectuals in China just work for the government. They’re political. The truth is that the standard work on the Nanjing Massacre was done by a Japanese intellectual, Kasahara Tokushi, not a Chinese. What Chinese has published anything of value on the Nanjing Massacre? I said this yesterday on (the microblog) Weibo: “Hey you intellectuals, the Japanese have done the only worthwhile work on the Nanjing Massacre and you still dare to call yourself patriotic?” And everyone cursed you? Yeah! They say I’m a running dog of the Americans. But I’m just my own running dog. —Ian Johnson previously interviewed Chang Ping, Liao Yiwu and Yang Jisheng for the NYRblog.

文学

2017-09/0319/en_head.json.gz/19641

The Eyes Tell by Lisa Chauke Transfers: PDF 6680 ePub 1366 Kindle 250 Romance sponsored links: After having her fair share of heartbreaks a man came along and promised her all the love in the world, but Tiara was afraid to love or trust any man again. Little did she know that she would find herself in a situation she had never thought possible. Also by Lise Chauke on obooko: The alarm clock rang constantly at the crack of dawn Tiara rose from her bed and switched it off, it was time for her to take a bath and get ready to go to school. She was a twenty year old girl who was fortunate to have both her parents, her mother was a lawyer and her father a businessman. Her father Jack Daniels was away on a business trip, it had now been five days since his departure and she was missing him. Home didn't feel like home without him. Tiara dashed to school, she had two friends there Karin and Maya between these two her favorite was Karin. Maya was aware of that and it sometimes bothered her, “but it's only natural to have a favorite”, those were the words Tiara often used to justify her favoritism. As soon as her classes’ ended Tiara drove to Carlito’s where she worked as a waitress, she was not a girl you could call poor or rich. She came from an averaged family in terms of wealth; she was not a spoiled brat and she believed in working hard to get the cream. At Carlito’s she worked with a young man named Dylan Smith, she knew he had an eye for her but he was just too shy to make a move. Dylan had a muscular body which could be recognized from afar, he was tall and handsome, a hard worker and a friendly person, he seemed to be everything a lady like Tiara would want in a man. Tiara herself was a beautiful young woman and every man’s desire; she lit up the room whenever she walked in, turning heads. Her beautiful brown eyes, her long blonde hair and her curvaceous body was enough to make any man drool. One day after work Dylan asked her for a lift. “Tia I was wondering if you could drop me off at Sizzle shop? I know it’s a walk able distance but I’m in a hurry”, he requested. “Well are you going to keep wondering or you will ask? I’m just kidding jump in I will be glad to help”, she replied. They were both quiet till they reached Sizzle shop, “well here you are”, she uttered as she stopped her car in front of the shop. He got out of the car and went to stand by the driver’s window. “Thanks a lot Tiara”, “It’s my pleasure I’m glad I was able to help”. When she was about to start her car and drive away, Dylan spoke, “listen! I’ve always wanted to ask if you… eer...well would you...” Tiara was quiet enjoying watching Dylan sweat on his own. “Okay let me just ask it this way, do you want to go watch a movie with me tomorrow?” Dylan scratched his head. Tiara smiled, finally the day she had been waiting for had come, she got lost in her mind as she thought of what she was going to wear and imagining him in a seat next to hers for hours. She completely forgot that he was waiting for her to give him a reply, hearing him clear his throat made her snap back to reality.

文学

2017-09/0319/en_head.json.gz/19665

Brockton-born novelist John Stover dies at 62 Brockton-born author John Stover, whose work mirrored his life, died last week. Staff Reporter John Stover, a Brockton-born author of six published novels, died last Saturday at his home in Los Angeles, said his daughter Kaitlyn Stover. He would have been 63 on June 1. Stover came back to Easton last July to read and sign books at Oak Ames Memorial Hall. He often wrote about his own life and presented his newest novel, “Love Rescue me/Love in a Mission.” The novel is based on the character Jack St. Clair and tracks him for 40 years. During that time St. Clair works in the fashion industry, becomes an AIDS activist, and lives in a Los Angeles mission. The tale is based on Stover’s own life. He also recovered in a mission after an accident broke his neck. Stover died of natural causes. He is survived by his daughter Kaitlyn Stover and five siblings: Janet Sylvester of Lakeville, James Stover of Brockton, Joyce Wallace of Plymouth, Jill Pond of Riverside, RI and Jeanne Sweet of Portland, ME. Services will be held at Oakes Ames Memorial Hall in Easton on Saturday, May 17th at 4 p.m.

文学

2017-09/0319/en_head.json.gz/19817

Narrative mode From Spanking Art The narrative mode (also known as the mode of narration) is the attribute of a literary, theatrical, cinematic, or musical piece which describes the method used by the author(s) to convey their story to the audience. It encompasses several overlapping areas of concern, most importantly narrative point of view (also known as viewpoint), which determines the person whose the story is viewed through, and narrative voice, which determines how it is expressed to the audience. The person whose point of view is used to relate the story is regarded as the "narrator," a character developed by the author for the specific purpose of conveying the story. The narrative point-of-view is meant to be the related experience of the character of this narrator — not that of the actual author (although, in some cases, especially in non-fiction, it is possible for the narrator and author to be the same person). In fiction, authors often do not inject their own voices, as this challenges the suspension of disbelief. Texts encourage the reader to identify with the narrator, not with the author. Literary narration can occur from the first-person, second-person, or third-person point of view. In a novel, the first person is commonly used: "I saw, We did,", etc. In an encyclopedia or textbook narrators often work in the third-person: "that happened, the king died", etc. For additional vagueness, imprecision, and detachment, some writers employ the passive voice: "it is said that the president was compelled to be heard...". The narrative mode encompasses not only who tells the story, but also how the story is described or expressed, for example by using stream of consciousness or unreliable narration. The ability to use points of view effectively provides one measure of someone's writing ability. The writing mark schemes used for National Curriculum assessments in England reflect this: they encourage the awarding of marks for the use of viewpoint as part of a wider judgment regarding the composition and effect of the text. 1 First-person narrative mode 2 Second-person narrative mode 3 Third-person narrative mode 3.1 Third-person, subjective 3.2 Third-person, objective 3.3 Third-person, omniscient 4 Other narrative modes 4.1 Multiple-person narrative mode 4.2 Stream-of-consciousness narrative mode 4.3 Unreliable narrative mode 4.4 Epistolary narrative mode 5 Other uses of narrative modes 5.1 Changing points of view within the story 6 Narration as a fiction-writing mode 6.1 Use of point of view in other creative media First-person narrative mode[edit] Main article: First-person narrative The first-person narrative mode is expressed through the narrator referring to the focal character as "I", if singular, and "we", if plural. In most first-person narratives, there is usually some third-person voice as well. First-person always uses "I" or "we." The first-person point of view sacrifices omniscience and omnipresence for a greater intimacy with one character in particular: the narrator him-/herself. In this case, the narrator is also a character who is part of the story, sometimes even the main character. First-person allows the audience to see what this one focal character is thinking; it also allows that character to be further developed through his/her own style in telling the story. First-person narrations may be told like third person ones; on the other hand, the narrator may be conscious of telling the story to a given audience, perhaps at a given place and time, for a given reason. In extreme cases, the first-person narration may be told as a story within a story, with the narrator appearing as a character in the story. First-person narration is used somewhat frequently. In a first-person narrative, the narrator is always a character within his/her own story. This character takes actions, makes judgments and has opinions and biases, therefore, not always allowing the audience to be able to comprehend as well some of the other character's thoughts, feelings, or understandings as much as this one character. In this case, the narrator gives and withholds information based on his/her own viewing of events. It is an important task for the reader to determine as much as possible about the character of the narrator in order to decide what "really" happens. I could picture it. I have a rotten habit of picturing the bedroom scenes of my friends. We went out to the Cafe Napolitain to have an aperitif and watch the evening crowd on the Boulevard. ” — from The Sun Also Rises by Ernest Hemingway, The narrator is protagonist Jake Barnes. In very rare cases, stories are told in first person plural, that is, using "we" rather than "I". Examples are the short stories "Twenty-Six Men and a Girl" by Maxim Gorky and "A Rose for Emily" by William Faulkner, the novella "Anthem" by Ayn Rand, and the novels The Virgin Suicides by Jeffrey Eugenides, During the Reign of the Queen of Persia by Joan Chase, Our Kind by Kate Walbert, I, Robot by Isaac Asimov, and Then We Came to the End by Joshua Ferris.[1] The narrator can be the protagonist (e.g., Gulliver in Gulliver's Travels), someone very close to him who is privy to his thoughts and actions (Dr. Watson in Sherlock Holmes), or an ancillary character who has little to do with the action of the story (the character Nick Carraway in The Great Gatsby). A narrator can even be a character relating the story second-hand, such as Lockwood in Wuthering Heights. The first person narrator is the type most obviously distinct from the author. It is a character in the work, who must follow all of the rules of being a character, even during its duties as narrator. For it to know anything, it must experience it with its senses, or be told about it. It can interject its own thoughts and opinions, but not those of any other character, unless clearly told about those thoughts. In autobiographical fiction, the first person narrator is the character of the author (with varying degrees of accuracy). The narrator is still distinct from the author and must behave like any other character and any other first person narrator. Examples of this kind of narrator include Jim Carroll in The Basketball Diaries and Kurt Vonnegut in Timequake (in this case, the first-person narrator is also the author). In some cases, the narrator is writing a book — "the book in your hands" — therefore it has most of the powers and knowledge of the author. A good example of this style is The Name of the Rose. Second-person narrative mode[edit] Main article: Second-person narrative Probably the rarest mode is the second-person narrative mode, in which the narrator refers to the focal character(s) as "you", therefore making the audience feel as if they are characters within the story. Because of this, second-person pieces often have an accusative nature with the narrator often condemning or expressing powerful emotions directly at the person whom they are referring to. A small number of novels have been written in the second-person, frequently paired with the present tense. A relatively prominent example is Jay McInerney's Bright Lights, Big City, where the central character is clearly modeled on himself, and he seems to have decided that second-person point of view would create even more intimacy than first-person, creating the feeling that the reader is blind, in a sense, and the plot is leading him along. Another example is Damage by A.M. Jenkins, in which the second-person is used to show how distant the depressed main character has become from himself. The second person format has been used in at least a few popular novels, most notably Italo Calvino's If on a winter's night a traveler, and Tom Robbins's Half Asleep in Frog Pajamas as well as many short stories. When done well, the readers imagine themselves within the action, which can be used to place them in different situations, for example in Iain Banks' novel Complicity, where the chapters that deal with the actions of a murderer are in the second person. It is almost universally agreed that second-person narration is hard to manage, especially in a serious work. Other examples of second-person narrative are the Choose Your Own Adventure children's books, in which the reader actually makes decisions and jumps around the book accordingly; most interactive fiction; and different chapters from many novels written by Chuck Palahniuk, like his novel Diary. An even rarer, but stylish version of second person narration takes the form of a series of imperative statements with the implied subject "you", as in this example from: Decide that you like college life. In your dorm you meet many nice people. Some are smarter than you. And some, you notice, are dumber than you. You will continue, unfortunately, to view the world in exactly these terms for the rest of your life. ” — Lorrie Moore's, "How to Become a Writer" Third-person narrative mode[edit] There are a variety of third-person modes of narration, as they make up the most commonly used viewpoint. In every third-person narrative mode, the focal character is always referred to as "he", "she", "it", or "they", but never as "I" or "we" (first-person), or "you" (second-person). Although they all focus on some character's experiences, the third-person modes are usually categorized into "subjective" (focused on specific characters' thoughts), "objective" (focused on no one character's thoughts), or "omniscient" (focused on the implicit thoughts of the narrator who may or may not be a character in his/her own story): Third-person, subjective[edit] The third-person subjective is when the narrator is not an involved character in the story and is therefore able to convey what thoughts, feelings, opinions, etc. are occurring in the minds of one or more characters. If the perspective is seen through the mind of just a single character, this point of view can be referred to as the third-person limited, because the audience is "limited" to the thoughts of just one character, much like a detached variant of the first-person mode. This style became the most popular narrative perspective during the twentieth century. Third-person subjective is sometimes called the "over the shoulder" perspective; it shows the story as though the narrator could only describe events that could be perceived by a viewpoint character. It can be used very objectively, showing what is actually happening without the filter of the protagonist's personality, thus allowing the author to reveal information that the protagonist doesn't know or realize. However, some authors use an even narrower and more subjective perspective, as though the viewpoint character were narrating the story; this is dramatically very similar to the first person, allowing in-depth revelation of the protagonist's personality, but uses third-person grammar. Some writers will shift perspective from one viewpoint character to another. The focal character's thoughts are revealed through the narrator. The reader learns the events of the narrative through the perceptions of the chosen character. Third-person uses pronouns such as "he", "she", "they", "them", "him", "her", "their", "herself", "himself", etc. to describe the focal character(s). Third-person, objective[edit] The third-person objective perspective tells a story without detailing any characters' thoughts, opinions, or feelings, but instead gives an objective point of view. This point of view can be described as "a fly on the wall" or "the lens of a camera" that can only record the observable actions, but cannot relay what thoughts are going through the minds of the characters. The third-person objective is preferred in most pieces that are deliberately trying to take a neutral or unbiased view, like in many newspaper articles. It is also called the third-person dramatic, because the narrator (like the audience of a drama) is neutral toward the plot — merely a commentating onlooker. Third-person, omniscient[edit] Main article: Third-person omniscient narrative Historically, the third-person omniscient perspective has been the most common, and is seen for example in the works of Jane Austen, Leo Tolstoy, or George Eliot. This is a tale told from the point of view of a storyteller who plays no part in the story but knows all the facts, including the characters' thoughts. The primary advantage is that this mode injects the narrator's own perspective and reputation into the story, creating a greater sense of objectivity for the plot. The third-person omniscient narrator is usually the most reliable narrator; however, the omniscient narrator may offer judgments and express opinions on the behavior of the characters. The disadvantage of this mode is that it creates more distance between the audience and the story, and that no specific characters are emphasized, perhaps belittling the human thoughts and actions of the characters. A variation of the third-person omniscient is where the narrator is a character in the story; a small amount of the story might be then told in first person or even in the second person in which the narrator briefly addresses the audience. Third-person omniscient tends to be the most lenient about the variety of which character's perspectives to use; in addition, the narrator's own perspective or attitude can sometimes be inferred from the way in which he/she tells the story. Some make the distinction between the third-person omniscient and the universal omniscient, the difference being that in universal omniscient, the narrator reveals information that the characters do not have. This is also called "Little Did He Know" writing as in "Little did he know he'd be dead by morning". Usually, the universal omniscient enforces the idea of the narrator being unconnected to the events of the story. Some more modern examples are Lemony Snicket and Philip Pullman. In some unusual cases, the reliability and impartiality of the narrator may in fact be as suspect as in the third person limited. Other narrative modes[edit] Multiple-person narrative mode[edit] Not too rare is the multiple person narrative mode. Many stories, especially in literature, alternate between the first and third person. In this case, an author will move back and forth between a more omniscient third-person narrator to a more personal first-person narrator. Often, a narrator using the first person will try to be more objective by also employing the third person for important action scenes, especially those in which he/she is not directly involved or in scenes where he/she is not present to have viewed the events in first person. Sometimes, an author will use multiple narrators, usually all of them storytelling in the first person. In stories in which it is important to get different characters' views on a single matter, such as in mystery novels, multiple narrators may be developed. The use of multiple narrators also helps describe separate events that occur at the same time in different locations. Stream-of-consciousness narrative mode[edit] Main article: Stream of consciousness (narrative mode) A stream of consciousness gives the (almost always first-person) narrator's perspective by attempting to replicate the thought processes (as opposed to simply the actions and spoken words) of the narrative character. Often, interior monologues and inner desires or motivations, as well as pieces of incomplete thoughts, are expressed to the audience (but not necessarily to other characters). Examples include the multiple narrators' feelings in William Faulkner's The Sound and the Fury, the character Offred's often fragmented thoughts in Margaret Atwood's The Handmaid's Tale, and the development of the narrator's nightmarish experience in Queen's hit song, Bohemian Rhapsody. Unreliable narrative mode[edit] Main article: Unreliable narrator The unreliable narrative mode involves the use of an uncredible or untrustworthy narrator. This mode may be employed to give the audience a deliberate sense of disbelief in the story or a level of suspicion or mystery as to what information is supposed to be true and what is false. This unreliability is often developed by the author to demonstrate that the narrator is psychologically unstable; has an enormous bias; is unknowledgeable, ignorant, or childish; or, is purposefully trying to deceive the audience. Unreliable narrators are usually first-person narrators. However, when a third-person narrator is considered unreliable for any reason, his or her viewpoint may be termed "third-person subjective." A naive narrator is one who is so ignorant and inexperienced that he/she actually exposes the faults and issues of his/her world. It is used particularly in satire, in situations where the user can draw more inferences about the narrator's environment than the narrator. Child narrators can also fall under this category. Epistolary narrative mode[edit] Main article: Epistolary novel The epistolary narrative mode uses a series of letters and other documents to convey the plot of the story. Although epistolary works can be considered multiple-person narratives, they also can be classified separately, as they arguably have no narrator at all—just an author who has gathered the documents together in one place. One famous example is Mary Shelley's Frankenstein which is a single story written in a letter. A more recent example is Freedom & Necessity by Steven Brust and Emma Bull[2]. This work consists of letters, diary entries, newspaper articles and other documents "written" by four major characters, and many minor ones. The reader must keep in mind who is writing, and who the document is addressed to, as some characters will tell more of the truth to some recipients than to others. Dates must also be kept in mind, because a letter may be written before a character learns a particular fact. Other uses of narrative modes[edit] Changing points of view within the story[edit] While the general rule is for novels to adopt a single approach to point of view throughout, there are exceptions. Epistolary novels, very common in the early years of the novel, generally consist of a series of letters written by different characters, and necessarily switching when the writer changes; the classic book Dracula by Bram Stoker takes this approach. Sometimes, though, they may all be letters from one character, such as C. S. Lewis's Screwtape Letters and Helen Fielding's Bridget Jones's Diary. Robert Louis Stevenson's Treasure Island switches between third and first person, as do Charles Dickens's Bleak House and Vladimir Nabokov's The Gift]. Many of William Faulkner's take a series of first-person points of view. E.L. Konigsburg's novella The View from Saturday uses flashbacks to alternate between third person and first person throughout the book; as does Edith Wharton's novel Ethan Frome. After the First Death by Robert Cormier, a novel about a fictional school bus hijacking in the late seventies, also switches from first to third person narrative using different characters. The novel The Death of Artemio Cruz by Mexican writer Carlos Fuentes switches between the three persons from one chapter to the next, even though all refer to the same protagonist. Narration as a fiction-writing mode[edit] As do so many words in the English language, narration has more than one meaning. In its broadest context, narration encompasses all written fiction. More narrowly, narration is the fiction-writing mode whereby the narrator communicates directly to the reader. Along with exposition, argumentation, and description, narration (broadly defined) is one of four rhetorical modes of discourse. In the context of rhetorical modes, the purpose of narration is to tell a story or to narrate an event or series of events. Narrative may exist in a variety of forms: biographies, anecdotes, short stories, novels. In this context, all written fiction may be viewed as narration. Narrowly defined, narration is the fiction-writing mode whereby the narrator is communicating directly to the reader. But if the broad definition of narration includes all written fiction, and the narrow definition is limited merely to that which is directly communicated to the reader, then what comprises the rest of written fiction? The remainder of written fiction would be in the form of any of the other fiction-writing modes. Narration, as a fiction-writing mode, is a matter for discussion among fiction writers and writing coaches.[3] Use of point of view in other creative media[edit] Main article: Narrator Popular uses of grammatical person adventurebooks ransom notes In literature, person is used to describe the viewpoint from which the narrative is presented. Although second-person perspectives are occasionally used, the most commonly encountered are first and third person. Third person omniscient specifies a viewpoint in which readers are provided with information not available to characters within the story; without this qualifier, readers may or may not have such information. In movies and video games first- and third-person are often used to describe camera viewpoints; the former being a character's own, and the latter being the more familiar "general" camera showing a scene. The second-person may also be used. For example, in a horror film, the first-person perspective of an antagonist could become a second-person perspective on a potential victim's actions. A third-person shot of the two characters could be used to show the narrowing distance between them. In video games, a first-person perspective is used most often in the first-person shooter genre, such as in Doom, or in simulations (racing games, flight simulation games, and such). Third-person perspectives on characters are typically used in all other games. Since the arrival of 3D computer graphics in games it is often possible for the player to switch between first- and third-person perspectives at will; this is usually done to improve spatial awareness, but can also improve the accuracy of weapons use in generally third-person games such as the Metal Gear Solid franchise. Text-based interactive fiction conventionally has descriptions written in the second person (though exceptions exist), telling the character what he is seeing and doing. This practice is also encountered occasionally in text-based segments of graphical games. There is also something called third person outside observer. Narrative mode on Wikipedia ↑ We the Characters, The New York Times, April 18, 2004 ↑ Freedom & Necessity publication history at the ISFDB ↑ Fiction writing and the use of narration This page uses content from Wikipedia. The original article was at Narrative mode. The list of authors can be seen in the page history. As with Spanking Art, the text of Wikipedia is available under a copyleft license, the Creative Commons Attribution Sharealike license. Retrieved from "http://www.spankingart.org/index.php?title=Narrative_mode&oldid=89078" Category: Artistic elements Navigation menu Topics overview Pay sites Main contributorsCite this page This page was last modified on 21 October 2016, at 19:17. Content is available under GFDL unless otherwise noted. About Spanking Art

文学

2017-09/0319/en_head.json.gz/19875

Manual of the Warrior of the Light A Manual Harper Collins Publ. USA Warrior of the Light: A Manual is an inspirational companion to The Alchemist, an international bestseller that has beguiled millions of readers around the world. Every short passage invites us to live out our dreams, to embrace the uncertainty of life, and to rise to our own unique destiny. In his inimitable style, Paulo Coelho helps bring out the Warrior of the Light within each of us. He also shows readers how to embark upon the way of the Warrior: the one who appreciates the miracle of being alive, the one who accepts failure, and the one whose quest leads him to become the person he wants to be.Paulo Coelho is one of the most beloved storytellers of our time. Now, in the long-awaited companion to his first novel, Coelho presents a collection of philosophical stories that will delight and guide seekers everywhere. "[This] Brazilian wizard makes books disappear from stores." New York Times Paulo Coelho, born in Rio de Janeiro in 1947, is one of the bestselling and most influential authors in the world. The Alchemist, The Pilgrimage, The Valkyries, Brida, Veronika Decides to Die, Eleven Minutes, The Zahir, The Witch of Portobello, The Winner Stands Alone, Aleph, Manuscript Found in Accra, and Adultery, among others, have sold over 175 million copies worldwide, and The Alchemist has been on the New York Times bestseller list for over 360 weeks.Paulo Coelho has been a member of the Brazilian Academy of Letters since 2002, and in 2007, he was appointed United Nations Messenger of Peace. He is also the most followed author on social media. Paris Sketchbook Jason Brooks Like the Flowing River The Life List The Horse Dancer Die Schriften von Accra Weitere Themenbereiche

文学

2017-09/0319/en_head.json.gz/20207

Home | Opinion | Reviews | Books | Book Reviews: The Chasm Book Reviews: The Chasm April 20, 2011 The Chasm, A Journey to the Edge of Life by Randy Alcorn (Multnomah Books) The Chasm is a quick-read allegory depicting the choices one makes throughout a lifetime. The book is written from a Christian perspective and abounds with symbolism from Satan as a deceiver to Christ the Redeemer. Nick Seagrave is the main character who stood at the chasm and saw Charis, the city of light. He meets Joshua and is invited to join a group of travelers. Satan appears as a warrior who befriends Nick but then becomes the attacker in a battle for his soul. Christ is seen as a woodcutter who cuts down a tree and then offers his own life to become the bridge spanning the chasm between humanity and eternity. The book is well written, with action and characters that draw the reader into the storyline. A non-Christian may miss some of the symbolism. Great illustrations are powerful and add to the drama of the storyline. Randy Alcorn weaves the story in such a manner that readers can see the choices and consequences of the characters’ decisions and then will feel compelled to contemplate their own choices and subsequent consequences. As an added bonus, the author has added chapter questions to help readers look into the symbolism of the book and explore their own Christian walk. If you enjoy a good allegory, then The Chasm is a book to read. Leo Smith, retired executive director Texas Baptist Men Dallas Bible: The Story of the King James Version, 1611-2011 by Gordon Campbell (Oxford) This year marks the quatercentenary of the King James Version of the Holy Bible. In Bible: The Story of the King James Version, 1611-2011, Leicester University professor Gordon Campbell traces the history of the elegant and beautifully poetic translation of Scripture. Campbell explains the efforts and sacrifices—some-times with their lives—of those who believed nonclergy, including women, should be able to read the Bible in their language. The author painstakingly details the myriad of scholars and meticulous process involved in translating and editing the King James Version. He describes various editions, including “The Wicked Bible” and “The Breeches Bible.” Later chapters trace the influence of the Authorized Version through the 17th, 18th 19th, 20th and early 21st centuries. Campbell discusses such issues as the inclusion of the Apocrypha and the effect of the King James Version on literature. The author reminds readers the embargo of Bibles prior to the Revolutionary War led to their printing in America, and he decries today’s trend of the Bible being owned but not read. An extensive index, list of translators and revisers, and bibliography complete the book. In short, the author includes everything you ever wanted to learn about the King James Version but didn’t know to ask. While Campbell’s history reflects scholarly research, he has penned a clear and concise volume that demonstrates the value of the King James Version of the Bible, not just for its beautiful words but for how its words changed the world through God’s word. Kathy Robinson Hillman, former president Woman’s Missionary Union of Texas, Waco The Gospel of John: When Love Comes to Town by Paul Long Metzger (InterVarsity Press) How could anybody of a certain age resist a commentary on John’s Gospel with a subtitle taken from a song written by U2’s Bono and most famously performed by B.B. King? As professor of Christian theology and the theology of culture at Multnomah Biblical Seminary, Paul Long Metzger knows both the New Testament and pop culture quite well. He draws deeply from that reservoir of knowledge for this commentary, the first in the “Resonate” series launched by InterVarsity Press. The expressed intent of the series is to offer a line of relevant commentaries that are biblical, theological, cultural and personal. Metzger succeeds admirably in blending popular culture, personal reflection and solid biblical theology. One drawback of Metzger’s approach is that including pop culture references on practically every page quickly dates the book. At times, it wears a bit thin—like a middle-aged high school teacher trying too hard to prove to his students how cool he is by showing he knows more about their music and favorite movies than they do. Metzger has not written a commentary for the ages, but he definitely has written one that resonates for the moment. Enjoy it while you still can. Ken Camp, managing editor Baptist Standard Dallas Care to comment? Send an email to This email address is being protected from spambots. You need JavaScript enabled to view it.

文学

2017-09/0319/en_head.json.gz/20266

A legacy of lyricism Deutsche Oper Berlin’s disjointed, one-dimensional Edward II by: Harry Eyres The summer music festival season in Britain and the US has made me reflect on ways of making a cultural legacy last. There is more than one successful way. Some are based on particular and beloved places and buildings; others are more flexible; some rely entirely on private philanthropy; others are unthinkable without enlightened public subsidy.The BBC Proms, now in its 118th season, is one of the great survivors and adjusters. Actually, I should have said the Henry Wood Promenade Concerts presented by the BBC, because although the broadcaster has been running the Proms since 1927, the first 32 seasons of Henry Wood Promenade Concerts (and the 1940-41 seasons) took place without BBC patronage.The first patron of the Proms was a wealthy ear, nose and throat surgeon, Dr George Cathcart. And even the name Henry Wood Promenade Concerts is a bit misleading, because their real begetter was the impresario Robert Newman, who founded the Queen’s Hall Promenade Concerts in 1895.As that name suggests, the Proms did not always take place in the Royal Albert Hall, which now seems so much their home, but started and continued in the Queen’s Hall, until that building was destroyed by a German bombing raid in May 1941.So the Proms have changed patronage and building, but one thing has been wonderfully maintained while being developed and amplified: their spirit. Newman wanted the Proms to be a way of bringing classical music to the masses, without sacrificing quality; he wanted them to be “popular at first, gradually raising the standard until I have created a public for classical and modern music”.Note the word “modern”. The Proms were never stuffy and backward-looking, and for that they are in the eternal debt of Henry Wood. Wood’s record of bringing new music to the Proms is still astounding. He conducted a performance of Schoenberg’s Five Orchestral Pieces in 1912, to a hostile reception; not daunted, he conducted the piece again two years later.The tradition of featuring new music at the Proms continues. This year Daniel Barenboim’s Boulez with his West-Eastern Divan Orchestra got better notices than his Beethoven. Barenboim said that he could imagine no other national broadcaster and cultural organisation apart from the BBC televising a series of concerts featuring six major works by the austere French modernist. My impression was that packed Albert Hall audiences realised Boulez’s haunting delicacy and elaborate playfulness could actually be enjoyable.The legacy of Ellen Battell Stoeckel, which sustains the Yale University summer music school and festival in Norfolk, Connecticut, is different but also potent. This is cultural patronage on the US model, involving private philanthropy rather than public subsidy. But you could hardly say the Battell legacy was not public-spirited.Ellen Battell Stoeckel’s father and grandfather were successful New England businessmen who made fortunes out of insulating boat hulls and exploiting mineral deposits. They were also music-lovers and committed to their local community, especially her father Robbins Battell, an amateur composer who founded the Litchfield County Choral Society. After her first husband died young, Ellen married her father’s secretary Carl Stoeckel, whose own father Gustave was College Chapel organist and professor of music at Yale. Ellen and Carl continued the family musical tradition and turned it into something of national significance. They built a magnificent concert hall, the Music Shed, out of California redwoods, and brought some of the world’s greatest musicians – Sibelius, Rachmaninov, Kreisler – to perform there. The physical legacy of the Shed – which has just launched an appeal for urgent restoration work, including reinstating a cupola for improved air circulation, quite necessary in steamy New England summers – and the Whitehouse, the lavish family home which has been preserved with all its original fittings, is extremely strong and evocative at Norfolk.But Battell’s masterstroke was to leave a watertight will in which the family fortune was to be used for the running of a summer music school by Yale. The quality of the young musicians I heard rehearsing and playing at Norfolk was exceptional (one who shone was English flautist Jonathan Slade), as was their guidance from distinguished senior musicians such as the members of the Tokyo String Quartet.The Battell-Stoeckels’ devotion to their home town is admirable, and has made Norfolk in a small way a place of pilgrimage. But, to make an unfair comparison, there is one way in which the Proms trump the Norfolk Festival, and that is in diversity of audience (Proms mixed, Norfolk mainly older and almost entirely white). Now here is a suggestion for how private and public might come together: could public money help reinstate the old railway line to Norfolk which made the place, in the early days, so much more [email protected] columns at www.ft.com/eyres Latest on Music Loyle Carner in London: old-school rap with new-school openness Life of a Song Moans and ghostly whispers — The Crimson Bird at the Barbican Massenet’s Werther at the Met: well sung, well acted, odd production British Broadcasting Corp

文学

2017-09/0319/en_head.json.gz/20302

Louis Bosworth Hurt Louis Bosworth Hurt art prints and posters Hurt was a 19th Century artist who achieved great success by painting subject matter with which he felt a great affinity.Born in Ashbourne, Derbyshire in 1856, he studied art under George Turner of Barrow-on-Trent. His inspiration, however, came from Highland landscapes in particular and, after exhibiting at the Royal Academy, he had built himself a reputation as a fine painter of Highland scenes and cattle. Hurt died in 1929.As a measure of his popularity, when originally sold Hurt's painting of Highland Cattle reached a price of £65; today the price would be in tens of thousands of pounds! Colour Brown By Loch Treachlan Glencoe, Morning Mists, 1907 Sunshine and Shower, 1897

文学

2017-09/0319/en_head.json.gz/20350

Bandini Baker, The Spanish Sindicate Abraham Lacalle & Miki Leal Poste MIKI LEAL & ABRAHAM LACALLE: BANDINI BAKER: THE SPANISH SYNDICATE Curated by Kevin Power October 22–November 19, 2011 Track 16 Gallery is pleased to present the exhibition MIKI LEAL & ABRAHAM LACALLE: BANDINI BAKER: THE SPANISH SYNDICATE curated by Kevin Power. The exhibition will run from October 22 through November 19, 2011. Miki Leal (Sevilla, 1974) has shown widely, both in Europe and Latin America, and this year he won the prize for the most promising young Spanish artist. His work, usually on paper and often large-scale in size, is characterized by a lyric inventiveness. He exploits both narrative possibilities and immediate sensations. He sets up potential plots for a story line and then perversely upsets them, leaving the spectator the task of constructing meaning from a series of fragments that refuse to settle on a single reading. Leal is particularly interested in cinema, architecture, jazz, design, and retro imagery. Los Angeles provides him with a playground that he can explore, from Hollywood Cinema to Chet Baker, from 50s aesthetics to palm trees. Abraham Lacalle (Almeria, 1962) works with Marborough Gallery and has shown extensively from the early nineties onwards. His painting is driven by a hedonist pleasure and a need for direct expression - forceful, energetic, and frontal. They show a tendency towards abstraction but are full of figurative elements, often superimposed, and held in place by an architecture of primary colors. Lacalle has also over the last four or five years returned to “comic-style” narration in a language that has attracted him since childhood but that he had not intended to show. He is an avid reader of contemporary fiction. In a show at the Malba, Buenos aires he used Cormac McCarthy, Jim Thompson and Philip K.Dick as his push off points, and for this exhibition at Track 16, has turned to John Fante and Thomas Pynchon. Poster, 26.75 x 38.5 inches, 2011 Product Type Poster

文学

2017-09/0319/en_head.json.gz/20443

New installations highlight the traditions of this ancient culture. Cycladic Art Museum: Aegean Charm, Renewed By Federico Tibytt The Museum of Cycladic Art Bookstore The Cycladic Art Museum opened in 1986 in the heart of Athens, the Greek capital. It houses one of the world’s most important art collections of the Cycladic period. Recently, the museum added a coffee shop and a boutique where visitors can purchase gifts that bring to life the traditions and aesthetics of this ancient culture from a contemporary and exquisite perspective. The Cycladic culture flourished in the islands of the central Aegean during the Early Bronze Age (around the 3rd millennium BC). Their advantageous geographical position—between Asia and Europe— allowed the local cultures to absorb all kinds of influences from sailors that passed through their territory on their transcontinental trips. This contact with foreign traditions made possible the birth of a very productive society, which is famous today for their beautiful jewelry and sculptures carved in white marble. Most of the archeological remains of this culture dating from the Copper Age and the Bronze Age are housed in the Cycladic Art Museum, which hosts the largest collection in the world (after the National Archaeological Museum) of sculptures, tools, jewelry and relics of that civilization. Above: Coffee Shop Below: Cycladic jewelry and sculpture The museum was inaugurated on January 26, 1986, when art patron Dolly Goulandris donated her valuable family collection and created, in turn, the Goulandris Foundation, which is dedicated to the study of ancient civilizations in the Aegean Sea and the conservation of prehistoric and classical art from all over the Greek territory.
Since its foundation, the museum has grown considerably thanks to regular donations from collectors. Currently, it offers an invaluable permanent exhibition and various temporary shows. Between February and November 2016 the museum will feature an exhibit called Inside the Old Workshops, which recreates the working conditions of the ancient artists and craftspeople and showcases the techniques, tools and materials used over 5,000 years ago. The refurbishment carried out by the renowned firm of architects Kois Associated Architects has generated keen interest in the museum. The architectural firm was entrusted with the redesign of the coffee and gift shop to recreate, in the center of Athens, the feeling of being in the Cyclades Islands.
The new store has a neat design featuring walnut furniture, flooring, and paneling, combined with white walls and glass panels that display unique pieces made with the techniques used by these ancient peoples for carving and jewelry. Lunch at the Cycladic Café Meanwhile, the new Cycladic Café offers a courtyard decorated with elegant wooden furniture and imposing white marble benches under a decorative ceiling that filters the sunlight. This cafe also offers breakfast and lunch made with fresh produce from the Cyclades, whose dishes recreate the flavors and aromas typical of the cuisine of the islands. Be sure to visit the fascinating Museum of Cycladic Art on your next trip to ancient Athens. ■ Musée des Confluences: A Futuristic Museum Atop a Peninsula The museum in the city of Lyon attracts visitors with its impressive futuristic facade and its ability to be a meeting point for lovers of history, natural science, art and architecture. Millesgården: The dream of Carl Milles Today, it is one of Sweden's most visited art museums and boasts the creations of the late artist Carl Milles. © azureazure.com | 2016

文学

2017-09/0319/en_head.json.gz/20628

‘Beckett gets near to the essence of Attlee, and does so in an easy, flowing narrative.’ – Independent ‘More government records have been opened, and Beckett has used them to great effect.’ – The Times ‘An engrossing personal biography of Attlee.’ – History Today ‘The triumph of this work is the author’s success in passing on his love for his subject. By the final chapter…I too liked Attlee, whom I had previously barely known.’ – The Spectator ‘Anyone interested in British history will enjoy Beckett’s book … a slow read in the best possible way.’ – Huffington Post ‘A formidable work of scholarship…draws out the many facets, including the real subtlety, of his character.’ – John Bercow MP ‘In this welcome updated biography, with the benefit of new material, Francis Beckett illuminates Attlee’s tumultuous times, analyses his transformative deeds, and – crucially – reveals the innermost man who is recognised by historians to be Britain’s greatest peacetime Prime Minister.’ – Neil Kinnock ‘By illuminating how he accomplished his gargantuan task, Francis Beckett’s book finally gives the “little fellow” his due. He has written a book that carefully delves into Attlee’s upper middle class but loving and open-minded family background.’ – Dennis Skinner MP ‘I have thoroughly enjoyed [this] biography of Clem Attlee … It will be central to my introductory chapter to the third edition of British Social Trends.’ – Prof A.H. Halsey CLEM ATTLEE: LABOUR’S GREAT REFORMER, by FRANCIS BECKETT In this newly revised and updated edition of his acclaimed biography of post-war Labour Prime Minister Clement Attlee, Francis Beckett argues that, as the architect of the NHS and the Welfare State, he is one of only two post-war Prime Ministers who can claim to have changed the society in which we live (the other being Margaret Thatcher). In the years preceding World War II, polarisation within British society was acute. The radicalism of the 1918 generation had spent itself in futile gestures and bitter recriminations, resulting in a minimal change in conditions for the poorest Britons. In 1945, however, the Labour government, led by Attlee, took office with the skill and the political will to translate socialist aspirations into legislation – to change the way men and women lived, fundamentally, and in a sense irreversibly. Francis Beckett is an author, journalist, broadcaster, playwright and contemporary historian. His seventeen books include biographies of four prime ministers, as well as of Aneurin Bevan and Laurence Olivier. He is a regular contributor to the Guardian and New Statesman. Publication Date: Apr. 2015

文学

2017-09/0319/en_head.json.gz/20660

Related Program: All Things Considered Trapped In A Nightmare: A Sweet, Funny, Brutal Read By Ismet Prcic Ismet Prcic was born in Tuzla, Bosnia-Herzegovina, and immigrated to America in 1996. He lives in Portland, Ore. Melissa Prcic / Ismet Prcic is the author of Shards. Have you ever read a novel that is so propulsive you don't want to put it down (not even to play with your new kitten), and so well-plotted that it doesn't reveal itself to you until its 288th page — which just happens to be the book's final page as well? Marabou Stork Nightmares by Irvine Welsh is that kind of a novel. On first glance, if you simply picked it up and shuffled its pages, it might not look appealing to some readers. You might say to me: I don't have time to negotiate its typographically designed pages that sometimes resemble concrete poetry. I don't have time to mouth all the words written phonetically in a Scottish dialect to understand them. I can't stomach all the four letter words and the violence. I have kids to feed, Izzy! Nonetheless, you should pick this book up and forthwith. It's that worth it. Welsh may be most familiar to American film audiences for playing Mikey Forrester in the cult movie Trainspotting, based on a tremendous novel that he also penned. Welsh is a wizard of language, funny and brutal, provocative and sweet. His phrases twirl like dervishes, he surprises you, makes you laugh and cringe, gets you to the edge of what you can handle and keeps you there, teetering, making you scared but giddy. It's a rare kind of talent. The book concerns one Roy Strang, a soccer hooligan, among other things, who grew up in Thatcher's Britain in the projects of Edinburgh. Roy is in a coma after a failed suicide attempt, but the reader is somehow privy to his thoughts. In a visually daring way, Welsh displays three levels of Roy's unconsciousness. On the highest level, Roy is aware of the people coming in and out of his hospital room. He hears his family members arguing around his bed and the nurses talking to him, changing him, giving him sponge baths. Often what he hears causes Roy to run away deeper into his mind, into a phantasmagorical virtual Africa. There, Roy and his imaginary friend, a footballer, are on a fantasy quest to eradicate a terrible scavenger-predator: Marabou Stork, the killer of pretty pink flamingos. When Roy's mind is unable to run away into fantasy land, it is forced to go back into his past and remember what he so desperately does not want to remember. Most of the book is told from this middle perspective. The reader witnesses the journey of a mind pulverized by violence, a mind desperately trying to rationalize its narrative, even rewrite it — a tendency that reminds the reader that even unsavory, terrible humans are just that, human. Welsh is often unabashed and blunt in the way he depicts violence, so if you're particularly squeamish, some portions of the book can be daunting. But as the narrative progresses, the reader realizes that this novel is an amazing study of human violence, showing us how victims become perpetrators, how perpetrators become victims, and how the bystanders are also responsible because they don't do anything to stop it. It all ends in a crescendo that makes the reader understand why they had to be pushed to the brink. You Must Read This is produced and edited by Ellen Silva with production assistance from Rose Friedman and Sophie Adelman.Copyright 2011 National Public Radio. To see more, visit http://www.npr.org/. TweetShareGoogle+EmailView the discussion thread. © 2017 KASU

文学

2017-09/0319/en_head.json.gz/20700

Author Spotlight: Fuyumi Ono Thursday, September 19, 2013, 12:54 PM - Book ReviewsPosted by LFPL Teen Services Calling all fans of anime, manga, fantasy, and horror! If you love complex stories with lots of character development set in amazing new worlds, then the works of Japanese author Fuyumi Ono are for you. Ono has been writing horror and fantasy novels since the late 1980s, and her ability to blend traditional Japanese and Chinese tales with modern ideas makes her books beautifully detailed. (Image source: http://en.wikipedia.org/wiki/The_Twelve_Kingdoms and http://commons.wikimedia.org/wiki/File: ... ngdoms.png)Her two most popular series The Twelve Kingdoms (linked to LFPL catalog) and Ghost Hunt have both been adapted into anime series. The Twelve Kingdoms has also been translated into English by former manga publisher Tokyo Pop. The story is about another world that exists on the other side of the ocean from Japan where rulers are chosen by mythical creatures, and evil demons plague the land. High school honor student Yoko is taken into the world of The Twelve Kingdoms to become the king of Kei by one of these mythical creatures. Through her eyes, the audience is introduced to an intricate cast of characters in a richly formed fantasy realm.Ono’s other popular series, Ghost Hunt, has also been adapted into a manga series. This is a modern day horror series that follows the famous psychic Kazuya Shibuya characterized through ghost-hunting high school student Mai. Through her adventures with Shibuya, Mai develops her own psychic abilities and becomes friends with other spiritualists that join Shibuya’s ghost hunts. There are many scary and sometimes gory moments in this series, so it is not for the faint of heart. Take some time to branch out from manga authors and check out some of the very talented Japanese novelists like Fuyumi Ono!-Lynn Johnson, Children and Teen Services, Westport and St. Matthews Branch Fun Programs at Your Library Wednesday, September 4, 2013, 12:41 PM - Tech TipsPosted by LFPL Teen Services Did you know that we have lots of programs and activities for teens at the Library? Keep an eye on our program calendar for upcoming programs. You can click on “Events by Location” to check for programs at a specific branch, or click on “Events by Type” and then on “Teens” to look for teen programs at all the branches at once. Just FYI, it’s always a good idea to call the branch hosting the program to register beforehand so they don’t run out of room or supplies for the program.(source: commons.wikimedia.org/wiki/File:Dr_Who_(316350537).jpg)Programs for SeptemberJust to give you an idea of what’s coming up in September: At Middletown we are having a celebration of all things Doctor Who on September 30 at 4 pm where you can come dressed up as your favorite Doctor, Companion or Villain for the costume contest and show up how knowledgeable you are about our favorite Gallifreyen with the trivia contest! Middletown will also have a Digital Cartooning program on September 25th at 4 pm. Also keep an eye out for Teen Tuesdays at Iroquois at 3:30 with DIY tech for comics, microcomputers, coding and app making. Fairdale has Tabletop Roleplaying gaming on Tuesdays at 4 pm. On September 5th at Newburg will be Open Mic Night with Prolific at 6 pm. Southwest Branch will host the Teen Code Club September 9th at 3:30, and Westport will have a Digital Collage program on September 11th at 3:30. You can decorate your Teen Summer Reading messenger bag at Jeffersontown September 9th at 4 pm and attend the Mortal Instruments party at St. Matthews September 14th at 3 pm!Looking ahead to OctoberWe also have tons of programs planned for October: At Middletown on October 29th at 4 pm we are celebrating the Day of the Dead with sugar skulls and papel picados. The Highlands/Shelby park branch will host its annual Teen Halloween Party on October 31st at 4 pm, and you can make Q-tip skeletons at Southwest on October 30th. Bon Air’s Teen Book Club will have a literary showdown between Suzanne Collins and Veronica Roth. You can Get Your Craft on at Jeffersontown October 21st at 4 pm. Fairdale will have an Origami Night October 17th at 6 pm, and check out the Teen Art Club at Shawnee October 10th at 6:30 pm. I have barely scratched the surface of teen programming at LFPL over the next couple of months. Please look at our Calendar of Events to see a list of all the upcoming teen programs. Hope to see you at some of them!-Emily Mauldin, Youth Services, Middletown Branch Goodbye 2013, Hello 2014!Homework HelpBooks in VerseWaiting for More Lives on Candy Crush? Grab a Sweet Read!Good Things Come in Threes: Great Series for Summer Reading

文学

2017-09/0319/en_head.json.gz/20783

Chapter 19. 'The Queen, the Head of the Church' Mr Barlow had now reached the age of fifty and the full implications of his situation had become unavoidable. As a boy, he was ambitious of distinction and learning … content with nothing if anything loftier stood forth for competition. As a man, he had an enormous interest in the outside world, and his leisure time was evidently spent in the profitable perusal of scientific reasoning [1]. One of his favourite books, referred to in his novel, was Alexander von Humboldt's Cosmos, on which he took copious notes: The limit of perpetual snow depends not on the mean temperature of the year but of the summer which melts the snow … The Chinese had a waggon with a needle to direct them across the deserts 1000 years before Christ … Humboldt was a traveller, explorer and mountaineer, father of the earth and life sciences we know today, who conceived of projects unimaginable in his time, such as the Panama Canal and a United Nations. Not far from Mr Barlow's own parish, men of enterprise were developing new industries. People of his own acquaintance made epic journeys. His brother James had lived in India and travelled around Europe, while their father's cousin Michael Hoy knew 18th century St Petersburg. John Richard Digby Beste's latest account of his travels in America had just come into print. Lord and Lady Falkland had now returned from Bombay, and within a couple of years Lady Falkland would produce an attractive and lively account of their travels taken from her journals. The family occupying Linden Grove had known the wide world – Lieut. Col. Forbes MacBean of the Royal Artillery had been born in Nova Scotia in about 1790, while his wife and her sister were born in St Petersburg. They may well have known of Michael Hoy and Mr Barlow's brother James – there must have been many interesting discussions and Mr Barlow will have had ample opportunity to hear their reminiscences before they moved on to live at Kirkleatham Old Hall. Henry Sewell, whose family firm had managed James Barlow Hoy's affairs, was in New Zealand where he was briefly prime minister. Even Faceby farm labourers could sail the Atlantic and cross the great plains in ox-drawn waggons. Mr Barlow knew London – the only photograph we have of him was taken at a studio in the Euston Road in about 1865. He seems to have travelled in the Swiss Alps, as there is a description of Lausanne in his novel that suggests he had visited the town himself. He had certainly risen to the challenges of his parish. Now, however, there were no great projects left to undertake in Hutton Rudby. His income had dwindled, and he could not help but realise that once a clergyman took a rural parish he was "a shelved man" [2]. An incumbency was not part of a system of promotion – there was no reward for working a parish well. The worldly successes of his neighbour, the Revd Charles Cator, who had become Rector of Stokesley in 1835, can only have increased his dissatisfaction. Cator came from a not dissimilar background to his own – the family money had been made in recent generations, and there were connections with the East India Company and the Royal Navy – but prudent marriages and investment in land had brought wealth and influence to the family, which had property in Yorkshire and Kent. Cator had published numerous works on tithes, pluralities, the Church and State, Ireland and church rates [3]. He had preached in St Paul's and been chaplain to the Lord Mayor of London. As Rector of Stokesley, his income was considerable. Robert Barlow had entered willingly into the career his mother had chosen for him and shared the rather naïve and unrealistic family dreams for his glittering future. Now he had lost his wife of many years, and the future must have appeared very different. He was the head of the family and responsible for his ageing sisters and his young nephew; he could not leave Yorkshire for wider horizons. Rather than regret his mother's original decision or the choices he had made that had reduced his chances of advancement, he brooded on the failings of the system. His mounting frustration needed an outlet, and in 1856 he dashed into print with An Appeal, entitled The Queen, the Head of the Church [4]. In putting these few pages together upon the spur of the moment, he declared confidently, for want of care, I may have done injury to the cause I have undertaken; yet the subject is in itself so stirring, it speaks so eloquently to the heart and feelings of every serious and reflecting mind, that I need scarcely imagine that the writer, or his style, or the arrangement of his ideas, will for a moment occupy any one's thoughts, engrossed as they will be with the all-absorbing subject, the interest of the Church. This want of care can indeed be seen in some inaccuracy of detail, incoherence and a lack of order in his arguments. There is also a certain amount of muddled thinking, which is unsurprising given the fact that Mr Barlow was arguing for patronage in the Church to be swept away, when he owed his own benefice to that very system. Mr Barlow's subject was the structure of the Church. He did not address the hotly debated issues of churchmanship and theological differences, nor the justifiable grievances of the Nonconformists. In fact, his view seems to have been that everyone would belong to the Church of England, if earlier clergymen had not failed in their duties. The state of the Diocese of York at about this time can be imagined from Archbishop Longley's description in 1861: there are 184 benefices in the diocese of York (that is one third of the whole number) unprovided with parsonage houses. There are 141 benefices in the diocese of York each with an income of less than £100 a year. Then Sheffield has no more than one church for every 8,000 souls. Hull has but one church for every 8,500 souls. Middlesbrough has only one church for 10,000 souls. Rotherham has 10,000 souls in the district of its parish church. Masbro' [5] has no Church at all for a population of many thousands. [6] In his pamphlet, Mr Barlow called for the church finances to be adjusted – all that was required to do this was "a deep sense of justice" and "an ordinary share of common sense". He denounced political interference in clerical appointments, and excoriated the "blighting influence of the Minister over the throne": In electioneering times the Premier gets some influential doctor of an University to support the Government candidate, and promises the first vacant mitre as a reward. He proposed a complicated system of appointment to senior positions. The names of proposed candidates would be discussed by a convocation of deans, bishops and archbishops, who would exclude the unsuitable. They would then create a shorter list by placing all the suitable names in a draw. Three-quarters of the names would be drawn by lot and would be placed in order of draw before the Queen, for her to make her own choice: Thus might we, with perfect security, have the Church and State united; an union in which all pious men might exult, for the shafts of slander would fall from it innocuous. He evidently had no doubt but that the sovereign could make an unimpeachable choice without any outside advice; a quaint belief, it might be thought, in a man who had known the reigns of Georges III and IV and William IV. Promotion would be by seniority throughout, as was done in the Royal Artillery – a subject on which Mr Barlow will have been further informed by Lieut. Col. MacBean. Bishops would have no favours to repay and no future preferment to protect; Barlow's system would therefore "purify prelates' votes in Parliament" and "gain them credit for honesty of purpose". He frankly dismissed the great reforming tool of the age, in words familiar to conservatives throughout the modern age: In Commissions, I confess I have little faith … If they do any good, they usually leave an equivalent in evil; or if they make any retrenchment, three-fourths of the saving is swallowed in the expense of the machinery by which it has been effected. Turning again to the perennial problem of how to select the most suitable candidate for a post, he declared I fear it may be laid down as an incontrovertible truth, that, whatever is left to the disposal of mankind will be dispensed with favour and partiality, and that we shall rarely see merit noticed, unless supported by interest. He briefly discussed the position in the army and navy, which had been the subject of severe criticism for several decades, and was hotly debated in the two years preceding his pamphlet [7]. Favouritism in the Church, he declared, caused "the very soul" to sicken. The chief object of his scorn was not private patronage (which most commentators saw as the problem because livings which could have been used to reward virtue, learning or long service were not in the hands of the church) but the patronage wielded by church dignatories: How can [the public] be expected to look on with patience while they see prelates thus neglecting men of merit …? … The public are very far from being satisfied with this state of things; every honest man boils with indignation, while the infidel and the enemies of the Church find occasion to blaspheme; one-half of our influence is lost; and the community are discontented at the inefficiency of a Church which has so much at her command. For Mr Barlow, the question of church patronage rose above all other issues in this reforming age. In a startling passage he compares it with the abolition of slavery, making this appeal: This nation, – to its honour be it spoken, – magnanimously bestowed £20,000,000 for that holy work, the abolition of slavery. And will not this same nation aid my efforts for the regeneration of the Church by petitioning the Crown and both Houses of Parliament to take the subject into their serious deliberation; and, as the first step towards attaining that object, to give up to the Church the patronage now unjustly held by the Lord Chancellor? If they answered Barlow's call, the Sovereign would increase the lustre of her title of Defender of the Faith and the Premier would "live beyond his compeers in history's page", while the "private individual [would] win the thanks, the applause, the gratitude of his fellow men". Indeed, he goes so far as to say that anyone seeking God's approbation must petition Parliament on the reform of Church patronage. He contrived to imply that he alone had contemplated these problems in the church: In matters … which are purely temporal, long experience seems to have reconciled the public, in some measure, to the hopelessness of finding a remedy for this abuse of patronage. In fact, there had been a strong desire for reform in both Church and state for decades. Sales of patronage were an easy target for Dissenters' criticism (and Hutton Rudby had many Dissenters), and became steadily less defensible over the years. They were often accompanied by shady dealings over resignations and exchanges, which the Bishops were powerless to prevent. Other clergymen were outright in their condemnation of private patronage [8], which was seen as contrary to the spirit of the age and the practice in other professions. Indeed, use of patronage dwindled over the years until in 1879 it was said that many fathers who would once have bought their sons a living now preferred them to work until they attracted the attention of their bishop or some other patron. [9] Mr Barlow's fundamental solution is promotion by seniority – often called elsewhere "waiting for dead men's shoes". This had been used frequently over the centuries as an alternative to promotion by patronage – for example, in the case of the East India Company army, it guaranteed to each man an equal chance of making his fortune if he survived the climate. It was not universally seen as desirable, especially as it resulted in elderly time-servers achieving influential positions. As early as 1816 reforms of the Admiralty had hoped to make promotion by seniority unnecessary, and it was intended that "merit and capacity" should be the basis for promotions in the Home Office [10]. A new method was being proposed, not mentioned by Mr Barlow – competitive examination. This was not welcomed by everybody, and it is interesting to note that the Dublin University Magazine carried an article by Anthony Trollope in 1855, intended to be very savage in its denunciation, … on an official blue-book just then brought out, preparatory to the introduction of competitive examinations for the Civil Service [11]. Mr Barlow made several interesting suggestions, which show that he was in agreement with many reforming ideas of the time. He suggested a scale of income for the clergy, with curates beginning at £100, all livings to be at least £300, and the Archbishop of Canterbury to receive £10,000 a year. This would be paid for by abolishing prebendal stalls, most canonries, all chancellorships and vicars-general, and all sinecures. Recent church building had suffered from problems over ambitious plans – he suggested that to save money, churches should be built to one uniform plan … solid, church-like, easily enlarged, free from idle ornament, unless the parishioners would pay extra for it. Rectors and curates who found they were unable to work together should be able to make exchanges. Retirement on an income was becoming popular with middle-class professionals, but would not be possible for the clergy for many decades to come, unless they could afford to pay a curate to take their place. This was the year that the Clerical Fund and Poor Clergy Relief Society was established to help poor clergymen buy annuities to provide for themselves and their families, and assist them with grants of money and gifts of clothing – Mr Barlow called for the old, infirm or worn-out clergy to be paid a pension by the Church. Three of his minor suggestions evidently had the approval of one of his readers – the copy of the pamphlet held in the Cambridge University Library has three underlinings in pencil: I feel persuaded that it would be to the advantage of the community if clergymen were moved or had the choice of moving once or twice The problem of clergy becoming stale in isolated rural livings grew more acute during the course of the century. Another passage deals with the employment of a class of men known as Scripture readers. These were particularly favoured by the Evangelicals. Lord Shaftesbury's first action on inheriting his father's estates was to have the local tap-room closed at 9 o'clock at night, and his second to appoint a scripture-reader [12]. William Thomson (1810-79) of Darlington, joint-owner with his brother of the Darlington & Stockton Times, paid for missionaries to preach the temperance message and for scripture readers to tour the area reading the Bible aloud [13]. The Church sanctioned their use because of the shortage of clergymen. Mr Barlow questioned whether they could be any cheaper than "the regular well-educated curates", and wondered about the prudence of employing a set of men, who form no part of the Church, and, therefore, over whom the Church can have no sufficient control; men who, professedly illiterate, under the strong temptation to display their little learning, to increase their importance, may be induced to expound Scripture and to propound doctrines, although they may have promised their employers not to do so … men who … might set up for themselves, and thus dividing the community, cause a schism in the Church… Perhaps memories of the Faceby Mormons are detectable here. Naïve reading of the Bible was often ascribed to Mormon converts . Another suggestion was the more systematic use of "the order of Deacons" as a first step to becoming a curate and in place of Scripture readers. Developments in such matters can be seen, for example, in the Revd Patrick Brontë's letter to the Leeds Intelligencer on 20 September 1847 regarding promotion in the Church and supporting the Bishop of Ripon's recent initiative in appointing subdeacons [14]. Barlow believed his reforms could be affected with no vested interest disturbed … no feeling shocked or outraged; no private individual aggrieved. He ends with an exhortation to the clergy and the laity, as they value the true interests of religion; as they desire the spiritual welfare of the community to petition the Queen and Parliament to carry out his reforms. Repeatedly within the pamphlet, Mr Barlow referred in less than complimentary terms to the current Archbishop of York and his predecessor. On his first page he referred (without mentioning names) to the Hampden controversy of 1847, in which "a point of doctrine" was "referred for decision to a lay tribunal". He then expatiated on the case for nearly two pages. This is certainly a veiled criticism of Archbishop Thomas Musgrave of York. At the time of the controversy he was bishop of Hereford, and had not joined with the majority of his fellow bishops in remonstrating with the prime minister against the appointment of Hampden [15]. Mr Barlow's references to political influence and the effect of elections on clerical appointments is another jibe at the Archbishop, at whose appointment in 1848 The Record newspaper [16] commented, what has caused him to be preferred to many other older and equally respectable prelates no one can imagine, while The Morning Post [17] remarked that he had abilities of a certain kind which it is understood were found useful to the Whigs in electioneering affairs. Musgrave was a Whig appointment, nominated by Lord John Russell in 1847. He had earlier been bursar of Trinity College, Cambridge and had been made dean of Bristol in 1837 by a previous Whig administration under Lord Melbourne. For Mr Barlow, such appointments caused the Church to be "held up to derision". Even Barlow's reference to convocation in his proposed system of appointments is a sideways swipe at Archbishop Musgrave. The church had long ago been governed by convocations and diocesan assemblies, but since the last convocation in 1717 the power of the state over the church had steadily increased. The Convocation of Canterbury had been revived in 1852, but Musgrave would not permit a Convocation of York, and its revival was only possible after his death. Similarly, Mr Barlow's distrust of commissions has a reference to Archbishop Musgrave. He and other clergymen sat on the Ecclesiastical Commission, together with politicians – the Lord Chancellor and the principal officers of state. The dealings of the Commission with Bishop Maltby of Durham (1836 to 1856) come in for particular criticism by Mr Barlow, even though the matter in question had occurred nearly twenty years earlier. He illustrated his argument with accounts of local nepotism: one man a "zealous, intelligent man, of good education" who remained a curate for 24 years before being given, eight years before his death, a living worth £120 a year; the other, a rector who had taken an income of £600 from a parish he had hardly visited for the last 30 years, in which he had placed a vicar on a small income. The force of his argument is somewhat dissipated by his admission that neither of these cases occurred whilst the present Archbishop held the see of York. Musgrave had by then been in office for eight years, and his predecessor Archbishop Harcourt was a particular favourite of George III and would presumably have been appointed by the King under Barlow's own system. Oblique references to Mr Barlow's own patron are also discernable. Twice he called for the Ecclesiastical Commissioners to enforce the law, which obliges lay patrons to increase the stipend of the livings in their gift. As matters stood, bishops had no inclination to force their landowning friends to pay their clergy more, and in due course "livings became starvings". He called for the stipend to be "in some degree in proportion to the current value of those tithes": I know of an instance of a living thus plundered, the tithes of which cannot be worth less than £1,000 a-year; and yet the patron pays, in lieu of them, a fixed stipend of only £40 a-year. This is probably a reference to Hutton Rudby, where the stipend for Rudby was £40 a year. He hoped for the end of the traffic in Church preferment, which is now carried on to such an extent, that patrons are found actually to sell livings, the incomes of which are almost solely derived from Queen Anne's Bounty. This suggests that he and his friends did not look sufficiently into his future income as vicar of Rudby, where the stipend made up only about one-fifth of the total sum, the rest deriving from Queen Anne's Bounty and the Parliamentary grants. At several points in the pamphlet, a tone of personal distress is clearly to be heard. He calls for patronage in the hands of the Crown and Lord Chancellor to be used "to give men of education some little chance of getting even one step before they die": Let a man only think that he is buried for life in some retired corner, and the learning, that once lit up his mind, will soon be neglected and forgotten as useless. Some time ago a Government official requested of me that, in future, all correspondence should be written upon foolscap. I made him the following reply: Your request, that all communications be made on foolscap, should be cheerfully complied with, but for the following reason. Unfortunately one-half of the clergy are so miserably poor, that the only fool's-cap they can afford to keep, is the one they are obliged to wear, as emblematic of men whose education alone costs the fee simple in perpetuity of all they ever get, without the least chance of promotion, be their zeal or ability what they may. In many a sequestered village lies buried more talent than is possessed by one-half of the authors whose writings inundate the press [18]; men who would blush to offend the good sense of the public, by putting into their hands books in which, if there be one bright idea, it is expected to set off an insufferable quantity of trash. A bitter cry against the unfairness of it all reverberates throughout the pamphlet, carrying a note of pathos. The world had changed, and Mr Barlow was no longer a young man. His ordination came just before a great surge in the number of men entering the church – by this time, the majority of clergyman had been ordained after the passage of the Reform Act of 1832 [19]. It was all too late, and he had been overtaken by the young and enthusiastic. His mother had made the quixotic choice of profession for him, and the family had believed he would make progress in his profession. But he had not chosen the routes which would have made advancement possible, and had compounded his difficulties by marrying early and taking an obscure rural parish, purchased for him in possibly slightly shady circumstances. It was too late for advancement now – so nothing could be lost by flinging insults at the Archbishop. Mr Barlow had the pamphlet printed in London in 1856 – not for him the Stokesley printers – and it was sold at the price of one shilling. He had a copy sent to each Member of the Houses of Parliament, and certainly achieved some success with his work, as it went into a third edition the following year. Notes: [1] Remarkable but still True, 1872 [2] Augustus Jessopp’s essays The Trials of a Country Parson 1890 stressed the problem of immobility: "the rule in country parishes is that where a man is put down at first, there he dies at last" "he is a shelved man". Quoted by Alan Haig in The Victorian Clergy [3] the British Library catalogue lists forty-one; of these some are to be found in the Minster Library, and most in the Cambridge University Library [4] The Queen, the Head of the Church by the Rev R J Barlow, M A, Vicar of Rudby, Yorkshire. Printed by Seeley, Jackson, and Halliday, Fleet Street 1856. Copies exist in the British Library and Cambridge University Library [5] Masbrough, half a mile from Rotherham, WRY [6] quoted by Archbishop Thomson in his 'Charge to the Clergy of the Diocese of York' Oct 1870: William Thomson the People's Archbishop and other items, by Bullock. York Library [7] for example, a letter to The Times on 24 Jan 1855 from 'A Regimental Captain' in the Crimea: "I would ask you to consider whether promotion … is fairly distributed … This monopoly of promotion is a most depressing and distasteful thing to us, who are the great majority of the officers of the army". Purchase of rank was finally abolished in the Cardwell reforms in 1871. [8] eg Promotion by Merit Essential to the Progress of the Church by Edward Bartrum 1866, discussed by Haig. [9] Archbishop Ady, quoted by Haig [10] 1848 Committee into the Home Office [11] An Autobiography by Anthony Trollope [12] Lord Shaftesbury by Georgina Battiscombe, p236 [13] A Walk in the Park: the history of South Park, Darlington by Chris Lloyd, at www.thisisthenortheast.co.uk/the_north_east/history/echomemories/southpark/040204.html [14] "converts are not made from the lowest ranks" but "are mechanics and tradesmen who have saved a little money, who are remarkable for their moral character, but who are exposed to the delusion from having, as Archbishop Sharpe expressed it, 'studied the Bible with an ill-regulated mind'": The Athenaeum 1841 [15] The Brontës by Juliet Barker, p519 [16] Oxford Dictionary of National Biography 2004 [17] later incorporated with The Church of England Newspaper. It was an extreme Evangelical paper: Shaftesbury: a biography of the 7th Earl by Georgina Battiscombe 1974 [18] The Morning Post was a Tory newspaper [19] he may here have been thinking of the Roman Catholic husband of his former sister-in-law, the author John Richard Digby Beste. Another prolific writer with connections to the Barlow family was Elizabeth Missing Sewell [20] In 1851, 55% of clergy were aged 45 and under, and 22% were over 55 years old. Leslie Paul The Deployment and Payment of the Clergy 1964, discussed by Haig in The Victorian Clergy Posted by Hutton Rudby, Chapter 21. "My intense exertions" Chapter 20. "A very queer chap" Chapter 18. The early 1850s Chapter 17. 1844 to 1851: Changing Times Chapter 16. Melancholy Intelligence: the death o... Chapter 15. A Skeleton is Discovered Chapter 14. Deaths, Changes & Recession: 1837 to ... Chapter 13. Agitation, Ambition & Education Chapter 12. The Aftermath of the Cholera Chapter 11. 1832: The year of the Cholera Chapter 10. 1831: Mr Barlow's first year in Hutto... Chapter 9. Mr Barlow & his Neighbourhood Chapter 8. The Living of Rudby-in-Cleveland Chapter 7. Robert Barlow & his family Chapter 6. 1830: Suspicions of Murder Chapter 5. The Brighams & the Harkers Chapter 4. The Nobility Chapter 3. The Village & its Vestry Chapter 2. Linen Weaving & the Paper Mill Chapter 1. Hutton Rudby: a North Riding Township Remarkable, but still True: a Note regarding money... Remarkable, but still True: Foreword Remarkable, but still True: the story of the Revd ... Literary Wars in Whitby: 1825 to 1833 Whitby in 1823 Anne Weatherill's diary: Guisborough 1863

文学

2017-09/0319/en_head.json.gz/20839

All City Writers: The Graffiti Diaspora Andrea Caputo Products All City Writers: The Graffiti Diaspora Andrea Caputo $35.50 9.7 x 1.4 x 13.2 inches The title, ALL CITY WRITERS, describes a vast research on the Writing movement, focusing particularly on the process of its exportation from New York to all of Europe during the '80s. The first part of the research analyzes how graffiti in media such as movies, videos, magazines, and books from New York influenced Europe. When images of the New York subway arrived in London, Paris, Munich, and Amsterdam, a huge milestone was set: A first generation of European graffiti writers started to follow the letters, the method, the techniques, and the general lifestyle of New York in the '70s. The book, a massive volume of more than 400 pages, has been conceived as an imaginary newspaper. The chronicles it contains have not been penned by real journalists or narrators but by people who define themselves as 'writers.' In this volume, a chorus of uncensored voices in the first person reveal their knowledge of European cities, their infrastructures, interstices, and neighborhoods. This is the generation who, in the last two decades of the 20th Century, imported the countercultural phenomenon from New York commonly known as 'Graffiti.' At the outset, the obsessive repetition of a tag and the search for urban fame became a widespread and spontaneous act, an infinite ego trip that was rarely dissociated from the reproduction of the chosen letters. In these pages, European writers abandon the compulsive act of tagging for a moment, to narrate the city and cast a personal eye—not always detached—on the trains, the streets, and the urban surroundings that common citizens generally cannot or will not acknowledge. The chapters that compose this book focus on special themes, comparable to the sections of a daily newspaper, presented here as special reports on the New York subway, the European network, or the first urban strongholds. The combination of these elements, including, among others, a detailed, in-depth description of the phenomenon's explosion in Italy during the '90s, provides a unique history of the variety of pathways they explored and documents the desires of an entire generation intent on describing and interpreting their cultural movement. Through historic and detailed documentation deriving from a singular urban episode, the New York City Subway, ALL CITY WRITERS wants to investigate the evolution and the consequences of a countercultural phenomenon, which in the last decades has provoked a change in the rules of aesthetics and communication in modern day society. Still None The Wiser 2008 Exhibition Book $20.00 NASTY & SLICE Artistes en cavale 2005 FRENCH Out of Print The Graffiti Subculture- Youth, Masculinity and Identity in London and New York Free Agents: A History of Washington, D.C. Graffiti 2001 1st Editon

文学

2014-35/4521/en_head.json.gz/28242

Deirdre Flint Lampoons the Arts Fest Heat with a Javelin of Political Humor Posted by Ryan Chase on 07/15 at 04:04 PM Deirdre Flint is a satirical folk singer and songwriter whose songs aim to poke fun at pop culture and Americana. Before taking up music full time, she was an elementary school teacher. On this Saturday afternoon she appeared equally timid and bubbly. As she came out on stage, she adjusted the position of the capo on the neck of her guitar, squeezing the tail and sliding it down two frets. The songs blended together. Once one ended it vanished like smoke into the night air quickly, yet somehow slowly, descending into evanescence. It did not diminish the performance or the humor from which it was conceived. It was simply a consequence. A small blemish on an otherwise impeccable display of wit and showmanship. She picked a series of strings, testing if they were still in tune, the capo now properly adjusted. Then she moved closer to the microphone, bumping it, smiling nervously as it briefly wobbled before turning our attention to the metric system: it was coming. It was a prelude to the next song—a fast, melodic number poking fun at the Y2K hysteria ten years earlier. Laughs were quick and a-plenty. By this time, business as usual for Deirdre Flint who, in the latter stages of the Central Pennsylvania Festival of the Arts, compiled one of the more satisfying sets of the event. Arts Fest was hot and crowded with overrated and overpriced food. But you take the good with the bad. Over 125,000 people converging on one town when you’re an employee at one of the premiere bar/restaurant establishments in said town = bad. Spending my one night off with old friends visiting from out of town = good. Ruby & the Hummingbirds = bad. Deirdre Flint = good, very good. For her official website, visit here: Deirdre Flint Share Author: Ryan Chase Bio: Ryan Chase is a senior at Pennsylvania State University, majoring in English and Sociology. In his free time, he enjoys writing, reading, woodcarving, and playing the guitar. Outside of most rap and opera, he listens to every type of music, but he prefers classic rock and jazz. His favorite artists are Robert Johnson, Heatmiser, and Minor Davis & the Fuzzy Slippers. NO COMMENTS

文学

2014-35/4521/en_head.json.gz/28430

Of Fantasy and Science Fiction,edited by Aidan Moher Art by Julie Dillon A Dribble of Ink Posts Tagged: HBO News George R.R. Martin’s former assistant is working on Telltale Games’ adaptation of Game of Thrones By Aidan Moher May 2nd, 2014 According to an interview with the New York Times, George R.R. Martin’s former personal assistant, Ty Franck, has partnered with Telltale Games as a story consultant for the developer’s upcoming adaptation of Game of Thrones. Also notable is that, in addition to his direct work with Martin’s series, Franck is also one-half of the Hugo Award-nominated “James S.A. Corey”, a pseudonym shared by him and Daniel Abraham, under which they write The Expanse, a popular science fiction series. “Telltale has a story consultant assigned by HBO,” The New York Times reported, “the science-fiction author Ty Corey Franck, who is the personal assistant to George R. R. Martin, the author of the books that inspired the TV series and an executive producer on the show.&#

文学

2017-09/0319/en_head.json.gz/20895

BOOKS ANTIQUES & COLLECTIBLES Publisher: Crowood Pr Publish Date: 2/18/2013 See more in Antiques & Collectibles The fountain pen as we know it today developed over thousands of years, from the simple stylus used for cutting marks into clay tablets, to the brush, through the reed, the quill, and the steel-nib dip pen, and finally to the self-contained fountain pen. The advent of electronic communication of the written word has failed to dim the appeal of the fountain pen, and names such as Parker, Waterman, and Sheaffer remain household names. Covering the complete history of the fountain pen, this guide offers useful advice on how to build a collection and where best to look for fountain pens, from car trunk sales to the internet.

文学

2017-09/0319/en_head.json.gz/20965

Tea Cosy - Emma Dryden from Easington Here is a tea cosy in corded, or Italian, quilting....it was made in 1946 by Mrs Dryden of Easington as a wedding gift, and never used. Mrs Dryden taught traditional quilting. The tea cosy is expertly stitched and is nicely put together. The designs are floral.... I tried to find out more about Mrs Dryden on the internet....googled various things to do with Dryden, quilting and Easington.....nothing of interest came up.....as a final attempt I searched for the more general "Durham quilters"....and suddenly this image from an archive appeared...it was Mrs Dryden.... I was able to discover that her full name was Emma Dryden, and that she lived at High Moor Farm, Easington. She had five daughters and one son, and evidently won many prizes for her quilting. Mrs Dryden at her quilting frame...apologies for the poor images... And Emma with some of her trophies for quilting. Mrs Dryden was a friend of Amy Emms. She was older than Amy, and the seller says that it was Mrs Dryden who should be credited for starting the revival of traditional quilting. fabriquefantastique19 March 2015 at 14:50Well done with your investigations, it pays to persevere.ReplyDeleteChris Lee7 September 2016 at 15:29PippaMany thanks for your enquiry about Emma Dryden; I am her youngest grandson. Despite having limited use of only one eye, she made numerous eiderdowns, quilts, bed-spreads and coats, for which she won many awards. She was married to Hugh and they farmed at Moor House Farm, just outside of Easington Village, before moving into Easington after they retired. As stated above, they had five daughters, but two sons; sadly all now dead. Off the top of my head, I think that she died in about 1974. I would be happy to help you further if I can, but I do not normally frequent quilting websites; I am only here because of your enquiry.ChrisReplyDeleteAdd commentLoad more... Millennium Quilt is in Spain Pink and Cream Welsh Quilt from Treorchy

文学

2017-09/0319/en_head.json.gz/20998

Desktop view Simon Wallis In Conversation With In July 2008, Simon Wallis was appointed Director of The Hepworth Wakefield. He was previously Director of Chisenhale Gallery in East London, Senior Exhibitions Organiser at the ICA, London, Curator at Tate Liverpool, and Curator at Kettle’s Yard, University of Cambridge. www.hepworthwakefield.org What has the process of launching The Hepworth been like? It has been a once in a lifetime opportunity to work with an architect whose attention to detail and concern to create the best possible conditions for viewing art are always paramount. It has been fascinating and challenging to see a building of this scale through to completion in the current economic climate and to create the organisation from scratch. It’s been a great pleasure to watch the team grow and develop the vision for the gallery. Being the largest purpose-built gallery space outside of London, how do you feel the building responds to the landscape of the region? The building takes great account of its dramatic and historic site on the River Calder. In designing The Hepworth Wakefield, David Chipperfield Architects have responded imaginatively to the waterfront setting that includes historic mills, a navigation warehouse, a chantry chapel, a weir and three bridges. The gallery complements the scale and form of the existing buildings, and like them appears to rise out of the Calder. The gallery’s façade, constructed of pigmented, in-situ concrete, gives the building a highly sculptural appearance, which echoes the clarity and power of form in Barbara Hepworth’s works and the industrial buildings that surround us. Eva Rothschild’s Hot Touch is your first exhibition. How does her distinctly abstract work complement the existing collection? Over the past decade, Eva Rothschild has attracted international attention for her sculptures that develop a distinct abstract aesthetic using a varied lexicon of forms. This exhibition will present the development of Rothschild’s work in the context of two particular concerns: the visual and intellectual affinities between her sculpture and its artistic precursors, in particular the work of Barbara Hepworth, and the relationship of sculpture to its architectural setting. While Rothschild’s sculptures often inhabit large amounts of space, they do so lightly and with an engaging mixture of precision and precariousness. You have commissioned a new film by Luke Fowler. How will this new work explore the aims of the gallery? Luke is an ambitious artist who, through his work, will explore the writings and rarely-seen archive materials of the radical socialists Edward Palmer Thompson, Raymond Williams and Richard Hoggart, whose teaching and writing was honed in working-class communities, particularly in Yorkshire. His research and eventual film work will explore how the influence of these intellectuals reverberated in the post-war cultural arena. Commissioning this new work for The Hepworth Wakefield collection is the perfect way to help it grow meaningfully again and continue the city’s progressive approach to collecting contemporary art, as it did in the past with Barbara Hepworth and Henry Moore. Bernd Behr and Luke Fowler’s commissions are new film works; how will film play a part in your exhibition programme? Moving image work is always going to be an important part of any contemporary programme. Our interest in Fowler’s work arose from his engagement with experimental filmmaking and documentary. Wakefield has a historical connection to avant-garde film through the work of Lindsay Anderson who directed several films locally including: Wakefield Express (1952) and This Sporting Life (1963). Anderson’s engagement with our immediate geographical environment and the blurring of boundaries between fact and fiction presented a synergy with Fowler, who has always expressed his indebtedness to Anderson’s Free Cinema movement. We wanted to work with Bernd Behr, as he engages with architectural histories in such unexpected ways and he found inspiration in both Chipperfield and Hepworth’s works. Along with The Hepworth, Turner Contemporary has just opened, how do you feel these spaces represent progression of art in Britain today? Both buildings are designed to provide world-class experiences of modern and contemporary art and it’s important that we don’t always have to go to London to have this opportunity. Many artists are deciding not to base themselves in London and we’ll play a part in keeping talented artists in the region and allowing opportunities for valuable international dialogues. Finally, can you give me a glimpse of the year ahead? We’ve got some great upcoming projects being developed with Clare Woods, Ben Rivers and David Thorpe, and we’ll be announcing the programme for 2012 – 2013 shortly. The Figure in Space, Alice Channer: Body In Space and Edward Thomasson: Inside, South London Gallery, London Having been given the opportunity to exhibit at South London Gallery, Alice Channer took the bold step of creating an entirely new set of works to fill the impressive gallery space. Review of Post-War Italian Masters, Mazzoleni Art Founded in 1986, the commercially successful Turin gallery, Mazzoleni Art, last week expanded into the illustrious Mayfair art scene. Located in Albemarle Street, the gallery presents some of the great masters of Post-war Italian Art. The Future of Arts Engagement: A Sense of Perspective: Tate Liverpool Review by Kenn Taylor A Sense of Perspective deals with the in between and the undefined, in a groundbreaking exhibition developed and curated by young… Evening Hymns Jonas Bonnetta returns, under the new name Evening Hymns, with a passionate landscape of instrumental harmonies and lyrical memories. Interview with DC Moore, Playwright of Straight Throwing out the provocative question of, "when is your best friend not your best friend?", Straight is a play that deals with the intriguing topic of friendship and age. From 28 November until 22 December. The Aesthetica Art Prize 2015 Winners Announced John Keane was announced as the winner of the Main Prize and rising star Suzanne Mooney took home the Student Prize at the Aesthetica Art Prize 2015 exhibition preview at York St Mary's. This article was originally published in Issue 41 of Aesthetica Magazine.Click here to read more articles from this issue.

文学

2017-09/0319/en_head.json.gz/21117

ADULT. Coming to White Room Art Basel Week Jose D. Duran Friday, November 14, 2008 at 8 a.m. By Jose D. Duran ADULT. is coming to Miami! And what better week to visit the Magic City than during Art Basel? We told you that Basel has the habit of attracting plenty of musical acts to the city during the week its here, and ADULT. is definitely a rare treat. The duo was booked by the semi-defunct Spiderpussy party for Friday, December 5, shindig at White Room along with Orlando experimental band Yip-Yip. ADULT. consists Adam Lee Miller and Nicola Kuperus who rose to prominence back in the early part of the decade when electroclash was popular. Tracks like "Glue Your Eyelids Together," "Hand to Phone," and "Nite Life" still have a home on the dancefloor to this day. Last year the duo released their fourth album Why Bother?, expanding on their previous effort Gimme Trouble, which introduced a more varied sound along with techno and punk influences.After the jump, check out one of my favorite ADULT. tracks "Nite Life."ADULT. with Yip-Yip at White Room Friday, December 5. 18+; tickets $10; doors open at 10 p.m.-- Jose D. Duran Jose D. Duran has been the associate web editor of Miami New Times since 2008. He's the voice and strategist behind the publication's eyebrow-raising Facebook and Twitter feeds. He has also been reporting on Miami's music, entertainment, and cultural scenes since 2006, previously through sites such as MiamiNights.com and OnBeat.com. He earned his BS in journalism with a minor in art history from the University of Florida. He's a South Florida native and will be a Miami resident as long as climate change permits and the temperature doesn't drop below 60 degrees. @jose_d_duran Amanda Palmer on Ukuleles and Motherhood Arlo Guthrie Ain't Worried About Donald Trump

文学

2017-09/0319/en_head.json.gz/21118

An Evening with Author Max Brooks Kane Hall, Room 130Seatte, WA Max Brooks is considered by many to be one of the world's foremost Zombie preparedness experts. According to the Office of Homeland Security, Brooks is the preeminent authority on dispatching the relentless, flesh-eating armies of Zombies that seem to be everywhere these days. Brooks' latest release, The Zombie Survival Guide: Recorded Attacks (2009), is the graphic novel that fans demanded: major zombie attacks from the dawn of humanity. Recorded Attacks reveals how other eras and cultures have dealt withand survivedthe ancient viral plague. The Zombie Survival Guide, Brooks' first release, is your key to success against the hordes of the undead that may be stalking you right now. The book is the result of Brooks' tireless search for both the living dead and ways to eradicate them, which has taken him to over 30 countries and territories in Europe, Russia, Latin America, the Caribbean, the Arctic and Sub-Saharan Africa. A New York Times best-seller, World War Z: An Oral History of the Zombie War (2007), soon to be made into a major motion picture starring Brad Pitt, tells the story of the world's desperate battle against the zombie threat with a series of first-person accounts "as told to the author" by various characters around the world. Publishers Weekly called the novel "surprisingly hard to put down." The son of Mel Brooks and Anne Bancroft, Max Brooks is completely dedicated to the cause of raising awareness on the issue of Zombie survival. Brooks is ready to come to Seattle to help prepare you with the latest Zombie survival techniques. Born in New York City in 1972, Brooks' introduction to the living dead began with a traumatic childhood incident, an incident he still refuses to discuss. Since that time, he has devoted much of his life to the study and development of anti-ghoul security. After working for the B.B.C. in Great Britain and East Africa, Brooks began writing The Zombie Survival Guide. A former writer for Saturday Night Live, he lives in New York City with his wife, Michelle and their miniature dachshund, Maizey. LocationKane Hall, Room 130 Seatte, WA 98195

文学

2017-09/0319/en_head.json.gz/21220

Man Asian Literary Prize loses funding Latest News The Man Group, which also sponsors the Man Booker Prize, has withdrawn its support from the Man Asian Literary Prize, which will be unable to go on after this year if another sponsor isn't found. By Molly Driscoll, Staff writer South Korean author Kyung-sook Shin was awarded the 2011 Man Asian Literary Prize for her novel 'Please Look After Mom.' View Caption About video ads of The Man Asian Literary Prize, which honors the best novel of the year written by an Asian writer and translated into English, is seeking new sponsorship after the Man Group withdrew its financial support.The Man Group, which is an assets management firm, is also behind the Man Booker Prize, which was awarded earlier this week to “Bring Up the Bodies” writer Hilary Mantel.“We recently announced a program to reduce costs by $100 million by the end of next year, and this decision should be seen in that context," Man Group head of communications David Waller said of the decision. Famous opening lines: Take our literature quiz Man Group CEO Peter Clarke said the company was proud to have been involved with the prize. "We are committed to supporting the prize organizers in finding a new sponsor to ensure the continued development of this leading literary prize," he told The Bookseller.The 2012 prize, which will be awarded in March, will be the last given with support from the Man Group.Executive director of the Man Asian Literary Prize Professor David Parker said that with its current funds, the organization would be able to give out the prize in March, but would need a new source of money after that.“To put it bluntly, we have got about 16 weeks to find some way of funding the prize, and we are absolutely determined we are going to do it," he told the Guardian. “There is quite a lot of potential value in backing a prize such as this, so we're not entirely desolate at this moment.”The Man Asian Literary Prize was first given out in 2007, and last year’s went to writer Kyung-sook Shin, the first female winner, for “Please Look After Mom.”“Of course I was shocked, upset, disappointed to hear about [the sponsorship withdrawal]," Xu Xi, an author who made the shortlist for the prize in 2007 and who is now writer-in-residence at the City University of Hong Kong, told CNN. “There is no other prize in Asia that has any kind of international clout, that helps to bring to the fore writing specifically that is Asia-focused.” Tan Twan Eng wins Man Asian Literary Prize Man Booker Prize longlist is announced Man Asian Literary Prize: the nominees for 2012 How much do you know about African-American literature? Take the quiz.

文学

2017-09/0319/en_head.json.gz/21475

General Non-fiction History Biography Unsung Heroes -- Volume II Arvind Mambro & Harish Dhillon & J. V. Naik & Dr. R. Srinivasan & Abdul Kader Mukadam & Prof. (Ms.) Farrukh S. Waris In the 19th century India was under British rule. It was also a land in need of social reform. This period gave rise to several movements in the country, some of them reformist, others fighting for independence. In the course of these struggles, many individuals distinguished themselves by leading the campaign for change and bringing about a new awakening in the country. In the face of great adversity they worked selflessly to achieve their objectives. Unsung Heroes is a tribute to the courage, vision, and sacrifice of some of these brave sons and daughters of India. This volume features Dadabhai Naoroji, Lala Lajpat Rai, Gopal Krishna Gokhale, Subramanya Bharathi, Maulana Azad, and Ashfaqullah Khan. All these visionaries fought for justice and the betterment of their countrymen. Their commitment, heroism, selfless service, and compassion is an inspiration for all humanity. Harish Dhillon Harish Dhillon had his schooling at the Lawrence School, Sanawar, trained for the Army and was then boarded out of the services on medical grounds. He went on to do his post-graduation and doctorate in English Literature from the Lucknow University, where he lectured for seven years. In 1995 he became headmaster at Sanawar and then moved to Yadavindra Public School, Mohali (Chandigarh), as Principal in 1999. His books include The Lives & Teachings of the Sikh Gurus, Love Stories from the Punjab, The Legend of Banda Bahadur, The Living Saint (a biography of Bhagat Puran Singh), Spiritual Masters: Guru Nanak, and Kali Saver (short stories in Punjabi). He has also written two collections of short stories in English After the Storm and The Song of Silence. He currently lives in Dharampur after retirement from the post of Principal, YPS, Mohali.More.. Abdul Kader Mukadam Abdul Kader Mukadam, as a protagonist of progressive ideology and values, has always been actively associated with a number of social organisations committed to the propagation of these values. He is associated with the Muslim Satya Shodhak Mandal, the first progressive movement of Muslims in India, and is a founder-member of Muslims for Secular Democracy. He regularly contributes articles to newspapers and periodicals on the subject of the problems of Indian Muslims and has participated in debates on this subject on All India Radio and on television. He has presented research papers at seminars organised by Bombay University, Pune University, and Surat University. His areas of interest include Sufism and the politics of the Middle East. He is the author of several books in Marathi: Problems of Indian Muslims, The story of Indian Muslims, and Chandrakorichya Chhayet (In the Shade of the Crescent). A compilation of some of his articles which have appeared in newspapers and periodicals has also been published.More.. E-Books -> HistoryGeneral Non-fiction -> Biography

文学

2017-09/0319/en_head.json.gz/21828

I Will Be Cleopatra: An Actress's Journey Zoe Caldwell An affecting, inspiring memoir, "I Will Be Cleopatra" serves as an indispensable guide for any reader who wishes to gain a clearer insight into Shakespearean theater, and will be one of the most vital books for actors and theater lovers for years to come. photos. This is a riveting account of a determined yet modest woman who became one of the leading classical and Broadway actors of our time, working with such luminaries as Paul Robeson, Laurence Olivier, and Tennessee Williams. Born the daughter of a plumber and a taxi dancer in Australia at the height of the Great Depression, young Zoe Caldwell first appeared on the stage at the age of nine in Melbourne in Peter Pan. So dyslexic that acting was the only way she felt she could communicate, Caldwell became a tried and true professional by the age of fourteen, performing on the radio. Soon she was playing roles under the legendary Elsie Beyer, who sent her to Stratford-on-Avon where she began a Shakespearean career that would culminate in her portrayal of Cleopatra, the Bard's greatest female role. "The Best Theater Book of the Year...touching and wise and very unpretentious." New York Observer "Hers is a vision for not only actors to ponder but anyone longing for greatness in this ancient art." Arthur Miller " C]lean, direct and magnificent. This is a book anyone even remotely interested in the theatre will insist on reading." Terrence McNally, author of Corpus Christi "Caldwell's] book, like her acting, holds your attention from first to last, and again and again rewards it." New York Times Book Review

文学

2017-09/0319/en_head.json.gz/21902

Esther Cepeda: Pluck, perseverance -- and no self-pity Pobrecita means “poor little girl” in Spanish. You won’t find this word in Justice Sonia Sotomayor’s recently published memoir, “My Beloved World.” And this alone tells you everything you need to know about the woman who grew up in near-poverty, in an ire-filled home with a distant mother and an alcoholic father who died when she was 9. She was left to manage her diabetes, her family and her hard-won education nearly all by herself. You’d probably be forgiven for calling her a pobrecita, though it would surely infuriate the endlessly self-reliant Supreme Court justice. Believe me, you won’t find any self-pitying words littering this story of pluck and perseverance.I specifically chose those two words because the cliche irks me so. Generally speaking, I stay away from autobiographies because they’re usually meant to put the author in the best possible light for whatever next stage of fame her or she is hoping to achieve. Sotomayor tells her own story, however, with the confidence of someone who has already arrived and doesn’t need to embellish it. On this count she almost goes overboard in the evenness, proportion and restraint with which she describes her meteoric rise to judicial stardom. At times she describes the patience with which she maneuvered every obstacle -- from the fear of insulin needles to the snootiness of high school administrators who couldn’t believe the eventual class valedictorian managed to get herself into Princeton -- and the wonderment with which she greeted every successive academic and professional distinction and†you just want to grab her by her threadbare lapels and yell, “Look alive, honey!” But that’s Sonia Sotomayor: nose-to-the-grindstone, unassuming, and down to earth -- nearly to a fault. For how many times she mentions her disregard for stylish clothes, purses or shoes, one is almost surprised by how beautifully put-together she appears on the cover of her book. In truth, the pedestrian sobriety with which Sotomayor tells what amounts to a Greek mythology-style triumph -- which easily could have been cast as yet another “I was a poor, victimized minority” sob story -- is both refreshing and edifying. So let’s get a few things straight about the woman who rocketed to Hispanic icon status by calling herself a “wise Latina.” First, and what felt most important to me, was that after peering into the depths of Sotomayor’s character, it’s clear that her Latina statement was not the roar of a liberal feminist of color but merely, as she’d said in the aftermath of the slip, “a rhetorical flourish that fell flat.” Here is a woman who worked overtime every single day of her life to attain academic and professional excellence under the most difficult personal circumstances. Yet she did so without bitterness toward her less-than-perfect family, anger at her unenthusiastic teachers or resentment for anyone who, back in the early days of racial, ethnic and gender equality, didn’t exactly peg her as destined for any kind of greatness. Far from being some sort of stereotypical fiery Latina, the quiet, somewhat awkward, Sotomayor freely shares her academic and personal shortcomings and insecurities. Most importantly, she details the rigor and discipline it takes to overcome such doubts through hard work. Rather than being the ethnic activist she unwittingly painted herself as with the “wise Latina” crack, she speaks openly -- and with an honesty that will disappoint many a left-winger -- about not feeling marginalized by racism or lacking any desire to join radical Latino students who cheered “down with whitey” in their campaigns against oppressors. Sotomayor does this, however, with the same mildness she uses to describe how meaningful it was to have Hispanic peers in college. They banded together to help needy Latinos and she eventually took a leadership role in a Puerto Rican social service organization that served the community she’d come from and never left until she became a judge. Though some have complained that there aren’t any politics in the book, the lessons here transcend politics: a rock-solid belief in personal responsibility, integrity and a moral core. Plus intellectual, as well as political, independence combined with reason and context, not to mention a lifelong love of learning and self-betterment -- values anyone should be able to respect. If you’re prepared to understand all the stereotype-busting realities of one of the most successful people in the world, you’ll be rewarded with this benediction: “I’m proud to offer living proof that big dreams are not out of bounds.” Esther Cepeda’s email address is [email protected]. Washington Post Writers Group

文学

2017-09/0319/en_head.json.gz/21976

Masonic time capsule contains … well, not a lot Steve Huffman / Times-News GRAHAM – Suppose they opened a 110-year-old time capsule and there was nothing inside? Well, that wasn’t entirely the case, but it didn’t miss it by a lot when members of area Masonic lodges opened such a capsule Wednesday afternoon in front of the old Graham Graded School on Main Street. Inside the capsule there were (drum roll, please) photographs and rosters of area Masonic lodge memberships dating to the 1980s. There was a Masonic coin from 1987 celebrating the centennial of Masonic lodges in North Carolina and a historical sketch of Graham’s Thomas M. Holt Lodge. There was a little information indicating what became of the contents of the capsule that was first enclosed in brick and mortar in the school’s exterior wall in 1903. That was pretty much it. Those on hand – about 20 men, the vast majority being Masons – said they weren’t disappointed. “Our main thing was to get the stone,” said David Covington, a member of Mebane’s Bingham Lodge. He was referring to the stone that protected the envelope that basically served as the time capsule. The side of the stone facing out from the building included the Mason sign and the word “Progress,” plus “1903.” Those gathered for the event said the stone would be taken to the Graham lodge, where it would be displayed. After the stone was drilled from the front of the building, Adam Covington, David’s son, lugged it to the tailgate of a waiting pickup. He estimated the stone’s weight at 120 pounds. The envelope that contained the material from the 1980s fell out as soon as the stone was removed. “We really weren’t expecting a lot,” David Covington said of the capsule’s contents. “We knew there wasn’t a lot there.” According to information written on the envelope, the stone containing the capsule was removed Sept. 21, 1986. It was returned to the wall Jan. 14, 1987. The hand-written information on the envelope stated most of the contents of the original capsule were “placed in the hands of” representatives of Graham Health Care for “preservation.” Graham Health Care for a period operated a nursing home out of the old school. The business no longer exists. Writing on the envelope that served as the time capsule stated that a penny dated 1898 from the original capsule was presented to Masons from Bingham Lodge. Representatives of that lodge said Wednesday they weren’t sure where the penny might be, but said they had an artifacts room they planned to search. The envelope was signed by three individuals when it was returned to the wall in 1987. The only one of the three on hand Wednesday was David Covington. He said he vaguely remembered the capsule containing a Bible that was “pretty brittle” and some paperwork. Covington said he had no memory of the items being presented to Graham Health Care. Nor did he remember the stone remaining out of the wall for almost four months. “I thought it was only out a day or two,” Covington said. Alamance County has owned the building since 2008 and county leaders plan to have the structure demolished soon, which prompted Wednesday’s stone removal. According to Burlington historian Walter Boyd, the Masonic stone was placed Sept. 26, 1903, by Masons of the Holt Lodge. At least 80 Masons attended the ceremony. Boyd said contents were described as: “A copy of scriptures,” “Copies of county newspapers” and “Several other records.” Despite the fact the capsule didn’t contain vast treasures, Masons on hand said they had a good time. All three Alamance County lodges – Holt, Bingham and Bula – were represented, as was Gibsonville’s Tabasco Lodge. There was a generous dose of camaraderie involved in Wednesday’s proceedings. “Jim helped lay the brick around that stone in 1903,” said Lash Wrightenberry, laughing as he spoke. He was referring to Jim Covington – David’s father and Adam’s grandfather, and a member of the Bingham Lodge. Wrightenberry belongs to the Tabasco Lodge. He said he wasn’t surprised by Wednesday’s turnout. “Anytime you’ve got anything Masonic going on, you’re going to see a lot of us here,” Wrightenberry said. “It’s a brotherhood like no other.” Jim Sykes, master of the Bingham Lodge, said he enjoyed Wednesday’s gathering and said he wasn’t surprised the capsule didn’t contain much in the way of fireworks. He said the longtime goal of Masons is: “Bible in one hand and community in the other.” “We’re simple,” Sykes said. About Us

文学

2017-09/0319/en_head.json.gz/22242

Remembering Robert Stone The novelist possessed his characters, and was possessed by them By Stephen Goodwin Robert Stone, who died on January 10, was a member of the all-but-vanished tribe of hard-living, two-fisted, wildly ambitious American novelists who grew up in Hemingway’s slipstream. In the 1960s, when Bob was writing his first novel, Hall of Mirrors, the elders were guys like Norman Mailer, William Styron, Saul Bellow, and Nelson Algren. They punched like heavyweights. They swung for the fences. They all stalked that shaggy beast, the Great American Novel. Or so it seemed to an impressionable younger writer like me; I felt just enough younger to have missed out on something. Perhaps I romanticized the generation of writers ahead of me, but from the safety of the academy—I was on path of the writer-teacher—they did seem larger-than-life: more adventurous, more daring, more glamorous that the rest of us would ever be. By the time I met Bob, he had already won the 1975 National Book Award for his second novel, Dog Soldiers, a thriller that linked the disastrous war in Vietnam with the drug culture that was epidemic on the home front. That book is richly populated with the kinds of characters who would become familiar to his readers: the druggies, the drunks, the psychopaths, the world-weary, the desperate, and the deluded, some of them so violent, cruel, or just plain loony that they could strike fear in your heart. Some critics took Bob to task for what they perceived as a darkly distorted view of humankind, but sheltered as I might have been, I believed that his vision of a dangerously out-of-control America was accurate, and prophetic. In the spring of 1983, Bob came to read at George Mason University, where I still teach, and I picked him up at Dulles. Every time I saw him, I had to smile a little: Bob was a dead ringer for Tolstoy. Same white beard, same fierce eyes, same straight hair worn close to the skull, same sanctified potato nose. He was not an imposing man but you knew at a glance that you did not want to cross him. On the plane he’d had a few belts, and since it was mid-afternoon, we went to a bar to meet Richard Bausch, fellow writer and nonpareil storyteller, to have a few more. The whole of happy hour stretched before us and we put it to good use. Bob talked about hanging out in Mexico with Nick Nolte during he filming of Who’ll Stop the Rain, the movie based on Dog Soldiers. “His idea of a good time,” he said, “was to drink a bottle of tequila and lie down in the middle of the main street and see what happened.” If memory serves, Bob judged this to be “a capital stratagem.” The more he drank, the more eloquent he became. We must have gotten louder, too, or expressed unwelcome opinions, because the citizens at the next table began to mutter and then told us to pipe down. “Kind sirs,” said Bob, a semi-Shakespearean voice coming to him in a twinkling, “’twas not our purpose to give offense but to entertain, and only ourselves; and if our mirth hath spilled over, why then, you are welcome to the overflow.” This further riled them. “I am a peaceful man,” Bob said, “but your words do buzz about me, and sting. Oh! Ow! I am pricked! I swoon! I stagger!” And so he did. I am guessing at the words, but not at the performance. Bob did stand and deliver, and he did stagger. He stayed in character, and the tension somehow went out of the confrontation, maybe because the other guys were simply dumbfounded. They shook their heads, shrugged heir shoulders, and went back to their own business. There was still the reading to get through. By the time we got to the packed hall where Bob was to speak, he seemed as muddle-headed as I was. I took my seat and expected the worst—but Bob came alive. He performed brilliantly. I have read that some actors have the ability, no matter how much they have drunk, to take full command the moment they set foot on the stage. As I listened to Bob read a story that required a variety of accents, including a fruity, fluty Irish-Indian hybrid, I could only marvel. He was as composed and majestic as Olivier. Over the years I saw Bob pretty regularly, but whatever insight into the man I have dates from that night. The ease with which he could invent a character on the wing and slip into another role—this wasn’t just a matter of performance. It was uncannier than that. When Bob inhabited another character, he possessed that character, or was possessed. There in the bar, and later at the podium, his whole aura had changed. In fact, when I spoke to him only seconds after his presentation, he could barely put two words together, as though his whole being had depended on sustaining that illusion of another character. To some degree, all novelists must be able to enter their characters, and perhaps I am reading too much into that night. I have undoubtedly embellished that memory in many retellings, but my conclusion stands: something eerie happened when Bob got into another character. He was gone. Other people, including those he had only imagined, were entirely real to him. We were both involved with the PEN/Faulkner Foundation (Bob was the chairman of the organization for 30-plus years), and I saw just how generous he was, how loyal, and how tender. Any report of suffering could bring tears to his eyes. Having been raised by a schizophrenic mother, having spent many years in a Catholic orphanage, Bob knew the pain of abandonment and loneliness. The way he made it bearable for himself, or so I have come to believe, was to invent stories. That ability—that need—to lose himself in his stories remained with him. His emotional and psychic investment in his characters is absolute. For me this has come to stand as the essential quality of his work, the quality that makes his fiction so moving. His characters might be drugged out, violent, or deluded, but the reader who does not turn away will come, slowly and perhaps painfully, to sense the balance tilting toward mercy. These characters have souls. They might never be redeemed, they might be beyond forgiveness, but their creator finds himself in them, and he loves every anguished one of them. Stephen Goodwin is the author of three novels and the nonfiction book Dream Golf: The Making of Bandon Dunes.

文学

2017-09/0319/en_head.json.gz/22505

stalkerg Date Upload: 2/19/10, 3:49 PM Date Published: 2/23/10, 4:42 AM olive (149 117 89) Artefacts Degree: 10.0192 Smoothness Degree: 49.0194 Complexity: 4.8925 Hifky k-on!: K-On! (けいおん! Keion!) is a Japanese four-panel comic strip manga written and illustrated by Kakifly. The manga started serialization in Houbunsha's seinen manga magazine Manga Time Kirara since the May 2007 issue, and also started a bimonthly serialization in Houbunsha's magazine Manga Time Kirara Carat since the October 2008 issue. A thirteen-episode anime adaptation produced by Kyoto Animation aired in Japan between April and June 2009. An additional original video animation episode was released in January 2010. A second season will begin airing in Japan in April 2010. The title of the series comes from the Japanese word for light music, keiongaku (軽音楽?), but in the Japanese context is similar to pop music. K-On!'s story revolves around four Japanese high school girls who join their school's light music club to try to save it from being abolished. However, they are the only members of the club, and at first Yui Hirasawa, the main character, has no experience playing musical instruments or reading sheet music. Eventually, she learns how to be an excellent guitar player. The rest of the club helps her to buy a guitar, and they perform successfully at the school festival. kyoto animation: http://www.kyotoanimation.co.jp/ hirasawa yui: Yui Hirasawa (平沢 唯 Hirasawa Yui) Yui is the main character of K-On!. She is one of the members of the light music club, and plays a Heritage Cherry Sunburst Gibson Les Paul Standard electric guitar that she nicknames 'Giita' (ギー太?). She does not get good grades in school (though when properly coached, she can achieve astounding results) and is easily distracted by trivialities. Yui is clumsy and easily spaces out most of the time. She takes a huge liking for any kind of food (she practically never gains weight, which is greatly envied by Mugi and Mio). She has her younger sister Ui, who is the very mature and down-to-earth opposite of Yui, to take care of her and keep herself in line. Yui works extremely hard to get better at playing guitar, which is shown in late chapters. During performances, Yui plays with amazing energy and joy, which usually results in great repsonse from the audience. She has an amazing music ear—she can tune her guitar perfectly without a tuner, which greatly impresses Azusa, who has played the guitar much longer than Yui. She has a very easy-going nature, but has incredible concentration when hyped, though this is only limited to one subject at a time. She will totally neglect any other things in the process, to the point of forgetting anything she has learned beforehand. Despite all of this, Yui is still devoted to her band and will always practice hard enough for the club. Yui is the main vocalist and has a perfect pitch. At school, she has become quite admired for her great voice. However she is known to forget her lyrics in mid-performance, as well as overdoing things, making her unable to perform sometimes. Mio was the lead vocalist at first, since Yui could not play the guitar and sing at the same time. One of Yui's newly discovered skills is her ability to write amazing lyrics, which shocked the rest of the band, who first assumed that Ui had written them for Yui. seifuku: Japan introduced school uniforms in the late 19th century. Today, school uniforms are almost universal in the Japanese public and private school systems. They are also used in some women's colleges. The Japanese word for uniform is seifuku (制服?). The Japanese junior- and senior-high-school uniform traditionally consists of a military style uniform for boys and a sailor outfit for girls. These uniforms are based on Meiji era formal military dress, themselves modeled on European-style naval uniforms. The sailor outfit replace the undivided hakama (andon bakama 行灯袴) designed by Utako Shimoda between 1920–30. While this style of uniform is still in use, many schools have moved to more Western-pattern parochial school uniform styles. These uniforms consist of a white shirt, tie, blazer with school crest, and tailored trousers (often not of the same color as the blazer) for boys and a white blouse, tie, blazer with school crest, and tartan culottes or skirt for girls. Regardless of what type of uniform any particular school assigns its students, all schools have a summer version of the uniform (usually consisting of just a white dress shirt and the uniform slacks for boys and a reduced-weight traditional uniform or blouse and tartan skirt with tie for girls) and a sports-activity uniform (a polyester track suit for year-round use and a t-shirt and short pants for summer activities). Depending on the discipline level of any particular school, students may often wear different seasonal and activity uniforms within the same classroom during the day. Individual students may attempt to subvert the system of uniforms by wearing their uniforms incorrectly or by adding prohibited elements such as large loose socks or badges. Girls may shorten their skirts; boys may wear trousers about the hips, omit ties, or keep their shirts unbuttoned. Since some schools do not have sex-segregated changing- or locker-rooms, students may change for sporting activities in their classrooms. As a result, such students may wear their sports uniforms under their classroom uniforms. Certain schools also regulate student hairstyles, footwear, and book bags; but these particular rules are usually adhered to only on special occasions, such as trimester opening and closing ceremonies and school photo days. Login hirasawa yui

文学

2017-09/0319/en_head.json.gz/22595

CHM's grandfather's paintings CHM's grandfather was a painter who lived in the 1800s. His name was Charles-Henri Michel and he was born in a little village in Picardy, just a few miles north of the town of Péronne. That's where CHM and I went last Tuesday afternoon.This is the church in the village called Fins, north of Péronne.Actually, there are two villages right next to each other — Fins and Sorel. The Michels were originally from Sorel, but moved to Fins early on. The house in Fins where the painter C.-H. Michel lived has a plaque on it. As I said the other day, it's not actually the same house because the original one was destroyed in World War I. Another house was built later on the site, and that newer house has the plaque on it.In the church hangs this painting by Charles-Henri Michelcalled La Madone des anges (1859).C.-H. Michel was born in 1817 and died in 1905. He lived most of his life in Paris. CHM's father, a doctor, was born in 1860 in Paris — and CHM was born in Paris too. But when CHM first contacted his Picardy cousin, the village mayor, by e-mail, the cousin wrote back and said: "I'm intrigued by your name. Would you by any chance be related to ‘our painter’ — notre peintre ?" He and CHM had never met before.Ecce Homo, by Charles-Henri Michel, dates from 1904,when the painter was 87 years old.In the church in Fins there are three paintings by CHM's grandfather. CHM's distant cousin — they trace their lineage back to a common ancestor, Fiacre Michel, in the 1600s — is the mayor of Sorel but he was able to get the key to the church in Fins so that we could go see and take pictures of the grandfather's paintings. The mayor of Fins, a farmer, was busy harvesting his crops and not available to greet us.This painting is titledVision de sainte Thérèse d'Avila (ca. 1900).The old church in Fins was also destroyed during the Great War of 1914-18 and a new church was built subsequently. Péronne and the surrounding villages and countryside were in the middle of the battlefields. The area is the valley of the Somme River. The Germans invaded, and French, British, and Australian forces tried to push them back, or at least defend the rest of France from invasion. The Americans arrived later. Australian forces were the ones who actually "liberated" the Péronne area toward the end of the war.The interior of the church in FinsCHM has now donated hundreds of drawings, engravings, and paintings to the museum of the little city of Péronne nearby, where his grandfather and other family members are buried. Many are the work of his grandfather, and many others the work of his uncle — his father's brother — who was a pastelist. In going through all the things stored in his apartment in Paris, which the family has lived in since the late 1880s, he also discovered other documents that the museum was excited about having.Ecce Homo hangs over the altar in the churchThere was, for example, a photo of a 19th-century Picard writer, Hector Crinon, who was known for his efforts to resuscitate the Picard language — only one other such photo of the man of letters is known to exist. Crinon was to Picardy what Frédéric Mistral was to Provence. CHM also found many letters that his grandfather exchanged with other painters, including one of his mentors, Auguste Dehaussy.CHM told me he feels a sense of relief and satisfaction knowing that his grandfather's and uncle's artwork is "in good hands" — in museums, in other words, and no longer in storage in his apartment. The family heritage will be preserved and the historical record augmented. Food, Fun and Life in the Charente24 July, 2010 10:17What an interesing little church and the paintings are beautiful. DianeReplyDeleteCarolyn24 July, 2010 13:22How nice to see a church flooded with light. It makes it possible to see CHM's grandfather's fine paintings. I'd like to see more of them; I guess I'll do some Googling today (it's too hot to do anything else).ReplyDeleteSeine Judeet24 July, 2010 14:16Ahhhh, I wondered if that's what you two were doing on this trip... hence the need for the large-size car :) I didn't realize that there would be so many works in storage in CHM's apartment... how wonderful that he has donated all of that historic material to a museum :)) Thanks so much for showing us more of his beautiful paintings.Judyp.s. It's also very interesting to know that CHM's apartment in Paris has been in his family since the 1880s!ReplyDeleteDiogenes24 July, 2010 16:46I enjoyed seeing more of Michel's beautiful paintings. Thank you for this informative post - I did not know there was once a Picard language. And CHM has a fascinating family history.ReplyDeleteAnonymous24 July, 2010 17:00Thanks for these interesting explanations and pictures ! Bises :-)MarieReplyDeleteEvelyn24 July, 2010 18:13I loved seeing the beautiful paintings and was interested to learn about the Picard language. Most of our ancestors led isolated lives which made food for thought. I suppose we get our tribal instincts honestly.I'm glad that your mission was accomplished in a satisfying way. Now you'll need to rest up...oops no time for that since you still have walls to be painted, non?ReplyDeleteLeon and Sue Sims25 July, 2010 02:12What a great trip with a sense of history you had.Yes we lost many Australian soldiers in the area with some recent mass burial sites being rediscovered recently.The church reminds me of similar architecture of the one in Honfleur.Is it common of northern France?LeonReplyDeletechm25 July, 2010 07:57Thank you all for your nice comments about my grandfather's paintings. I am very appreciative.ReplyDeleteKen Broadhurst25 July, 2010 09:06Leon, so much had to be re-built in northern France after the 1914-18 war, and then again after the 1940-45 war. Sometimes the architecture is not so great. It's really a shame that so many beautiful and historic buildings were destroyed. KenReplyDeleteAnonymous09 March, 2012 09:14Hi CHM, I'm researching a couple of paintings signed "H MICHEL"- one lacks the "H". Could these be by one of your relatives? If so, is there somewhere I could find more information about them?Thanks in advance for any help you can offer.JamesReplyDeletechm09 March, 2012 12:21Hi James,If you want me to help you, you'll have to give Ken a working e-mail address. He'll forward it to me.ReplyDeletechm12 March, 2012 00:20Hi James,Sent you an e-mail two days ago and didn't have any kind of answer. My "handle" is salton.ReplyDeleteAdd commentLoad more... Brandade de morue (salt cod and potatoes) Wildlife and geese at La Corroirie Prolific potato plants An afternoon in the sun at La Corroirie L'Eglise Saint-Ouen in Rouen Paintings by the artist Charles-Henri Michel (1817... Pâtissons farcis au riz et à l'ail More about Normandy Neufchâtel cheese In Normandy, it's the cheese Churches, museums, names, and cousins From Paris to Picardy in a Kangoo Gypsies riot in Saint-Aignan Training it to Paris today Herbed chicken breasts with apricots What did you do yesterday? Varnish, varnish, varnish Potato salad with basil and dried tomatoes Of running hands and fool-protectors End of the heat wave? Summer is for enjoying Blue-foot mushrooms Thunderstorms and a heat wave Une chauve-souris dans la cheminée Growing mushrooms in Bourré Swallows’ nests at Chenonceau A nice cool weekend The mushroom “caves” in Bourré Hot and muggy turns stormy A new fan Dinner at the Lion d'Or in Romorantin

文学

2017-09/0319/en_head.json.gz/22677

"Blameless: Book 3 Parasol Protectorate" by Gail C... 'Indigo Springs' Book 1 of Astrid Lethewood Series... "Six-Gun Tarot" by R.S. Belcher (Reviewed by Cindy... Shadow Ops: Fortress Frontier by Myke Cole (Review... NEWS: Kickstarter projects, Ilona Andrews and Ian ... The Wrath Of Angels by John Connolly (Reviewed by ... GUEST POST: The Different Facets Of Fantasy by C. ... Interview with Miles Cameron II - Reenacting and R... The Immortals Of Meluha by Amish Tripathi (Reviewe... Spotlight On Two Diverse Collections: Weird Noir a... "Elemental" by Antony John (Reviewed by Cindy Hann... GUEST POST: Inner Selves, and Writing What You Kno... NEWS: Blake Crouch, R.T. Kaelin, Teresa Frohock, T... Mihir's Top Reads of 2012 SPOTLIGHT on Three Titles of Interest: Yoko Ogawa,... WORLDWIDE GIVEAWAY: Win A Signed Copy Of Ilona And... GUEST POST: Breaking In A New Pair of Boots—Or a N... The Blood Gospel by James Rollins and Rebecca Cant... BLOG TOUR: An Extract from the Ongoing Serial "Tom... Mini-Interview with Tim Marquitz (Interviewed by M... Witch Bane by Tim Marquitz (Reviewed by Mihir Wanc... The Blood Gospel by James Rollins and Rebecca Cantrell (Reviewed by Mihir Wanchoo) Official James Rollins Website Official Rebecca Cantrell Website Order the book HERE Read the first three chapters HERE Read Fantasy Book Critic’s review of City Of Screams AUTHOR INFORMATION: James Rollins is a pseudonym for Jim Czajkowski and is the New York Times, USA Today and Publishers Weekly bestselling author of seventeen novels including the SIGMA Force series which was optioned for film adaptation by Dino De Laurentis, the Indiana Jones and the Kingdom of the Crystal Skull novelization, and the Jake Ransom YA books. He also writes fantasy—The Banned and the Banished and The Godslayer Chronicles—under the pen name James Clemens. Besides writing, Jim holds a doctorate in veterinary medicine and is an avid spelunker and certified scuba enthusiast. AUTHOR INFORMATION: Rebecca Cantrell was inspired by a faded pink triangle pasted on the wall of Dachau Concentration Camp and time spent in Berlin, Germany in the 1980s to create the Hannah Vogel series. These novels have won the Bruce Alexander and Macavity awards and been nominated for the Barry and RT Reviewers Choice awards; her critically-acclaimed cell phone novel, iDrakula, was nominated for the APPY award and listed on Booklist’s Top 10 Horror Fiction for Youth. She and her husband and son just left Hawaii’s sunny shores for adventures in Berlin. OFFICIAL BLURB: An earthquake in Masada, Israel, kills hundreds and reveals a tomb buried in the heart of the mountain. A trio of investigators—Sergeant Jordan Stone, a military forensic expert; Father Rhun Korza, a Vatican priest; and Dr. Erin Granger, a brilliant but disillusioned archaeologist—are sent to explore the macabre discovery, a subterranean temple holding the crucified body of a mummified girl. But a brutal attack at the site sets the three on the run, thrusting them into a race to recover what was once preserved in the tomb's sarcophagus: a book rumored to have been written by Christ's own hand, a tome that is said to hold the secrets to His divinity. The enemy who hounds them is like no other, a force of ancient evil directed by a leader of impossible ambitions and incalculable cunning. From crumbling tombs to splendorous churches, Erin and her two companions must confront a past that traces back thousands of years, to a time when ungodly beasts hunted the dark spaces of the world, to a moment in history when Christ made a miraculous offer, a pact of salvation for those who were damned for eternity. Here is a novel that is explosive in its revelation of a secret history. Why do Catholic priests wear pectoral crosses? Why are they sworn to celibacy? Why do the monks hide their countenances under hoods? And why does Catholicism insist that the consecration of wine during Mass results in its transformation to Christ's own blood? The answers to all go back to a secret sect within the Vatican, one whispered as rumor but whose very existence was painted for all to see by Rembrandt himself, a shadowy order known simply as the Sanguines. In the end, be warned: some books should never be found, never opened—until now... FORMAT/INFO: The Blood Gospel is 496 pages long divided over five numbered Parts and further sub-divided over sixty-six numbered chapters along with a prologue and epilogue and also includes Acknowledgments. Narration is in the third person via various characters, namely Erin Granger, Sergeant Jordan Stone, Father Rhun Korza, Bathory, Tommy and a few other minor POV characters. The Blood Gospel is the first book of the Order Of The Sanguines series. January 8, 2013 marks the North American Hardcover and e-book publication of The Blood Gospel via William Morrow. The UK edition (see below) will be published on April 11, 2013 via Orion. ANALYSIS: I’ve been fascinated by this book trilogy when it was first announced back in late 2009/early 2010. There was scant information about it and I had to wait for a while before I could come across more information. I have compiled most of it in this blog post and that was before I spoke with Jim and came to know about what it really entailed. Its safe to say as an idea it’s a fantastic one and I was very curious to see how Jim and Rebecca pooled their skills to execute it. The Blood Gospel begins in the past, as is the norm for most James Rollins thrillers and this time it goes back to a historic and brutally infamous event, the Massada massacre! We begin with our current timeline wherein Dr. Erin Granger is excavating some ruins in Caesarea, Israel; she gets alerted to the events that have occurred in Masada, Israel. Tommy is a young man who is facing the last legs of his life as a result of skin cancer, however due to certain strange occurrences. He becomes embroiled in the same events and will soon come to know that life is infinitely more complex than the cancer cells in his body. Jordan Stone is the Special Forces soldier that was introduced in the City Of Screams short story and here we get to know him better. Rhun Korza is the Vatican priest who is sent to investigate the strange events of Masada wherein he encounters Erin, Jordan and a few others who have their own interests of course. Thus begin the events that form the crux of the plot of the first Blood Gospel volume. This book shares all the characteristic trademarks of James Rollins’ work however there is also the presence of Rebecca Cantrell who lends her excellent characterization skills to create a hybrid product from which it is very hard to discern which part was written by whom. Getting down to the awesome bits of the book, beginning from its historical points to the current set up. The book’s main plot is a grand mix of plot threads that feature a lot of secrets and rituals of the Catholic Church and the authors give us their reasons for these facts which make for a very interesting read. There’s also the transposition of certain facts onto the story that add to the intrigue factor and of course with all the plot twists, it becomes very hard to put down the book. The book has a very structured feel to it and the pace is also substantial wherein the reader is constantly urged if not forced to turn the page to find out what happens next. There’s also the horror mix to the storyline, which makes perfect sense from the story’s point and is a first for both authors. This book is a very curious mix of thriller, horror and urban fantasy genres and also has a very pulp feel to it. Another point that I would like to highlight is that the book involves a lot of Christian mythology and deals with some pretty heavy matters of the Catholic faith but this book cannot be classified as Christian fiction. Even though the subject matter deals with religious stuff, the authors have taken care to present it in a very objective manner. I enjoyed this aspect of the story as I found it informative without being obnoxious or even stodgy. The book is also partly dedicated to Anne Rice and after reading the story; I can say it is very appropriate. One of the things that I wanted to talk about in regards to this book is characterization. In the past SIGMA books; characters could easily be drawn into the good guy/bad guy camp. With this book, I had hopes that this factor would have been bettered with Rebecca’s help and I’m glad to say that there’s definitely an upswing to things. Of course you will not find characters as rich as in A Song Of Ice And Fire but there’s definitely hope for the future Blood Gospel titles. Lastly the only other point that I felt that the book could have done better is developing the background mythology. CONCLUSION: James Rollins and Rebecca Cantrell deliver a story that is unlike anything they have written individually. The sum of their efforts is definitely more than the equal of their individual parts and becomes a book that will definitely earn them legions of fans. Mixing fascinating mythological aspects with the supernatural and basing it in a contemporary setting, the authors give us a tale that will have the readers salivating for more. Give The Blood Gospel a try to find out why this book will be such a big hit with thriller and urban fantasy fans. Bob Milne I'm still trying to decide how to approach my review. It was much heavier in religious elements than I expected, and while I appreciated what they did with vampires, I didn't really feel the sinister threat from the bad guys that I felt was necessary to really bring the story home.I enjoyed the book, but I'm on the fence as to whether I'll continue on with the series. January 3, 2013 at 11:26 AM I will not be reading any of the following novels. For me things just got worse and worse starting with the introduction of Bathory which set off the lightbulb in my head. Bathory is related to the Countess of Blood, a real historical personage in Hungary in the early 17th century whos exploits are mindblowing enough for any horror-loving fan. I have had enough as I just read that Rasputin obviously did not die in the Russian revolution but survives as a vampire! Couldn't get any worse for me. If I were G.R.R. Martin I'd be embarrassed to be mentioned anywhere near this book let alone in a review of it.

文学

2017-09/0319/en_head.json.gz/22690

Truthdig Bazaar Books Truthdig Contributors Pure Goldwater from St. Martin's Press (click images to enlarge) Pure Goldwater from St. Martin's Press Description of Pure Goldwater from St. Martin's Press Truthdig Bazaar are delighted to offer the famous Pure Goldwater. With so many on offer today, it is great to have a brand you can trust. The Pure Goldwater is certainly that and will be a great acquisition. For this reduced price, the Pure Goldwater comes highly respected and is always a popular choice with many people. St. Martin's Press have provided some great touches and this means great value for money. Barry Goldwater is a defining figure in American public life, a firebrand politician associated with an optimistic brand of conservatism. In an era in which American conservatism has lost his way, his legacy is more important than ever. For over 50 years, in those moments when he was away from the political fray, Senator Goldwater kept a private journal, recording his reflections on a rich political and personal life. Here bestselling author John Dean combines analysis with Goldwater's own words. With unprecedented access to his correspondence, interviews, and behind-the-scenes conversations, Dean sheds new light on this political figure. From the late Senator's honest thoughts on Richard Nixon to his growing discomfort with the rise of the extreme right, Pure Goldwater offers a revelatory look at an American icon--and also reminds us of a more hopeful alternative to the dispiriting political landscape of today. English-published-english-original Language-english-unknownenglish-published-english-original Language-english-unknown View Add to Cart The Arctic Gold Rush: The Race for Tomor... View Add to Cart The Ayatollahs and Democracy in Iraq (Am... View Add to Cart What Really Happened to the 1960s: How M...

文学

2017-09/0319/en_head.json.gz/22696

old hobo but with a youthful look so you couldn’t tell exactly what age he was. And he sat on the boards crosslegged, looking out over the fields without saying anything for hundreds of miles, and finally at one point turned to me and said “Where you headed?” I said Denver. “I got a sister there but I ain’t seed her for several couple years.” His language was melodious and slow. His charge was a sixteen year old tall blond kid, also in hobo rags, and that is to say they wore old clothes that had been turned black by the soot of railroads and the dirt of boxcars and sleeping on the ground. The blond kid was also quiet and he seemed to be running away from something, and it figured to be the law the way he looked straight ahead and wet his lips in worried thought. They sat side by side, silent buddies, and said nothing to anyone else. The farmboys and the high school boys bored them; Montana Slim however spoke to them occasionally with a sardonic and insinuating smile. They paid no attention to him. Slim was all insinuation. I was afraid of his long goofy grin that he opened up straight in your face and held there half-moronically. “You got any money?” he said to me. “Hell no, maybe enough for a pint of whisky till I get to Denver. What about you?” “I know where I can get some.” “Where?” “Anywhere. You can always folly a man down an alley can’t you?” “Yeah, I guess you can.” “I ain’t beyond doing it when I really need some dough. Headed up to Montana to see my father. I’ll have to get off this rig at Cheyenne and move up some other way, these crazy boys are going to Los Angeles.” “Straight?” “All the way---if you want to go to L.A. you got a ride.” I mulled this over, the thought of zoomingallnight across Nebraska, Wyoming and the Utah desert in the morning and then the Nevada desert most likely in the afternoon, and actually arriving in Los Angeles California within a foreseeable space of time almost made me change my plans. But I had to go to Denver. I’d have to get off at Cheyenne too, and hitch south 90 miles to Denver. I was glad when the two Minnesota farmboys in the cab decided to stop in No. Platte and eat; I wanted to have a look at them. They came out of the cab and smiled at all of us. “Pisscall!” said one. “Time to eat!” said the other. But they were the only ones in the party project proposal

文学

2017-09/0319/en_head.json.gz/22698

gizmodoDeadspinGizmodoJalopnikJezebelKotakuLifehackerThe RootVideoSploidPaleofutureio9ScienceReviewsField GuideThe Real-Life Monument Men: How American Scholars Went to War For ArtKelsey Campbell-Dollaghan2/07/14 10:00amFiled to: artwarmonuments menwwii2913EditPromoteShare to KinjaToggle Conversation toolsGo to permalink They came from the best museums and universities in the country: Art historians, curators, artists and architects who probably never dreamed of joining the army. This band of unlikely soldiers was tasked with the uniquely challenging job of finding—and saving—Europe's great masterpieces before the Nazis could steal or destroy them. They were called "Monument Men." Advertisement That was their unofficial name, of course; it's also the title of the George Clooney film loosely based on their story that opens in theaters today. Officially, their department was known as the Monuments, Fine Arts, and Archives program, created in 1943, after the director of the Museum of Modern Art—then still just a fledgling museum!—took his concerns about the destruction of European art to the White House. That June, FDR established the American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas, which in turn created the MFAA. War, of course, is the natural enemy of great cities and art; these are things that require care and stewardship, and in Europe of 1943, both were in short supply. By sending more than 400 soldiers and civilians to reduce the damage being caused by World War II, the US was doing something pretty much unprecedented: Fighting a shadow war, behind the scenes, that attempted to salvage the wreckage created along the front lines. Top: the rescuing of Michelangelo's Madonna and Child in Altaussee, Austria, in 1945. Bottom: this 1945 handout photo provided by the Smithsonian Institution shows the evacuating of artwork from Neuschwanstein Castle in Bavaria. AP Photo/Smithsonian Institution. So, what was life like as a member of the MFAA? Usually, a few monument men were stationed in groups with troops along the front lines. That made it possible for them to help officers make battle decisions based on a clearer picture of what potential monuments and works of art stood in the way, and also to help identify and protect artworks and objects recovered from the Nazis. Top: 16th November 1940: A man stands in the ruins of Coventry Cathedral after a German nighttime air-raid destroyed the centre of the city. Photo by George W. Hales/Fox Photos/Getty Images. Bottom: Even in London, great works were being destroyed: This 6th January 1940 photo shows a 400 year old painting and silver drinking vessels rescued from a jammed safe in St Lawrence Jewry. Photo by Keystone/Getty Images.Sometimes, as the troops moved into a newly-won area, the MFAA would assess the damage and then make whatever repairs they could—including organizing locals to carry out long-term work. An average day could mean anything from trudging dozens of miles between small towns, to covering ruined buildings and monuments with tarp, to lugging sculptures, paintings, or smashed architectural details from half-destroyed buildings to safety. Top: Monuments Man George Stout moves the central panel of the Ghent Altarpiece in Altaussee, Austria in July of 1945. AP Photo/National Archives and Records Administration. Bottom: Monuments Man George Stout, second from right, with others as they remove Michelangelo's Bruges Madonna from the salt mine in Altaussee, Austria, July 10, 1945. AP Photo/National Archives and Records Administration. Though today, the monument men carry a certain air of mystery—after all, George Clooney is playing one in a movie!—they weren't particularly well-loved by their fellow GIs. According to Ilaria Dagnini Brey, the author of The Venus Fixers: The Remarkable Story of the Allied Soldiers Who Saved Italy's Art During World War II, members of the MFAA were often much older than normal soldiers—sometimes in their 40s and 50s. In a wonderful article in Smithsonian Magazine about a band of MFAA men in Italy, Brey says that the age difference gained them a backhanded nickname: "Aged Military Gentlemen on Tour." The rescuing of art from Buxheim Monastery, Bavaria. AP Photo/Edward E. Adams, Smithsonian Institution. The divide was also cultural, since MFAA men had unique backgrounds that would've seemed rarefied to the average 20-year-old soldier. Many were curators at the best museums in America, others were artists themselves or professors of art history at schools like Princeton, Yale, and Harvard. They were uniquely ill-suited for the trials of war, but perfectly suited to the unique task at hand. Protecting monuments and great works of art as Allied troops moved through Europe was only half of the job, though. As the war raged, so did rumors of the looting being carried out by the Nazis, who were, in fact, stockpiling munitions along with priceless paintings and artifacts in salt mines across central Europe at the time. Soldiers preparing a Rubens painting for shipment, 1945. Image: Archives of American Art. In an amazing recollection, Captain Walker K. Hancock—a specialist with the MFAA—remembers discovering one secret room, walled up behind bricks inside one salt mine:Crawling though the opening into the hidden room, I was at once forcibly struck with the realization that this was no ordinary depository of works of art. The place had the aspect of a shrine.Two hundred and seventy-one artworks, many of them 18th-century court portraits and paintings apparently from the Sans Souci palace at Potsdam, lay scattered about. here were also several works of Lukas Cranach the Elder from a 1937 Berlin exhibition, and works by noted artists Boucher, Watteau, and Chardin. On the right of the central passageway were three wooden coins, with the identifications indicating they contained the Hindenburgs and Frederick William I. In the last compartment on the left was the great metal casket of Frederick the Great.Panicked, the Nazis had moved the caskets to the mine from their resting place beneath a nearby monument. Hancock's story was far from rare. The Third Reich had collected thousands of works over just a few years, ferreting them away in hideouts and mines. This was the "greatest treasure hunt in history," a race against time before priceless works looted from museums, private homes, and often, Jewish collectors, could be sold off to private buyers. Advertisement At Neuschwanstein Castle, the fairytale castle that held one of the largest repositories, the monument men found 6,000 works looted from their Jewish owners. By 1945, the MFAA had set up base stations all over Germany to deal with the sheer volume of looted works—cataloging, storing, and determining the provenance of each piece. Four men standing in the throne room of Neuschwanstein Castle in Bavaria, circa 1945. Image: Archives of American Art.Still, many of these works were never recovered. Today, the Monuments Men Foundation (founded by Robert Edsel, the author of The Monuments Men) even maintains a public database of "Most Wanted Works" that are still missing, including pieces from Botticelli, Rodin, Monet, Cezanne, Mondrian, and Caravaggio. $10 The Monuments Men: Allied Heroes, Nazi Thieves and the Greatest… In fact, in November of last year, a $1.38 billion stash of art looted by the Nazis—much of it by Jewish artists—was discovered in an apartment in Munich. A month later, an art historian discovered two pieces of art inside the German parliament that had been stolen by the Nazis during the war. Lt. Kern & Karl Sieber examining the "Lamb," the famous Ghent Altarpiece by Jan van Eyck, one of the, if not the greatest single art treasure of Belgium. Image: Archives of American Art. In the spring of 1946, after all the MFAA members had returned home, their group was officially dissolved. From there on out, the State Department would handle its activities. In retrospect, it's a shame.The MFAA was a unique institution: Bonded by the fact that they were people who had devoted their civilian lives to studying art, they were, in essence, a group of art lovers dropped into the middle of war zone—and in some ways, that was why they were so successful. In some ways, it's a tragedy that the Monuments Men story ended that year. The wars that would bring American troops onto foreign soil over the next 70 years would destroy countless priceless works of art and architecture in Iraq, Afghanistan, and even Eastern Europe and Vietnam. It's hard not to wonder what a modern-day band of monument men and women could've saved. For more on the monuments men, check out Robert Edsel's book, The Monuments Men: Allied Heroes, Nazi Thieves and the Greatest Treasure Hunt in History, or Ilaria Dagnini Brey's The Venus Fixers: The Remarkable Story of the Allied Soldiers Who Saved Italy's Art During World War II. Or, you know, see the movie version tonight. Image: Archives of American Art. "Captain Edith A. Standen and Captain Rose Valland were both MFAA officials. Edith Standen was enlisted as an MFAA officer due to her scholarship (Oxford educated) and art preservation experience (worked at an antiquities preservation society, took Paul Sachs' museum studies course at Harvard's Fogg Art Museum, oversaw the transfer of a donated art collection to the National Gallery of Art). During her MFAA service, Standen was Officer-in-Charge at the Wiesbaden Collecting Point, supervising the organization and restitution of thousands of artworks." Lead image: This photo provided by The Monuments Men Foundation for the Preservation of Art of Dallas, shows Monuments Man James Rorimer, left, and Sgt. Antonio Valim examining valuable art objects at Neuschwanstein Castle in Germany which were stolen from the Rothschild collection in France by the ERR and found in the castle in May of 1945. AP.Reply29 repliesLeave a reply You may also likeSploidDrone Footage of a Draining Dam Looks Like Flying Into a Black HoleToday 9:26amDealsAmazon's Just Straight Up Taking $8.62 Off (Almost) Any $50 Order TodayToday 7:56amJalopnikAudi Just Obliterated Tragic BMW Owners On TwitterYesterday 10:15pmRecent from Kelsey Campbell-Dollaghan317366.2KGizmodo · Kelsey Campbell-DollaghanHow Video Games Might Actually Help Our Brains12/27/15 1:00pm9255.9KGizmodo · Kelsey Campbell-DollaghanThe Quest to Design a Satellite That Destroys Itself When the Mission Ends12/16/15 12:20pm74026.6KGizmodo · Kelsey Campbell-DollaghanThree Surprising Parts of the World Where Air Pollution Decreased12/14/15 5:22pmShareTweet

文学

2017-09/0319/en_head.json.gz/22722

Happy Birthday, Aldous Huxley: A Hauntingly Prophetic 1958 Interview Aldous Huxley—the brilliant intellectual, psychedelic researcher, social visionary, and author of many books, including Brave New World—would have been 121 today. Huxley’s inexhaustible passion for exploring, understanding, and improving the world around him has served as a paragon of socially engaged intellectualism for over a century. In his dystopian, science-fiction novel, Brave New World, Huxley predicted the fate of mankind, warning, among other things, that entertainment would become a kind of adult pacifier, resulting in complacency, apathy, and ignorance among the general public. Arguably, his prediction was extraordinarily accurate. To celebrate his birthday, here’s a rare 1958 interview in which Huxley explains why the dystopia he described in Brave New World was becoming the reality much sooner than he imagined. In the interview, he makes other predictions regarding the dangers of overpopulation, the unsettling potential of image-based advertising to manipulate people, and the precarious nature of the global economic system. This is really a gem of an interview to watch now or Pocket for later. When pressed by the interviewer to explain why he fears that technology will be misused in destructive and insidious ways, Huxley delivers a poignant insight on power: “Well, I think one of the reasons is that these are all instruments for obtaining power, and obviously the passion for power is one of the most moving passions that exists in man. And, after all, all democracies are based on the proposition that power is very dangerous, and that it’s extremely important not to let any one man or any one small group to have too much power for too long a time. After all, what are the British and American constitutions, except devices for limiting power? And all of these new devices [television, radio, etc.] are extremely efficient instruments for the imposition of power by small groups over larger masses.” Huxley saw the world as heading for a place where comfort was valued above all else—where there was no place for genuine exploration, uncertainty, adventure, and art. In honor of his birthday, let yourself become a bit more the sort of person who embraces all aspects of the human experience, who appreciates the virtues of comfort as well as discomfort, and who never ceases to be curious about this wide, wild world and beyond. “But I don’t want comfort. I want God, I want poetry, I want real danger, I want freedom, I want goodness. I want sin.” ― Aldous Huxley, Brave New World For another Huxley-related gem, check out this spectacular comic comparing the dystopias imagined by Aldous Huxley and George Orwell. Loved This11 If you're ready to become a spiritual badass... Our acclaimed course, 30 Challenges to Enlightenment, is designed to take you to the next level—physically, intellectually, socially, and spiritually. Make 2017 the year you build inner peace, self-mastery, and unshakeable confidence. I WANT TO LEVEL UP by Jordan Bates Follow @_jordan_bates Jordan Bates is the co-creator of HighExistence and also blogs at Refine The Mind. He tends to wander the globe and write about the most vitalizing and/or world-changing insights he happens upon. He also makes unusual rap songs. Befriend him on Twitter and/or Facebook, or get his free eBook on how to exit the rat race and live a radically free life. Amor fati, humans. Get your epic roadmap to a High Existence! We've written a 70-page ebook. We call it '150 Life Secrets & Tips'. Subscribe to download. François de La Rochefoucauld’s Short Essay on the Tyranny of Self-Love TED: Awesome Talks on Every Subject Matter Can You Become an Übermensch? Take the Challenge Here The Only Way to Digest an Entire Book Each Day What Would Good Guy Greg Do? The Micro-Dose vs. The Mystical Experience: Has LSD Turned its Back on the Psychedelic Revolution? Have a comment? Sign In or Create an Account

文学

2017-09/0319/en_head.json.gz/22741

Ham on Rye by Charles Bukowski In what is widely hailed as the best of his many novels, Charles Bukowski details the long, lonely years of his own hardscrabble youth in the raw voice of alter ego Henry Chinaski. From a harrowingly cheerless childhood in Germany through acne-riddled high school years and his adolescent discoveries of alcohol, women, and the Los Angeles Public Library's collection of D. H. Lawrence, Ham on Rye offers a crude, brutal, and savagely funny portrait of an outcast's coming-of-age during the desperate days of the Great Depression. … more About Charles Bukowski Charles Bukowski is one of America's best-known contemporary writers of poetry and prose, and, many would claim, its most influential and imitated poet. He was born in Andernach, Germany, and raised in Los Angeles, where he lived for fifty years. He published his first story in 1944, when he was twenty-four, and began writing poetry at the age of thirty-five. He died in San Pedro, California, on March 9, 1994, at the age of seventy-three, shortly after completing his last novel, Pulp. by Black Sparrow Press. Unrated Critic Reviews for Ham on Rye No signs of pretension or glorification or hero-worshiping or myth-making, besides the Portrait of an Artist as a Drop-Out Alcoholic, mind you, but that is besides the point: The character of Henry Chinaski, deeply flawed and abused by his father and by the awful kids at school, grows up to be a... Nov 09 2012 | Read Full Review of Ham on Rye: A Novel In this moving story of growing up Bukowski disciplines his muscular, concentrated writing and creates a novel that distils his poetry into the finest full-length piece of prose that he ever wrote. Jul 12 2001 | Read Full Review of Ham on Rye: A Novel Reader Rating for Ham on Rye Rated the book as 5 out of 5

文学

2017-09/0319/en_head.json.gz/22743

Katharine Hepburn by Barbara Leaming Unlike Me, the best-selling personal memoir in which Katharine Hepburn offered only selected glimpses of her colorful and fascinating life, Barbara Leaming offers a comprehensive, full-scale, richly documented biography of America's last great actress. This is an intimate and candid portrait of a true Hollywood original. Black-and-white inserts. About Barbara Leaming Barbara Leaming is a "New York Times" bestselling author. Her biography of John F. Kennedy was the first to detail the extraordinary influence of Winston Churchill on President Kennedy's intellectual formation and political strategies. She lives in Connecticut. by Crown. Biographies & Memoirs, Humor & Entertainment, Arts & Photography, Education & Reference, Business & Economics, History, Science Fiction & Fantasy, Literature & Fiction, Political & Social Sciences, Travel. Unrated Critic Reviews for Katharine Hepburn The Hepburn family lived through five suicides: Tom's and those of Hepburn's maternal grandfather and three uncles. | Read Full Review of Katharine Hepburn Katharine Hepburn is known for her brisk style and independence, but with that independence has come an aura of impenetrability. May 12 1995 | Read Full Review of Katharine Hepburn Leaming's pursuit of her thesis often plods unfortunately, and the focus on Hepburn's family and her subsequent relationships with Ford and Tracy means there's too little about Hepburn's work and day-to-day life. Leaming has written a new and interesting story, although it is one which gives a disproportionate amount of weight to Hepburn’s family background and shows little of the person we know from the movies. Reader Rating for Katharine Hepburn

文学

2017-09/0319/en_head.json.gz/22744

The Republic by Plato (Penguin Classics) See 4 Critic Reviews If you like conversation and you haven’t been fortunate enough to read Plato’s dialogues, I thoroughly recommend them, they’re a ton of fun. -Tor Plato's Republic is widely acknowledged as the cornerstone of Western philosophy. Presented in the form of a dialogue between Socrates and three different interlocutors, it is an enquiry into the notion of a perfect community and the ideal individual within it. During the conversation other questions are raised: what is goodness; what is reality; what is knowledge? The Republic also addresses the purpose of education and the role of both women and men as 'guardians' of the people. With remarkable lucidity and deft use of allegory, Plato arrives at a depiction of a state bound by harmony and ruled by 'philosopher kings'. About Plato Plato (c.427-347 BC) stands with Socrates and Aristotle as one of the shapers of the whole intellectual tradition of the West. He founded in Athens the Academy, the first permanent institution devoted to philosophical research and teaching, and theprototype of all Western universities. Desmond Lee was a fellow and tutor of Classics at Corpus Christi College, Cambridge, and later became President of St Hughes Hall, Cambridge. Melissa Lane received her PhD in Philosophy from Cambridge University. She teaches the history of political thought and political philosophy in the History Faculty at Cambridge University, and is a Fellow of King's College. Her books include Method and Politics in Plato's Statesman (Cambridge, 1998) and Plato's Progeny: how Plato and Socrates still captivate the modern mind (Duckworth, 2001). by Penguin. History, Political & Social Sciences, Literature & Fiction, Law & Philosophy, Children's Books, Travel, Education & Reference. Critic reviews for The Republic Reviewed by Jo Walton on Apr 09 2010 If you like conversation and you haven’t been fortunate enough to read Plato’s dialogues, I thoroughly recommend them, they’re a ton of fun. Read Full Review of The Republic (Penguin Classics) on Oct 21 2008 The Republic was Plato's most ambitious and most quasi-religious work, but not his clearest and not necessarily his best. Reviewed by Jaydee Villamar on Jun 01 2010 Plato tries to put in plain words how the notion of justice can be obtain then derive a similar concept of individual justice. As what the book stated, it is better to make out the nature of justice in the individual if it will be taken in a larger scale. Young Adult Book Reviews Reviewed by Caitlin Timmins on Dec 16 2010 Even clear wording is clouded by the complex concepts presented by this Socratic dialogue, yet Plato’s attention to detailed analysis manages to believably lead even Socrates’ most adamant opponents to eventually agree with his beliefs. Reader Rating for The Republic

文学

2017-09/0319/en_head.json.gz/22754

You are hereHome » People » Christian Wiman Christian Wiman Senior Lecturer in Religion and [email protected] Wiman is the author, editor, or translator of nine books including, most recently, Once in The West, which won the Balcones Poetry Prize and was a finalist for the National Books Critics Circle Award. Mr. Wiman has taught at Stanford, Northwestern, Lynchburg College in Virginia, and the University of Economics, Prague. From 2003 until 2013 he was the editor of Poetry magazine, the premiere magazine for poetry in the English-speaking world. During that time the magazine’s circulation tripled, and it garnered three National Magazine Awards from the American Society of Magazine Editors. Mr. Wiman has written for The New Yorker, the New York Times Book Review, The Atlantic, and numerous other publications. He is a former Guggenheim Fellow and holds an honorary doctorate of humane letters from North Central College. His particular interests include modern poetry, Russian literature, the language of faith, “accidental” theology (that is, theology conducted by unexpected means), and what it means to be a Christian intellectual in a secular culture. B.A. Washington and Lee University Expertise: Literature

文学

2017-09/0319/en_head.json.gz/22895

The sound of sculpture | October 26, 2012 | Palo Alto Weekly | Palo Alto Online | Arts & Entertainment - October 26, 2012 The sound of sculpture Fueled with piano parts and sunlight, Terry Berlier's work brings acoustic acrobatics to the art gallery The word "sculpture" may bring to mind images of solid marble figures by old masters, static and silent in hushed galleries. But visitors to "Sounding Board," Terry Berlier's new exhibition at the Thomas Welton Stanford Art Gallery on campus, will discover a multimedia collection of moving parts, interactivity, recycled materials and music. The show consists of one brand-new piece and four other recently created sculptures. Some share themes: environmental concern, experimental sound, salvaged parts, the idea of "home." All reflect Berlier's unique vision for kinetic art. "I like discovering new materials," said the artist, an assistant professor at Stanford. "I like jumping from medium to medium. My work crosses a lot of boundaries. I like what technology and resources can offer, but I'm also into analog." Like a wind chime, creating music through natural energy, her piece "When Comes the Sun" is a circular, solar-powered acoustic guitar, with a rotating plectrum that strums, appropriately enough, "Here Comes the Sun" by The Beatles at varying tempos depending on the strength of the sunlight reaching it. Weaker sun allows it to strum at a gentle, lullaby pace, while at full strength it can zoom through the tune frantically. The tempo variation pleases Berlier, who calls the piece a throwback to pre-digital music, "like a cassette tape dying or a vinyl record." Berlier created it while working in Norway, land of nearly 24-hour sunlight, in the summertime. She said all her work in Scandinavia orbited — no pun intended — around themes of sun and time, since the seasonal tie to sunlight is so prevalent there. Incorporating solar power into her art was a natural step. Not only does she strive for eco-friendly materials, but, she said: "I like that tie to nature. It's a nice way to bring in that element, to bring life into the piece." Calling herself a lover of all music, she said the Beatles song was a natural fit, thanks to both its title and lyrics and the universal-recognition factor. Plus, "I think it's hilarious that a solar instrument is playing a song about itself," she said with a grin. "Where the Beginning Meets the End" is another circular sound sculpture, this one featuring a stretched-out piano keyboard and including salvaged computer parts. "Homespun" creates a spiral-staircase-like shape out of old banisters and discarded domestic parts. "Acoustic Locator," a large wooden horn, was inspired by early military aircraft detectors. All three were created while Berlier was in residency at Recology, a San Francisco waste-reduction company. The materials used were all plucked from the landfill to be repurposed as art. "This Side Up, Handle With Care" is the new piece created for this exhibition. It's a half-scale, twisted version of Berlier's own Craftsman-style home, made of salvaged Douglas fir wood, plywood and piano strings. She said the classic shape and scaled-down size of the house makes it resemble a fairytale house, or a child's idea of a home. "This is the first time I've ever had a house," she said of her Oakland residence, "but the idea of home is universal. Just because it's my house doesn't mean you can't have an experience with it." The model house's contorted frame and tenuous walls can be seen as representing the recent housing crash, but the piano strings, though seemingly fragile, also provide stability. The musical walls invite viewers to "play" the sculpture by plucking, or with a violin bow. Though not a musician herself, Berlier said she is fascinated by the world of sound, and encourages both experienced musicians and novices to experience her audio-enriched sculptures hands on. She hopes her pieces can challenge and inspire notions of what makes something an instrument. "I'm not interested in putting myself on stage but in inviting musicians I'm fond of and creating a stage for them," she said. For Berlier, collaboration with others is one of the most rewarding aspects of her work, creating not only opportunities for technical and artistic growth but friendship as well. "I really enjoy collaborations with musicians and composers as well as other artists," she said. "It was really fun to have conversations with architects and designers, tapping into their expertise." In addition to Berlier's many recent residencies, she's also been a teacher in Stanford's Department of Art & Art History, where she runs the sculpture department, for the past six years, teaching undergraduates and MFA students. For a number of years before her arrival, Stanford's sculpture department was largely nonexistent, she said, and enrollment remains low compared to other art classes, perhaps due to the perception that it's an especially daunting discipline. "Sculpture programs are always fighting for survival. Anything that's not painting tends to get lumped into 'sculpture' — light installations, sound — which is really exciting but makes it impossible to teach something of that scope in a 10-week class in a cohesive way. "It's a level of commitment that, for a student who's not an art major, can be intimidating," she said. But it's rewarding, too, she said, as students learn to work with their hands, use equipment and build and install pieces. One recent student was thrilled to find she could operate power tools, which she'd never imagined she could do, Berlier said. "It blew her world away. People that stick with a sculpture class come out empowered." She said she tries to get her students to think about the environmental and political impact of art, particularly how an artist's choice of material itself can make a statement. "There's meaning derived from materials. Making specific choices — to work with plastic, Gummi Bears, whatever — that's adding a layer of content," she said. "Sounding Board" is Berlier's first "big solo show" on campus and she looks forward to her students having the opportunity to witness all that goes into putting on an exhibition. "It'll be interesting to see their reactions," she said. What: "Sounding Board," an exhibit of sculptures by Stanford artist Terry Berlier Where: Thomas Welton Stanford Art Gallery, 419 Lasuen Mall, Stanford University When: Through Nov. 18. The gallery is open Tuesday through Friday from 10 a.m. to 5 p.m. and Saturdays and Sundays from 1 to 5 p.m. Info: Go to http://art.stanford.edu or call 650-723-2842.

文学

2017-09/0319/en_head.json.gz/22907

Tina Ambani Elected to the Peabody Essex Museum's Board of Trustees The Peabody Essex Museum is proud to announce the election of Ms. Tina Ambani to its Board of Trustees. Ms.Ambani is recognized as a leading force in India for the promotion of modern and contemporary Indian art and artists. "Tina Ambani's passionate commitment to traditional, modern, and contemporary Indian art makes her an ideal person to serve as PEM's first international trustee," said Richard Carlson, Chairman of the Board. Dan Monroe, Director and CEO of the Peabody Essex Museum, further added that "Ms. Ambani's election to the Board of PEM recognizes a two hundred-year relationship with India and reinforces a firm shared commitment between Ms. Ambani and PEM to advance understanding and appreciation of traditional and contemporary Indian art to audiences worldwide."Tina Ambani is the founder of the Harmony Art Foundation, an institution which supports India's emerging and established artists. The Foundation's yearly contemporary art show presents young, upcoming talent with that of acknowledged masters, and is the largest of its kind in the country. Over the past 13 years, the Harmony Art Foundation has showcased the work of nearly 1,500 artists and has attracted over a half million visitors."There is a tremendous synergy between the Peabody Essex Museum and Harmony Art Foundation based on our belief in Indian art, and our genuine commitment to bring it to the global stage. It's time that the art world looks beyond current fads and market trends to establish an abiding interest in the incredible power and potential of Indian art, " said Ambani.Among Ambani's other philanthropic activities are a range of social welfare and assistance programs addressing the concerns of disadvantaged children and the elderly. She is the chairperson of the Harmony for Silvers Foundation, a Mumbai-based non-governmental organization advocating the quality of life of the elderly through a variety of initiatives.A former Bollywood movie star, Mrs. Ambani (then Tina Munim) put her career on hold to pursue her education in the U.S. Upon her return to India, she married the industrialist Anil Ambani, with whom she has two sons. A graduate of the Los Angeles Institute of Interior Design, Mrs. Ambani has been on the board of the National Institute of Design, Ahmedabad, and the National Gallery of Modern Art, Mumbai. She has also served on the reconstituted General Assembly of the India Council for Cultural Relations, India's pre-eminent agency for cultural exchange. PEM and IndiaThe Peabody Essex Museum began collecting Indian art in 1799. Among the Museum's most stunning pieces ranging from the 1600s to the present are those currently featured in the Prashant H. Fadia Foundation and Deshpande Foundation galleries of traditional Indian art, and the Edger M. Batchelder Gallery showcasing important Mughal works. With the addition of the renowned Chester and Davida Herwitz collection of contemporary Indian art in 2000, the museum established a unique international position as the holder of one of the most comprehensive collections of Indian art showcasing the breadth and depth of Indian artistic achievement. PEM is singular among American museums in its continuing commitment to collecting and presenting the work of modern and contemporary Indian artists. In addition to its three galleries dedicated to Indian art, the museum presents a constantly changing array of exhibitions, publications, education, and public programs dedicated to engendering increased appreciation of Indian art and culture. PR Contacts: Whitney Van Dyke - Director of Communications - 978-542-1828 - [email protected] ‹ Back To Press Releases

文学

2017-09/0319/en_head.json.gz/22915

In what order were your books published? (Note: all are in the Louis Kincaid series unless where noted) Dark of the Moon (2000) Dead of Winter (2001) Paint It Black (2002) Thicker Than Water (2003) Island of Bones (2004) A Killing Rain (2005) An Unquiet Grave (2006) A Thousand Bones (2007, Joe Frye novel) South of Hell (2008, Louis and Joe both appear) The Little Death (2010) The Killing Song (2011, standalone) Claw Back (2012, novella) Heart of Ice (2013) She's Not There (2015, standalone) How did you come to write together? Kris has been a professional writer all her adult life, first in the newspaper business and then when she had four women's contemporary fiction novels published. But with the romance marketing in a slump, she decided to try suspense. Meanwhile, Kelly had been trying to write a novel on her own with no success. She had been a closet writer, obsessed with murderous stories beginning as a teenager and running on for years on the pages of spiral notebooks. When not writing, Kelly was furiously racing through the pages of true crime novels or mystery fiction. Lacking the polish, but not imagination, Kelly was always on the verge of pouring out her ideas on paper, but was never quite able to refine the compulsion to tell stories properly. At the same time, Kris was stymied in her career as a romance writer and lacking general knowledge in the mystery genre. It was Kris's husband's idea for them to collaborate. One day Kris called Kelly and said "I have a proposal for you." Thus, P.J. Parrish was born. Most writers can't imagine collaborating with someone. How does it work? Believe it or not, it is not at all hard for us. In the early days of our career together, we had to do outlines for the publisher, so we would just brainstorm until we had the basic plot and characters figured out. It gave us a roadmap to follow, plus or more often, deviate from. But now we go to contract based only on short concepts, so our creative process is more freewheeling and scary. We start with an idea and usually a "what if" or a moment in a character's life, and then we talk talk talk until it starts to take shape as a story. From there, we literally take assignments for chapters or scenes based on which of us has a better feel for the work to be done. It used to break down pretty clearly: Kelly taking the technical action scenes, Kris taking the narrative, inner character dialogs and descriptions. But now we equally share all writing duties as both of us become stronger writers. Because we live in different states, we are in phone contact every day. But we work separately and exchange our results via AOL. Often, one of us will leave a chapter unfinished or without an opening with big read notes to each other like: ADD ATMOSPHERE or I DON'T KNOW HOW THIS SCENE ENDS! FINISH IT. We do a lot of rewriting...we are huge believers in the idea that it is in rewriting that books are truly created. The best compliment we have received (from both readers and reviewers) it that they can't see the seams of our collaboration. Strangely, we both are working on separate projects right now and finding it a struggle! We like to think of our collaboration as similar to that of great song-writing teams. Lennon and McCartney each had successful solo careers, but something magical happened when they collaborated to create the Beatles's songbook. What about your pen name? Where did that come from? When our agent was shopping around our first manuscript, she decided not to tell editors who (or what) we were. The editor who bought Dark of the Moon thought we were a black man (many people still do...90 percent of our mail comes address to Mr. Parrish). Unfortunately, there is still a bias against women crime writers, and since our books are rather gritty, realistic (hardboiled in the genre slang), our publisher did not want readers to come to us with any prejudices. So they asked us to come up with a pen name. We were traveling together in Europe while this was going on and sitting in an English pub actually after just flying in from Paris and with a couple drinks in us decided with great glee to use the last name Paris. Our agent tweaked it to Parrish and the initials were added only because they sounded right. What are the pluses and minuses of writing as a team? The best is the double insight you get into your characters, plot and overall story. To say nothing of the double dose of energy and imagination. What one doesn't catch, the other does. We have concluded that we each have very special qualities we bring to the books, qualities that seem to blend effectively. We had an interesting letter from a man who said had he known Dead of Winter was written by two people he wouldn't have bothered because he hates "writing by committee." The only real hard part is coordinating time. Your protagonist, Louis Kincaid, is biracial—born of an African-American mother and Caucasian father. What was behind the creation of such a rich character? The central part of Mississippi is rich in history, almost to the point of being able to feel the triumphs, tragedies and yes, ghosts in the humid, summer air. It is also a place that peacefully lingers several steps behind other parts of the country, comfortable in its traditions and slow life-style. It was this atmosphere, combined with the entry into the world of a beautiful child named Charlotte, that spawned the character of Louis Kincaid. Comments on his heritage are few compared to those who have simply found him a likable, refreshing protagonist. We feel that it is not so much his heritage that warms the reader's heart, but his humanistic approach to his job, his life and the world in general. We wanted to create someone different from the hardened, bitter detective who is drug back into the case by a fellow cop because he is the only one on the face of the earth who can solve it. We're pleased that the response to Louis has been overwhelmingly positive. We have gotten emails from African-American readers who relate to his struggles and search for identity. We even got a message from a teacher who used Dark of the Moon and the Langston Hughes poem in the forward in her class for Black History Month. Your choice to set Louis's police work in the 1980's. To some of us, the 1980's seem like yesterday, but in terms of technical and forensic advances it's ancient history. Louis is without cellular phones, DNA testing and internet connection. Why? For the first book, it was so we could step back a few years when the New South wasn't quite so new, and also to force Louis to solve a crime that still would've met resistance. But it was also a deliberate choice so we could focus more on our characters and their bare-bones ingenuity in their approach to their crimes. We didn't want the crime lab solving everything. We wanted the people to do it. DNA has radically changed some aspects of police work, and we wanted to avoid that. (We plan to deal with its advent in a future book, however.) In the third Louis Kincaid book, Paint it Black, which takes place in 1985, we have a female FBI agent who comes to help out with a serial killer case, and she is one of the bureau's earliest "profilers." So we get to introduce readers to the early days of what is now a routine part of investigations. But with our latest book, The Little Death, we are butting up against the advent of DNA and changing technologies. Look for Louis to adapt to these and other challenges in future books. What do you see as a future for your character and the series as whole? We have many plans for Louis, and have not reached the point where we feel he or the series is becoming stale. We try to strategically plan out Louis's personal journeys, and lay the groundwork for something that we expect to happen in book nine, in maybe book six. Some of the things we hope to find conclusions to in the next few books are Louis's long-awaited confrontation with the father who abandoned him, a meeting with his siblings and possibly even his stepping back into structured law enforcement. What do you think he should do? Drop a line! Why did you decide to start a second series with a female cop? When we switched to Pocket Books, they asked us if we would consider doing a second series featuring a female lead to run alongside the Louis Kincaid books. We didn't need convincing because—although we love Louis and know he's our franchise player—we thought we needed a break. And Joe was there standing in the shadows but all but begging us to tell her story. As our readers know, Joe Frye first appeared in A Killing Rain. But most of you don't know she was meant to be a cameo, a mere walk-on cop in one chapter. But the moment Joe came on stage, neither we nor Louis could ignore her. She stayed in the book to help him solve the crime. And then, well, she and Louis kind of fell hard for each other. And we fell for her. Our plan is to alternate the characters or have them appear in books together.

文学

2017-09/0319/en_head.json.gz/22996

The Boys Who Might’ve Been Harry Potter By Graeme McMillan @graememNov. 19, 2010 Share An everyday bespectacled teenage boy from Britain suddenly discovers that he is destined to become the most powerful magician of all – oh, and that he has a surprising affinity with owls. It’s the formula that made JK Rowling’s Harry Potter a massive success, but seven years earlier, Neil Gaiman was doing exactly the same thing for DC Comics’ Vertigo imprint in The Books of Magic – and two years before that, British anthology comic 2000AD had beaten both of them to the punch with a series called Summer Magic. What is it about teenage boys that make writers want them to be wizards? Of the three creations, Summer Magic stands apart, both visually (Its lead character, Luke Kirby, may be a thin white British teen with brown hair, but he doesn’t wear the glasses of Harry or Tim) and in terms of the story, which is a period piece set in creator Alan McKenzie’s own childhood of 1960s Britain. The 1988 strip, which lasted in different incarnations until 1994, was also tonally very different than Potter or Gaiman’s creation, being less given over to adventure and wonder and more to mystery and foreboding. Never a massive success in even 2000AD terms, Kirby was nonetheless one of a number of series from the anthology to be considered for TV and media adaptation by then-owners Egmont Fleetway in 1996, a year before Rowling’s first Potter book was published (The plan fell apart when McKenzie refused to sign away his rights to the character): If a Luke Kirby series had materialized, could it have stolen Potter‘s thunder? While Kirby was toiling away in relative obscurity in British comics, Neil Gaiman was tasked with coming up with a series about DC Comics’ magic-based characters. The resulting series, The Books of Magic, didn’t just outline the history of magic in the fictional DC universe, it also introduced a new character who’d go on to star in three different series over the next decade or so: Tim Hunter. Hunter was inspired, in part, by Gaiman’s love for TH White’s The Once And Future King, and visually by artist John Bolton’s son – who happened to be a skinny white boy with glasses and brown hair… a similarity that didn’t escape fans when Harry Potter arrived on the scene. For his part, Gaiman doesn’t believe that Rowling was even aware of The Books of Magic or Tim Hunter when she came up with her character: Back in November I was tracked down by a Scotsman journalist who had noticed the similarities between my Tim Hunter character and Harry Potter, and wanted a story. I disappointed him by explaining that, no, I certainly didn’t believe that Rowling had ripped off Books of Magic, that I doubted she’d read it and that it wouldn’t matter if she had: I wasn’t the first writer to create a young magician with potential, nor was Rowling the first to send one to school. The only real effect it had on Hunter, it seems, was changing a proposed Books of Magic movie that never happened and aging Hunter to late teens in his final series, Life During Wartime. (Warner Bros., owner of DC Comics, might have been more litigious about the similarities if it wasn’t also the studio behind the Potter movies – Indeed, Diane Nelson, the executive who brokered the deal between Rowling and Warners, is now DC Entertainment President. Now, of course, the success of Harry Potter has meant that teenaged boy wizards are off the memestream for the time being, bespectacled or not; anything that even has a whiff of Potter risks being branded a knock-off, whether it is or not. But it’s possible that Harry Potter’s creation was an idea whose time had come, even as all the kinks had been worked through in different characters without anyone knowing it. More On Techland: 10 Technologies We Want To Steal From Harry Potter J.K. Rowling: No More Harry Potter Books This Weekend’s Big Sporting Event? The Quidditch World Cup

文学

2017-09/0319/en_head.json.gz/23136

SAMPLE PLAY AUDIO SAMPLE http%3A%2F%2Fsamples.audible.com%2Fbk%2Fadbl%2F009344%2Fbk_adbl_009344_sample.mp3+flashcontent1SV16HQQ4S9DWQW4JDZK0 Disgrace and Favour Jeremy Potter Steven Cree Disgrace and Favour is a novel of life on the border in the dying years of Elizabeth I's reign and of intrigue and immorality at the court of King James. It is the story of the Queen's cousin, Sir Robert Carey, who was disgraced for marrying without her consent, of his struggle to restore his fortunes under her successor, and his realisation that favour among the hazards of a decadent court was even less appealing than a hard but untrammelled life in exile on the Border. It is the story, too, of the hanging of Geordie Bourne; of the life and death of Prince Henry, most gifted of the Stuarts; of Robert Carr, the royal favourite who became the only first minister of a British monarch to be convicted of murder; of Frances Howard, the beauty of the age and twice a countess, on the state of whose maidenhead depended the government of the country; of the mysterious poisoning of Sir Thomas Overbury in the Tower of London, and the meteoric career of George Villiers. Many of the other rich and bizarre characters of the age make an appearance in these pages. They are headed by the awesome queen who terrorised her courtiers and the far-from-majestic king who united Scotland and England and proclaimed himself God's vice-regent on Earth but displayed a strange variety of human weaknesses.Jeremy Potter served the Richard III Society as Chairman from 1971-1989. During his chairmanship, the Society launched several important initiatives, including the commissioning of a heroic statue of Richard III (on display in Castle Gardens, Leicester), the securing of royal patronage from H.R.H. Richard Duke of Gloucester, and the broadcast of a trial of Richard III, with Lord Elwyn-Jones, former Lord Chancellor, presiding. During his tenure, the Society also became active in sponsoring the publication of 15th-century source documents and works of current scholarship on the period. It also created the Richard III and Yorkist History Trust, which provides financial support for graduate study and publishing. Potter was elected President of the society at its Annual General Meeting in London, October 4, 1997. ©2013 Jeremy Potter (P)2013 Audible Ltd Death in the Forest A Trail of Blood The Scottish Fairy Book, Volume One (Unabridged) The Scottish Fairy Book (Unabridged) Inverted World (Unabridged) What Members Say

文学

2017-09/0319/en_head.json.gz/23163

Sir Ian McKellen hails Shakespeare for making all the world a stage Sir Ian McKellen has hailed William Shakespeare as a champion of diversity ahead of celebrations for the 400th anniversary of the Bard's death. http://www.belfasttelegraph.co.uk/entertainment/news/sir-ian-mckellen-hails-shakespeare-for-making-all-the-world-a-stage-34650896.html http://www.belfasttelegraph.co.uk/entertainment/news/article34650895.ece/73e67/AUTOCROP/h342/PANews%20BT_P-d8583ffe-ccd1-4c39-90a3-dc7203990a40_I1.jpg Sir Ian McKellen has hailed William Shakespeare as a champion of diversity ahead of celebrations for the 400th anniversary of the Bard's death. Speaking at the launch for Heuristic Shakespeare - The Tempest App, the 76-year-old said: "Anybody can relate to Shakespeare." Share "Shakespeare wrote about black people," he told the Press Association. "He wrote about us all, he wrote about gay people like me, he wrote about women - my goodness, did he write fantastic parts for women!" Sir Ian continued: "He wrote about leaders, tyrants, people you meet in the pubs, soldiers of all ranks so the colour of your skin or the culture from which you come from isn't really relevant, but the plays go on being persistently relevant - and not just in this country. "Millions of Chinese students study Shakespeare, for example. Anybody can relate to Shakespeare." The award-winning actor and his Richard III director Richard Loncraine of Heuristic Media, have taken that approach with their Heuristic Shakespeare app. Developed on the basis that Shakespeare wrote his plays to be seen, the app gives users the opportunity to see a professional cast performing them. The Tempest, which features Sir Ian as Prospero and Sir Derek Jacobi as Gonzalo, is the first in a series of individual apps covering all of Shakespeare's plays and built for the iPad. Working alongside Heuristic Media, renowned Shakespearean scholar Sir Jonathan Bate and publishers Bloomsbury, among others, The Tempest App was created to make the Bard's plays more accessible to a wider audience. It will be available from April 23, the 400th anniversary. Actors read their lines directly to the camera, while the words scroll down at the same pace on the bottom half of the screen. Sir Ian is already lining up friends and respected colleagues for future Heuristic Shakespeare apps. "I've mentioned it to a few friends and Stephen Fry is dying to get involved. I hoped he might repeat his Malvolio he did so successfully with the Globe Theatre recently. "Patrick Stewart is lined up, he could play anything," the Lord Of The Rings star stated. He added: "I think the best thing is to get actors who've already played the parts on stage so that they're very familiar with the text and can look directly into the camera and speak it as if for the first time. We're going to have no problems getting actors to get involved." The app concentrates entirely on the language and is stripped of staging, sets, costumes, make-up, etc. The text and video can be paused at any time, allowing the user access to information about every aspect of the play: from the Shakespeare text to specially shot videos of Sir Ian and Sir Jonathan discussing the play. Clicking on the script gives users access to notes from the Arden editions of Shakespeare's plays, with explanations, essays and videos. The apps also include numerous features such as a scrollable timeline showing and linking Shakespeare's life, contemporary events, his plays and the theatres in which they were performed, an Interactive map of London showing important locations in Shakespeare's life and a concise "play at a glance" to help explain the plot. "Heuristic Shakespeare apps have been designed to meet all needs: from users requiring an introduction to Shakespeare, to experts who wish to relive his genius," said Sir Ian. However, they are not intended to be a replacement for seeing Shakespeare's plays in the theatre or on the screen, but they are designed to enhance those experiences, the makers said. Sir Ian, who is among a host of stars lined up for Shakespeare Live! at the Royal Shakespeare Theatre in Stratford-upon-Avon spoke with warmth as he reflected on the great playwright. "He is the most celebrated Englishman who ever lived. Forget politicians, forget monarchs - Shakespeare, he's the king. He's it." ::Heuristic Shakespeare - The Tempest App will be available to purchase from April 23 for £4.49 Read More

文学

2017-09/0319/en_head.json.gz/23194

daily reviewomnivorepaper trailcurrent issueinterviewssyllabireadingsvideoarchiveartforumsubscribeadvertiseaboutcontactSearch follow us sign inregister VideoInterviewsReadingsTrailersSymposiaAll Zadie Smith reads from On Beauty "Is it Plath? That's wrong, isn't it?' 'It's Shakespeare,' said Christian, wincing slightly. 'Tempest." Zadie Smith revisits a humorous and awkward scene from her campus novel, On Beauty. return to main video pageSelected Videos « newer 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 ... 66 older »Betsy Teutsch: "100 Under $100: One Hundred Tools for Empowering Global Women"Betsy Teutsch visited Google's office in Cambridge, MA to discuss her book, "100 Under $100: One Hundred Tools for Empowering Global Women". The book provides a comprehensive look at effective, low-cost solutions for helping women in the Global South out of poverty.Most books on this subject focus on one problem and one solution, but Teutsch shares one hundred successful, proven paths out of poverty in eleven different sectors―including tech, public health, law, and finance.Betsy Teutsch is a blogger, columnist, community organizer and eco-activist in addition to her profession as a Judaica artist. She has also served as Communications Director of GreenMicrofinance, promoting affordable paths out of rural poverty.Billy Collins and Barbara Hamby read from their new worksBilly Collins and Barbara Hamby read from their work, introduced by Daniel Menaker and Erica Wright, respectively.Billy Collins's new book of poems is The Rain in Portugal. "He is an American original — a metaphysical poet with a funny bone and a sly questioning intelligence," wrote Edward Hirsch.Collins is joined by Barbara Hamby, whose latest collection is On the Street of Divine Love: New and Selected Poems. "Her poems are wild, outspoken, seriously funny, motor-mouth rambles that take us through hoops of association to places both unexpected and unimpeachable," wrote Collins.Prof Sheila Jasanoff: "The Ethics of Invention"Prof. Sheila Jasanoff is Pforzheimer Professor of Science and Technology Studies at the Harvard Kennedy School. Her work explores the role of science and technology in the law, politics, and policy of modern democracies, with particular attention to the nature of public reason.We live in a world increasingly governed by technology—but to what end?Technology shapes the legal, social, and ethical environments in which we act. Yet, much of the time, the influence of technology on our lives goes unchallenged by citizens and our elected representatives. In The Ethics of Invention, renowned scholar Sheila Jasanoff dissects the ways in which we delegate power to technological systems and asks how we might regain control.2016 National Book Festival: Sarah VowellSarah Vowell looks at the American Revolution through the eyes of the French-born Marquis de Lafayette, who served as a general in the Continental Army and as personal confidante to George Washington. She speaks at the 16th annual National Book Festival in Washington, D.C.Garry Trudeau, "Yuge!: 30 Years of Doonesbury on Trump"Political cartoonist Garry Trudeau discusses his use of Donald Trump as a character in his comic strip, "Doonesbury," from 1987 to today.Ewan McGregor, Jennifer Connelly and Dakota Fanning on American PastoralEwan McGregor, Jennifer Connelly and Dakota Fanning on American Pastoral—Reel Pieces with Annette InsdorfAmerican Pastoral follows a New Jersey family over an era marked by race riots, protests against the Vietnam War and Watergate. McGregor plays Seymour Levov, a star athlete, husband of a beauty queen (Jennifer Connelly) and father of Merry (Dakota Fanning), who engages in revolutionary violence. Adapted by John Romano from the Pulitzer Prize-winning novel by Philip Roth, it boasts a supporting cast that includes Peter Riegert, Rupert Evans, Uzo Aduba, Molly Parker and David Strathairn.Ahkil Reed Amar, "The Constitution Today"Yale professor Akhil Reed Amar discusses the relevance of America's Constitution to today's headlines in his book, "The Constitution Today."2016 PEN Literary Awards Ceremony: Full EventThe PEN Literary Awards are the most comprehensive in the United States. Each year, with the help of its partners and supporters, PEN confers nearly $315,000 to writers in the fields of fiction, science writing, essays, sports writing, biography, children's literature, translation, drama, and poetry.On April 11, 2016, PEN honored the winners for its 2016 Literary Awards at a ceremony held at The New School in NYC. Winners included Toni Morrison, Mia Alvar, Ta-Nehisi Coates, Lynn Nottage, and more.Michael Eric Dyson on the Black PresidencyMichael Eric Dyson is one of our nation's premier intellectuals and a staunch defender of civil discourse. Nowhere is this more evident than in his keen-eyed view of the Obama presidency. By turns heralding and lambasting, Dyson follows the President's navigation of race and racism in America—including the national crisis spawned by the traumatic killings of Trayvon Martin, Michael Brown, Freddie Gray, and others. Now with his long-awaited book, "The Black Presidency: Barack Obama and the Politics of Race in America," Dyson returns to Chicago to discuss the meaning of America's first black presidency. Dyson will be joined in conversation by Laura Washington, columnist for the Chicago Sun-Times and political analyst for ABC-7 Chicago.James Gleick - Time Travel / Everything All at OnceSpontaneous, deep talk on surprise topics. On this week's episode of Think Again - a Big Think podcast, James Gleick, author of Time Travel - a History, talks with host Jason Gots about why we're so obsessed with something that's evidently impossible.Kareem Abdul-Jabbar: 2016 National Book FestivalKareem Abdul-Jabbar discusses "Writings on the Wall: Searching for a New Equality Beyond Black and White" with Kevin Merida, executive editor of The Undefeated at the 2016 Library of Congress Book Festival in Washington, D.C.Speaker Biography: Best-selling author Kareem Abdul-Jabbar is a six-time National Basketball Association Most Valuable Player, the NBA's all-time leading scorer with 38,387 points and a Basketball Hall of Fame inductee. His published works include "Mycroft Holmes," "Giant Steps," "Kareem," "Black Profiles in Courage: A Legacy in African-American Achievement," "A Season on the Reservation: My Sojourn with the White Mountain Apaches," "Brothers in Arms: The Epic Story of the 761st Tank Battalion, WWII's Forgotten Heroes" and "On the Shoulders of Giants: My Journey Through the Harlem Renaissance." Abdul-Jabbar's latest nonfiction book, "Writings on the Wall: Searching for a New Equality Beyond Black and White" , offers keen assessments and potential solutions while exploring the country's seemingly irreconcilable partisan divide-both racial and political-and his own experiences as an athlete, parent, African-American and Muslim.Bonnie McFarlane & Jim Gaffigan | You're Better Than MeIn the spirit of Mindy Kaling, Kelly Oxford, and Sarah Silverman, join us for the launch of this compulsively readable and outrageously funny memoir of growing up as a fish out of water, finding your voice, and embracing your inner crazy-person, from popular actress, writer, director, and comedian Bonnie McFarlane. She'll be talking about You're Better Than Me: A Memoir with fellow comedian Jim Gaffigan.Kickstarter Presents: I Read New York: A Conversation on CreativityKickstarter celebrates $100 million raised for book publishing projects with a panel featuring the authors of several of those projects. From xeroxed zines to glossy design tomes, lit journals to sci-fi anthologies, the Publishing community on Kickstarter brings all sorts of creative ideas to life, and tonight we're talking about ideas inspired by the Big AppleKickstarter co-founder Yancey Strickler introduces a panel moderated by Margot Atwell (Kickstarter's Publishing Outreach Lead) and featuring, from left to right, project creators Brian Foo (Continuous City), Tim Reitzes (The New York Pizza Book), and Hamish Smyth & Jesse Reed (NYC and NASA Transit Authority Graphics Standards Manual reprints) for a discussion on the creative process, building community around ideas, and making books in New York City.Four Futures: Life After CapitalismAuthor Peter Frase in conversation with Alyssa Battistoni at Verso Books in Brooklyn, October 13, 2016.Join Jacobin and Verso Books for the official launch of Jacobin Editor Peter Frase's Four Futures: Life After Capitalism.One thing we can be certain of is that capitalism will end. Maybe not soon, but probably before too long; humanity has never before managed to craft an eternal social system, after all, and capitalism is a notably more precarious and volatile order than most of those that preceded it. The question, then, is what will come next?In Four Futures, Frase imagines how this post-capitalist world might look, deploying the tools of both social science and speculative fiction to explore what communism, rentism and extermininsm might actually entail.Could the current rise of the real-life robocops usher in a world that resembles Ender's Game? And sure, communism will bring an end to material scarcities and inequalities of wealth—but there's no guarantee that social hierarchies, governed by an economy of "likes," wouldn't rise to take their place. A whirlwind tour through science fiction, social theory and the new technologies are already shaping our lives, Four Futures is a balance sheet of the socialisms we may reach if a resurgent Left is successful, and the barbarisms we may be consigned to if those movements fail.The Fight to VoteMichael Waldman discusses his new book, "The Fight to Vote," where he analyses a crucial American struggle: actions to define and defend government based on the consent of the governed. From the nation's earliest days, as Americans sought the right to vote, others have fought to stop them. Waldman examines the full story from the founders' debates to today's challenges.Speaker Biography: Michael Waldman is president of the Brennan Center for Justice at NYU School of Law, a nonpartisan law and policy institute that focuses on improving the systems of democracy and justice. He was director of speechwriting for President Bill Clinton from 1995 to 1999. He comments widely in the media on law and policy. « newer 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 ... 66 older »Advertisementdaily reviewomnivorepaper trailcurrent issueinterviewssyllabireadingsvideoarchiveartforumsubscribeadvertiseaboutcontact

文学

2017-09/0319/en_head.json.gz/23195

daily reviewomnivorepaper trailcurrent issueinterviewssyllabireadingsvideoarchiveartforumsubscribeadvertiseaboutcontactSearch follow us sign inregister VideoInterviewsReadingsTrailersSymposiaAll Kristin Hersh Musician and writer Kristin Hersh talks about her memoir, Rat Girl, based on a diary she kept as a teenager. return to main video pageSelected Videos « newer 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 ... 66 older »Ann Patchett | October 5, 2016 | Appel SalonThe author of Bel Canto on her new novel, Commonwealth. With freelance journalist Tina Srebotnjak.Building the Commune: Radical Democracy in VenezuelaAuthor George Ciccariello-Maher in conversation with Greg Grandin at Verso Books in Brooklyn, October 4, 2016.Join Jacobin and Verso Books books for the official launch of George Ciccariello-Maher's "Building the Commune: Radical Democracy in Venezuela."Since 2011, a wave of popular mobilizations has swept the globe, from Occupy to the Arab Spring, 15M in Spain and the uprisings in Greece. Their demands were varied, but what they share is a commitment to ideals of radical democracy, and a willingness to experiment with new forms of organization to achieve this. In fact, the countries of Latin America have been experimenting with such projects since 1989—just as left projects of all stripes fell into decline across Europe—in what was a moment of rebirth. Poor residents of Venezuela's barrios took history into their own hands in a mass popular rebellion against neoliberalism, much as the movements appearing worldwide are doing today.In Building the Commune, George Ciccariello-Maher travels through the many radical experiments of Venezuela, assessing how they have succeeded and failed, and how they are continuing to operate. Speaking to community members, workers, students and government officials, Ciccariello-Maher provides a balance sheet of these projects, that movements throughout the world can look to for lessons and inspiration.Building the Commune is part of Verso's Jacobin series, featuring short interrogations of politics, economics, and culture from a socialist perspective. The books offer critical analysis and engagement with the history and ideas of the Left in an accessible format.More on Building the Commune: https://www.versobooks.com/books/2337... George Ciccariello-Maher is Associate Professor of Politics and Global Studies at Drexel University in Philadelphia. He is the author of "We Created Chavez: A People's History of the Venezuelan Revolution," and a forthcoming volume called "Decolonizing Dialectics."Greg Grandin, a professor of History at New York University, is the author of a number of prize-winning books, including most recently "The Empire of Necessity: Slavery, Freedom, and Deception in the New World." Grandin is also the author of Empire's Workshop: Latin America, the United States, and the Rise of the New Empire (Metropolitan 2005), The Last Colonial Massacre: Latin America During the Cold War (University of Chicago Press 2004), and Blood of Guatemala: A History of Race and Nation (Duke University Press, 2000).An Evening with Debbie ReynoldsDebbie Reynolds took us on a nostalgic journey through her career, in an evening of hilarious anecdotes and wry humor.The beloved Golden Age film star shared her personal triumphs and tragedies, including how she overcame a disastrous third marriage to Richard Hamlett.This event was part of the Ruth Stanton Illustrious Women Series, supported by The Ruth Stanton Foundation.Margaret Atwood – The Good, The Bad, and The StupidToday's guest is novelist, essayist, poet, and as of late, comic-book writer Margaret Atwood. She's also got some really funny mini-comics about bad interviews, so Jason tries extra-hard to bring his a-game here. She's the Booker prize winning author of The Blind Assassin, Oryx & Crake, The Handmaid's Tale, and around 40 other beloved books. Her latest, Hag-Seed, is a total and delightfully wicked reimagining of Shakespeare's The Tempest.In this episode Margaret talks with Jason about genomes in the cloud, Bob Dylan's Nobel prize, the elusiveness of dead authors, and why technology's a three-edged sword.Viet Thanh Nguyen, "The Sympathizer" & "Nothing Ever Dies"Viet Thanh Nguyen discusses his Pulitzer Prize for fiction winning novel "The Sympathizer," and his book "Nothing Ever Dies," which is a finalist for the National Book Award for non-fiction. From the 2016 LA Times Festival of Books.Geraldine Brooks: 2016 National Book FestivalGeraldine Brooks discusses her career and "The Secret Chord" at the 2016 Library of Congress Book Festival in Washington, D.C.Speaker Biography: Geraldine Brooks grew up in the western suburbs of Sydney, Australia. She worked as a reporter for The Sydney Morning Herald for three years as a feature writer with a special interest in environmental issues. She also worked for The Wall Street Journal, where she covered crises in the Middle East, Africa and the Balkans. Brooks won the Pulitzer Prize in fiction in 2006 for her novel "March." Her first novel, "Year of Wonders," was an international bestseller. Her new novel is "The Secret Chord".Rep. John Lewis & Andrew Aydin: 2016 National Book FestivalRep. John Lewis and co-author Andrew Aydin discuss "March: Book Three" at the 2016 Library of Congress Book Festival in Washington, D.C.Speaker Biography: John Lewis has served as the U.S. States representative for Georgia's 5th Congressional District since 1987. He is senior chief deputy whip for the Democratic Party. Rep. Lewis had been serving America long before his congressional career began, as he is revered as a major civil rights icon, lending his resounding moral voice to the cause for more than 50 years. He was a key player in the movement to end racial discrimination and segregation as chairman of the Student Nonviolent Coordinating Committee. In his graphic memoir trilogy, "March," published with co-writer Andrew Aydin and New York Times best-selling artist Nate Powell, Rep. Lewis recounts his lifelong struggle for civil and human rights, chronicling the days of Jim Crow to the broader civil rights movement, and telling of his experience at the 1963 March on Washington for Jobs and Freedom. "March" has been recognized as the winner of the Robert F. Kennedy Book Award, a Coretta Scott King Honor Book and an American Library Association Notable Children's Book. His most recent release is the final volume, "March: Book Three".Speaker Biography: Andrew Aydin is co-author, with Rep. John Lewis, of the best-selling graphic memoir series "March," which chronicles the life of Rep. Lewis as a civil rights icon and is illustrated by Nate Powell. The book series has received a Robert F. Kennedy Book Award special recognition and a Coretta Scott King Book Award author honor. His most recent publication is the final volume in the series, "March: Book Three". Aydin frequently lectures about the history of comics in the civil rights movement and has appeared as a guest on the Rachel Maddow Show, NPR, CBS This Morning, CNN, the BBC and many other programs. Currently he serves as digital director and policy advisor to Rep. Lewis in Washington, D.C.Zadie Smith and Jeffrey Eugenides on Writing | The New Yorker FestivalThe authors Zadie Smith and Jeffrey Eugenides discuss their personal approaches to writing novels.Karl Ove Knausgaard's First TimeKarl Ove Knausgaard discusses his first book, 'Ute av verden' (Out of the World). Part of 'The Paris Review''s "My First Time" video interview series.Jennifer Finney Boylan at Open Book Event Fall 2016Jennifer Finney Boylan, author of "Long Black Veil", speaks at the Open Book Event Fall 2016 at the Penguin Random House offices.David Rolf, "The Fight for Fifteen: The Right Wage for a Working America"SEIU International Vice President David Rolf discusses his book, "The Fight for Fifteen" which looks at the movement to increase wages for workers. Mr. Wolf talks about the early challenges in the movement and discusses new strategies to empower workersJavier Marias and Garth Risk HallbergA rare opportunity to hear Javier Marías, NYPL's newest Library Lion, as he reads from his remarkable new novel, Thus Bad Begins. "One doesn't really read Marías for plot. One reads him for the language, the elegant hypnotic voice, the philosophical digressions and observations … for his ability to make the smallest parts of the world come alive, and his penchant for philosophical narrative claims, ones that invite and require unpacking … I found myself most loving the book for its pages, brilliant observations, its musings and its suspenseful elegant voice … And I could not put it down." — LA TimesMargo Jefferson: 2016 National Book FestivalMargo Jefferson discusses "Negroland: A Memoir" with Marcia Davis from the Washington Post at the 2016 Library of Congress Book Festival in Washington, D.C.Speaker Biography: The winner of a Pulitzer Prize for criticism, Margo Jefferson is a former theater and book critic for Newsweek and The New York Times. Her writing has appeared in various publications including Vogue, New York magazine and The New Republic. Jefferson's first published book was "On Michael Jackson." Her latest book, "Negroland: A Memoir" , is the winner of the 2015 National Book Critics Circle Award for autobiography. In her new memoir, Jefferson meditates on race, gender and American culture from the unique perspective of her upbringing among the privileged black elite. Currently, Jefferson is a professor of writing at Columbia University.National Book Award Finalist Jason Reynolds reads from GhostJason Reynolds, 2016 finalist for the National Book Award in Young People's Literature, reads from his book, Ghost, at the annual National Book Awards Teen Press Conference at 92Y.After Words: Russian Fake NewsJournalist Sophie Pinkham discusses how Russia reacted to the Ukrainian revolutions. Pinkham explores the current state of Post-Soviet Ukraine in her book, "Black Square." here is a portion of her conversation with Alexander Cooley, Columbia University Professor and Director of the Harriman Institute. « newer 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 ... 66 older »Advertisementdaily reviewomnivorepaper trailcurrent issueinterviewssyllabireadingsvideoarchiveartforumsubscribeadvertiseaboutcontact

文学

2017-09/0319/en_head.json.gz/23202

Boston Teen Author Festival Sponsors + Exhibitors Author Application Cofounder + Director Renee Combs cofounded the Boston Teen Author Festival in 2012 and hasn't looked back. She lives, breathes, and fangirls over YA literature (and its awesome authors). When she's not reading or writing, Renee spends her time attending book events, crafting, and doing freelance marketing/book design work on the side. She received her B.A. in Writing, Literature, and Publishing from Emerson College, and currently lives in Cambridge, MA. Marisa Finkelstein is nose-deep in words on a daily basis as an assistant production editor at Little, Brown Books for Young Readers. She graduated from Emerson College, where she majored in Writing, Literature, and Publishing and was a copresident and publisher of Undergraduate Students for Publishing (or lovingly shortened to “Pub Club”). If she’s not reading for work or leisure, you can find her curled on the sofa with her latest anime, manga, or video game obsession. Even though Marisa currently resides in New York, she can’t stay away from Boston and also fills her time as a staff member for the volunteers program at Anime Boston. She is the other cofounder of the Boston Teen Author Festival, and you can follow her on Twitter @finky_dink! Janella Angeles graduated from Emerson College with a B.A. in Writing, Literature, and Publishing. Having completed multiple publishing internships from companies such as Perseus Books Group, the Bent Agency, and more, she is also an aspiring YA writer who tends to daydream way too much for her own good. Along with that, she is a Harry Potter fanatic, Disney enthusiast, and avid bibliophile with the biggest love for YA. Madeleine Colis is a recent graduate of Northwestern University where she studied English Literature and generally explored Chicago by way of food. In her last year at school, she studied abroad in Madrid where she started drafting her current fantasy series in Spanish cafes whilst chugging espresso. She has now returned to Chicago where she continues to work on her YA novels, with slightly less strong amazing coffee to fuel her writing addiction. In her spare time, she spends way too much time in bookstores and generally fails at being a lactose intolerant cheese lover. Fun fact: she also spent a few years living in Massachusetts, and is SO excited to return to Bahhhston to help out with BTAF! Sarah Jean Horwitz is the author of CARMER & GRIT, a debut middle grade fantasy novel set for publication by Algonquin Young Readers in 2017. She loves storytelling in all its forms and holds a B.A. in Visual & Media Arts with a concentration in screenwriting from Emerson College. You can find her reading, writing, and occasionally dancing around like a loon in Cambridge, MA. ​ Akshaya Ramanujam graduated from UC Davis with a B.S. in neurobiology. When she's not working on her own YA novels, she obsesses over way too many books (and their incredible authors) and watches way too many TV shows. She loves traveling and all things Harry Potter. She lives in California where she tutors high school students in math and science. ​ BRINGING YA TO BOSTON! Cambridge Public Library +Camrbrige rindge and latin school 449 Broadway Cambridge, MA 02138459 Broadway Cambridge, MA 02138 [email protected]

文学

2017-09/0319/en_head.json.gz/23250

Arts & Entertainment Confronting artist Kara Walker Kara Walker Terrence Antonio James/Chicago Tribune Artist Kara Walker with her work at the Art Institute of Chicago. Artist Kara Walker with her work at the Art Institute of Chicago. (Terrence Antonio James/Chicago Tribune) Privacy Policy Kara Walker will be difficult. This gets whispered to you by enough people in the art world and you start to believe it: She's humorless!Confrontational! Intimidating! David Mamet intimidating!And this week, before the Thursday opening of “Kara Walker: Rise Up Ye Mighty Race!” at the Art Institute of Chicago, well, why not believe this? Maybe you'd be cranky too if your (small) show opened a day after a (huge) Picasso exhibit at the same museum. And then there's her work, not exactly known for lightheartedness or passivity. Almost two decades ago, she became an overnight sensation while attending the Rhode Island School of Design; she was invited to a group exhibition in New York and showed a 13-by-50 foot mural with the playful, uneasy, antiquarian title: “Gone, An Historical Romance of a Civil War as It Occurred Between the Dusky Thighs of One Young Negress and Her Heart.” Even more striking was the work: life-size silhouettes, cut from black paper, of slave caricatures and antebellum gentility, a narrative full of violence and transgression.This became her signature: ambitious, conflicting panoramas about race, wielding a nostalgic, old-timey medium like a sword.She landed on a Time magazine list of the 100 most influential people in the world, earned a MacArthur Foundation “genius” grant and became a magnet for old-guard black artists who felt she was disrespectful. Her work became a rebuke to polite discussions about race and suggested an America, as New Yorker critic Hilton Als wrote, that's “a freak show that is impossible to watch, let alone understand.”Susanne Ghez, longtime director of the Renaissance Society contemporary art museum on the University of Chicago campus — which organized Walker's first solo show, in 1997 — remembers. “Kara was just out of school, and the work was so raw and confrontational. No one knew her yet really, but she was catching a lot of criticism from within the black community about her images, and was pretty shaken by it.”By the end of 1997, Walker responded to those who said her use of racial stereotypes was offensive and counterproductive: She made watercolors, more than five dozen, for the Walker Art Center in Minneapolis, with messages: “What you want: negative images of white people, positive images of blacks.”Anyway.The point is, when meeting an artist with a history that heavy — brace yourself.She arrives with her teenage daughter in tow.“Why don't you explore the Modern Wing?” she says, and her daughter leaves us alone in a small gallery on the second floor at the back of the Modern Wing, surrounded by Walker's familiar cutouts.Walker drops her bag and looks around and sighs.I ask if she's happy with her show. She replies in the quiet, halting stammer of a distracted intellectual, more in tune with Woody Allen than David Mamet.“I'm working on happy,” she says. “You can't ask me to be happy. Everything I do, I understand better what I do each time. Every artist I know, they're like this. But it could be chemical! It's not done, either. I mean, it's done; it's done for now, but the narrative, it's fresh for me. One (show) is not going to do it! I haven't had any feedback yet, so I don't know how much of what I am trying to do is still in my head. Are you following? If no, no is helpful!”Kara Walker is … fun?Asked if she's met anyone with a tattoo of her silhouettes, she says “several” and jokes about royalties. Asked if she's seen “Django Unchained” — what with her use of the antebellum South — her eyes light up. “I have! I enjoyed it! Tarantino is playing with pastiche, and it's moviemaking. He never lets you forget. As a child, I was subjected to a lot of spaghetti Westerns and hated them. I wanted the Indians to win — or just not be so sad! So it's nice to have a badass black hero, though I left telling a friend that I wished Django had been a women. I've got “Django” action figures, actually.”But asked to explain her show, Woody returns.“That would, ah, that would defeat the purpose,” she says. “That's where the art takes over. I would explain, but there is something wrong with explaining pictures. But … OK … there is this ever-present race war, and some don't know that it's happening, and others seem convinced it's not happening enough, so what you see are pockets of moments here, scenarios, preludes to the big event.”So basically, this is like “The Lord of the Rings,” I say.“Exactly!” she laughs. “Thank you! But, no, what I did 20 years ago, that was like the opening chapter.”Indeed, at first “Rise Up Ye Mighty Race!” shares a lot with Walker's best-known work: silhouettes, large graphite drawings, a wall of mixed-media watercolors, elegant figures in hoop skirts, broad caricatures of black children. But slowly, curiously, a narrative somewhat reveals itself: Shotguns are pointing into groins; Confederate soldiers are tended to by naked, Afroed black women; a somber painting of war has a round, Looney Tunes-esque bomb inserted in the action; charred ruins come with the caption: “What will you do when they come to take your guns?”Though the title of the exhibit comes from early black nationalist Marcus Garvey — by way of Barack Obama, who references it in “Dreams From My Father” (which Walker had been listening to on cassette, and liked the way the phrase felt “vague, disembodied and unexplained,” when applied to the show) — the larger source is “The Turner Diaries,” a paranoid, racist novel from the 1970s that ends in an apocalyptic race war.The quotes in the show are pulled from the book, though the show itself is an attempt at a kind of counternarrative, “a little extrapolation,” says Walker, who wants to do several shows addressing the book.“It's this seminal mythology seen as basis for so many white supremacist talking points,” she says, “and I am interested in mythology — particularly in the personal sense, the stories we tell ourselves to justify who we are and what we believe.” The show also feels like a transitional moment for Walker, who, though only 43, has already had a retrospective at the Whitney Museum of Art in New York. Her 2006 “After the Deluge” show at New York's Museum of Metropolitan Art gathered its power as a commentary on the outcome of Hurricane Katrina, but after rooting so much of her art in the South, then early 20th century America, “Rise Up” feels expansive, closer to the zeitgeist.The Art Institute was expecting Walker's traditional white-walled gallery. They got a deep slate gray. And as for the silhouettes, only two in the show are black, the rest are white. Walker says this is partly a technical thing involving pencil fineness, then adds that a familiarity was creeping in, and she was resisting. Asked why she cuts out her silhouettes and plasters them directly on the gallery walls — why not just frame them — she grins and says, “I did a few (framed silhouettes) at (Rhode Island School of Design), but the cutting-out, which I don't have to do, you're right, started as a rejection of structures, a reaction against the exclusivity of the European (art) model, which I was not entirely invited into. You would hear, and I still hear from young black art students, ‘But you're black. Can't you tell us something about your experience being black?' And that comes from all quarters — the black arts movement, white instructors. It's a funny double bind. So, I was cutting myself away from it.”She laughs.She laughs often.Walker grew up in Stockton, Calif., the daughter of an artist; her father was chairman of the art department at University of the Pacific. Her first art memories, she says, are watching her father paint in their garage, “where art happened, not where cars lived.” Asked if she was inspired by Charles Schulz — her earliest stabs at art were “Peanuts”-inspired comic strips — she says she keeps “an actual list of the white men in my life, Schulz, Mark Twain, Melville ... " She mentions dog-eared "Doonesbury" books.This seems the ideal moment to ask about a silhouette at the edge of her show, a character with hair in round buns (or Mickey Mouse ears) with raised middle fingers, taunting.Walker said the character was "a voice of unreason, created out of giddiness."I ask her, as sad and violent as her art is, does anyone ever notice, you know, that sense of humor?"Some," she replies brightly. "Some see it as funny, sometimes, because it is funny, sometimes." She smiles sadly, as if to say, as seriously as she takes her work, it would be nice to hear an inappropriate cackle every once in a while.Last year during the Whitney Biennial, she performed with a band led by pianist Jason Moran. She called her stage persona “Karaoke Walkrrr” and sang to the Rolling Stones' "Brown Sugar. "She relishes the moment even now, rushing through the lyrics in a whisper: "Gold Coast slave ship bound for cotton fields/ Sold in a market down in New Orleans ... "Anyone sing along, I ask."No, no!" she laughs. "My studio assistant, in the back. She said, ‘We tried to sing along, but we got shushed!'"A pair of tourists stop and huddle at the nylon strap strung across the gallery entrance. Her show's not open yet. It's unclear if they know who she is or if she just looks like someone important. Walker looks toward them, turns back and finishes her thought:“That's the thing,” she says. “It feels like a game, this work I do. It is totally heartfelt, and I love the sticky terrain, the straight-up cartoons, how the irrepressible and icky rise to the surface. But I am not just trying to call forth bugaboos and demons for the sake of it, for fun. I'm doing it because there is something more, something I'm still trying to process myself."[email protected] @borrelli Artists Art Museums Cartoons David Mamet Whitney Museum Woody Allen 'Art comes first' in Tony Karman's comeback story Must-see winter music shows in Chicago Photos: Star sightings in Chicago

文学

2017-09/0319/en_head.json.gz/23333

Frances Osborne. When 18-year-old Grace Campbell arrives in London in 1914, she's unable to find a position as an office secretary. Lying to her parents and her brother Michael, she takes a job as a housemaid at Number 35, Park Lane, and is soon caught up in lives of its inhabitants—in particular, those of privileged son Edward and daughter Beatrice, who is recovering from a failed relationship that would have taken her away from this stifling life. Bea secretly joins a group of radical suffragettes and strikes up a romance with an impassioned young lawyer, though neither Grace nor Bea realize how soon a changing world will erase the barriers between them. In this first novel from the author of The Bolter (a biography of her great-grandmother Idina Sackville), Frances Osborne again turns to family history for inspiration. The Life and Times of Call the Midwife: The Official Companion to Series One and Two Heidi Thomas. Jenny Agutter, foreword. Publisher: Collins. Format: hardcover. ISBN: 9780007490424. Daedalus Item Code: 41655 List Price: Import Sale Price: $9.98 My Emma

文学

2017-09/0319/en_head.json.gz/23768

Elizabeth Hardwick April 6, 1967 Issue La Turista by Sam Shepard American Place Theater La Turista by Sam Shepard, in a dazzling production at the American Place Theater, is a work of superlative interest. The reviewers have not been invited to submit an evaluation of the play. It is merely there, for a month, appearing for the membership of the American Place and for those who find their way to it. I have no knowledge of the intentions and feelings about the reviewers of those responsible for this play; I went to it of my own free will and write about it under no duress and without asking permission. Still, it appears logical that when a play invites the press it is making a sort of plea or demand that the reviewer, under his contractual obligations to his publication, offer some comment about what he has seen. He may not have wished to go and he may not wish to write; he is a captive, arbitrarily condemned to the formation of an opinion. The production, by its foolhardy solicitations, condemns itself to the recognition of the opinions. Play and critic, thereby, become linked like suspect and detective. The night I saw La Turista the American Place audience was, for the most part, utterly depressing; middle-aged, middle class, and rather aggressively indifferent: a dead weight of alligators, dozing and grunting before muddily sliding away. It felt like nothing so much as those same old evenings in our theater, evenings with the reviewers spaced about like stop signs. A further step in the liberation of the theater became evident: not only must the reviewers be freed of their obligation to go to a play, but the audience they have created, their bent twigs, should not be the object of special encouragement. It is hard to imagine anyone acting under the influence of the inchoate homilies of, for instance, Richard Watts who looks after our local and national morals for us, but, even in the case of La Turista, one could imagine a line slowly forming outside some box office and the people whispering, “Walter Kerr sort of liked it a little, and you know he never likes anything.” But, indeed, what good does it do a man to go to see something he won’t like just because the reviewers have told him to do so? He would be better off at home. Our new American theater cannot play to the old audience; it must have a new one. IN “LA TURISTA” there is the poignant meeting on some pure level of understanding of playwright, director, and actor: the sort of unity that makes the Royal Shakespeare’s production of The Homecoming so rare. Jacques Levy, the director, is a theatrical talent of unremitting inspiration. The actors are all first-rate, but in Sam Waterston the play has a young actor of such versatility and charm that one hardly knows how to express the degree of his talents. With this play, the promise of the lofts of off-off Broadway, the dedication and independence, come to the most extraordinary… —— April 6, 1967 —— The Politics of Poetry Denis Donoghue Brains on their Minds J.Z. Young On the Draft Richard Flacks Appeal Paul Goodman More Russia: Poisoned Opposition

文学

2017-09/0319/en_head.json.gz/24000

> Nonfiction > Memoir > Flux. Flux. By E.Vogel, Califon, NJ More by this author Image Credit: Rebecca B., Santa Clara, CA “You are here. You are still right here.” -Richard Siken Yesterday, another boy I don’t know killed himself. This new death makes me feel much too old. There have been others before this, but I was young enough, then, that something positive always seemed to come out of it. The first time anyone within my worldview succeeded in killing himself, I gained a brother. When Jake’s best friend died, he started living with my family on weekdays. He was a friend of my biological brother, but over a number of years we grew closer and became our own, newer, dysfunctional little family. When someone older than you dies, it’s a distant, romanticized thing. When my friend, Ciara, tried three years ago, I wanted to think it was something on the periphery of my life. Or, at least, that I was on the periphery of hers. A week or two before she and her friend locked themselves in a dodgy motel room, we went to a concert together. The kicker? It was part of a tour intended to raise awareness about suicide. That day, she left me with an album of CDs. A few days after I got two phone calls from my parents, after my mother had gone to see Ciara in the hospital, my mother said one of the worst things she has ever said to me. She pointed out that the neatly packer series of CDs looked an awful lot like Ciara trying to get rid of her stuff. A classic sign. I wanted to vomit. I’ve never told my mother that her comment, in particular, is what haunts me. I think I’ve mostly recovered from the ordeal of my freshman year. But when I think about those CDs, there is a remnant I can’t identify that twinges in my stomach, in my chest, in the tips of my toes. The songs she gave me are still on my iPod and I have this feeling that that album is still somewhere in my house, somewhere my mother hid it. Ciara was a new friend, though. Not really mine. I inherited her from my brother when he left for college. But this boy, the new hot topic, went to my middle school. He graduated a year or two after me. Younger than me. And nothing good will come for me out of his death. No brother, only a lingering sense of wrong so anonymously delivered through the convenience of the internet. It’s sick to think about, I know. But I’m just being honest. I have problems with people who are overly public with their grief. I have problems with people who get overly upset about something they have no “right” to be upset about. I’ve only seen Jake post one thing to the internet about his loss: a single status on the anniversary a few years after, a small confession of love. He was the type to get angry when people acted like they were closer to Tucker than they actually were, when people were upset a suicide they didn’t know anything about. I went on Facebook yesterday and today and every three or so statuses is a long winded, depressing quote followed by a “RIP Connor.” Some of them have his name “tagged.” And when I click on it, I am brought to a dead boy’s home page. I hate social media and I hate people who post statuses like these. It seems so sick to me. We weren’t “friends” on Facebook and I couldn’t put a face to a name when I first heard it; I shouldn’t have been able to see what he looked like. Innocent. This boy shot himself. I know that’s more common for males. I think about that face with his father’s gun pressed to it. The two images seem so utterly irreconcilable; it’s hard to put them together. I didn’t know him, but I know the schools he went to. And something tells me that he was the kid that kind of middle school chews up and spits out, like me. But when I got spit out, I wound up entirely elsewhere. I went to a private high school far from middle school in both ideology and distance. When he got spit out, he was dragged directly back into another poisoning environment. But this boy and the first one, too, went to the high school I would have gone to. And somehow it was my stroke of luck that I didn’t. Logically, I believe things wouldn’t be much different for me; I would have survived that place, too. But it feels like there’s some great potential for disaster lurking there. I’m upset because I’ve become one of those people. Upset because some kid I didn’t know and never wanted to get to know is dead, because I am now a consumer of fake Facebook tragedy. I don’t know anything about him. And yet, somehow, I’ve managed to make up a whole life story for him, even though it’s none of my business. I think maybe being just a few years older has entirely changed the way I see tragedies like these. It’s silly, I know, because I haven’t aged significantly. In today’s social media world, I can’t log into any of my various accounts and not see something about someone who has died, or wants to, or is just really pissed off about something. They are voids of swirling negativity and I am repeatedly sucked into them. They have become part of my personal culture, but a larger one, too. A culture that turns tragedy into spectacle that everyone wants a piece of in the public sphere. And what will come of it?

文学

2017-09/0319/en_head.json.gz/24020

STAGE WHISPERS http://www.theaterjones.com/images/large/l_120206144240.jpg~!~Clifton Forbis will play Tristan at Dallas Opera~!~Martin O'Conner~~~http://www.theaterjones.com/images/large/l_120206144520.jpg~!~Jeanne-Michele Charbonnet will play Isolde at Dallas Opera~!~Intermusica~~~http://www.theaterjones.com/images/large/l_120206144650.jpg~!~Erik Schmedes in Wagner's "Tristan and Isolde" in 1905~!~WikiMedia CommonsAn Upgrade for Tristan at Dallas OperaThe upcoming production of Wagner's Tristan and Isolde will be fully staged, rather than the concert version originally announced.by Gregory Sullivan Isaacspublished Monday, February 6, 2012It is no secret that the Dallas Opera had cut back on the current season in an attempt to put the company on a sound financial footing. The new General Director and CEO, Keith Cerny, took measures to inject some business reality into the rarified operatic atmosphere and his efforts are already paying off. A perfect example of his steady-handed stewardship is the convoluted journey that the upcoming production of Wagner's masterpiece, Tristan and Isolde, took as it wound its way to the Winspear Opera House. When it opens on Feb. 16, it will be the fully staged production that was originally imagined. Jonathan Pell, Artistic Director, explained the twists and turns in a recent interview. "When we realized our situation, we initially went to the board of directors and told them that we were going to have to cancel two productions, Janacek's Káťya Kabanová and the Tristan," Pell said. "The board said that we should give them a week to see what they could do. Well, they succeeded in raising some significant funds and we thought that we could restore the Tristan in a concert version." Actually, they had originally planned to bring a massive production from Seattle that was done by Francesca Zambello. "Once we took a closer look at that production, we realized that it was just too expensive to import and mount here. There are more than seven trucks of scenery alone. In fact, Seattle didn't even revive it themselves due to its costs. Last time they did Tristan, they pulled out an older production. Zambello's show was stunning, but it is just very expensive," Pell said. The concert version began to morph as the financial picture improved. "First, we said that it would be semi-staged. That would eliminate the need for scenery, stage hands, costumes, and all of that," Pell said. "Then we talked with the stage director, Christian Rath, and video designer, Elaine McCarthy, and asked them what they could do with a more limited budget. Elaine, who was the genius behind all of the projections that wowed the audience in our production of Moby-Dick, felt that an innovative full production would be possible." They went for it, and Pell is pleased with the results. "It is a minimalist production, with moving panels and brilliant projections, but it isn't a compromise," he said. "Once the concept was established, the production has been put together in a world-class manner. If you didn't know the background, you would never suspect that this is a rescue production. In many ways, it has turned out to be quite spectacular." The Dallas Opera has a sleek production of Tristan that is specifically designed for the Winspear Opera House and for the way that opera needs to be produced in the current era of reduced budgets without sacrificing artistic quality. It could even become a revenue source for TDO by renting it to other companies, which the opera companies often do. "Productions are always made available to other companies," he said. "The opera world is completely interconnected and we share all the time. Having something like this will be attractive to other producers, without a doubt." One has only to look at the Seattle production to understand how attractive this Tristan will be. That production was too massive for even the Seattle Opera to remount. TDO has developed something quite different and equally creative. Tristan is a favorite of work for many, including Dallas Symphony Music Director Jaap Van Zweden, as he told me in a recent interview. In fact, it is one of the most popular of the Wagner canon. The story of the courageously loyal warrior and the already-promised Irish princess caught in the vortex of an impossible love is timeless, as the 2006 film version proved. Wagner transports it to ecstatic heights with some of his most sublime music. It is excellent that TDO has found a way to bring it to the Winspear in all its glory. The production will star Clifton Forbis and Jeanne-Michèle Charbonnet in the title roles. View the Article Slideshow Comment on this Article Click or Swipe to closeAn Upgrade for Tristan at Dallas OperaThe upcoming production of Wagner's Tristan and Isolde will be fully staged, rather than the concert version originally announced.by Gregory Sullivan IsaacsShare this article on FacebookTweet this articleShare this article on Google+Share this article via emailClick or Swipe to close

文学

2017-09/0319/en_head.json.gz/24022

Family Week Ward Morehouse • From Family Week Beth Henley's poetic and sporadically powerful new memory play Family Week receives the virtuoso performance it demands from Angelina Phillips, who plays Claire, a patient at the Pastures Recovery Center somewhere in the American desert. Phillips is absolutely, undeniably brilliant as a mental patient trying to cope with the murder of her son, her family's idiosyncrasies and antipathy, and her own bleak but not utterly hopeless future. "I don't want to have a spoiled life because my son was shot to death," says Claire, seemingly numb with a mixture of grief and slivers of hope and reason, early in the play. "I was a good mother. Overqualified. A master's degree in elementary education. I knew to teach phonics...Mothers are often responsible for their child's death...I would never...I was so careful...overprotective." And if Family Week, which opened Off-Broadway at the Century Center for the Performing Arts on April 10 (and will close Sunday, April 16 after being savaged by the New York critics), had been Henley's first play, or even one of her early works, one might hail the playwright as the brilliant new heir to the thrones of Tennessee Williams or Eugene O'Neill. But coming nearly 20 years after Crimes of the Heart, her 1981 Broadway debut, one leaves the ornate From Family Week jewel box interior of the Century longing for Henley to finish and give more structure to the writing she so richly began in Family Week. Indeed, while Family Week is sprinkled with some of the poetic strengths and black humor that first propelled her to importance, the play is almost totally devoid of dramatic punch. For example, there's little if any hint as to why Claire's son was murdered, execution-style, with a bullet to the head. Yet Claire relates she can physically taste the metal from the shot and hopes to find "something to make this metallic taste disappear." Still, a lot of Henley's spontaneity, the unique color and emotional range of her characters, and her always-keen sense of humor which first surfaced in Crimes of the Heart, can be found alive and well in Family Week, suggesting the perhaps half a loaf of Henley bread is better than none. The centerpiece of the action is the week--"Family Week"--that Claire's mother, sister, and daughter spend with Claire at the Pastures Recovery Center, spread out over individual scenes that make up each day in the 90-minute play. As the scenes progress, a variety of fragments surface about Claire's dysfunctional childhood: Claire's mother, Lena (Rose Gregorio), used to hit her as a child. Then, at one point near the middle of the intermissionless four-person play, Claire laments, "I regret now that I wouldn't let him get a car." She worried that if she had let him get his own car, "He could get into trouble. My main concern was keeping the children safe." (Claire's daughter has come to visit her mother in the institution.) The play's not entirely without hope, however. Claire and her mother, sister, and daughter have moments of hope. But until the very end of the play, when the characters begin to appreciate some of the good things they mean to do for each other in the present, most of Claire's faint hopes are focused on restoring the lost past. Overall, the legendary Broadway director Ulu Grosbard, who directed the Pulitzer Prize-winning The Subject Was Roses, and Henley's play The Wake of Jamey Foster (a Broadway flop in the early '80s), did a nice job helping the actors find the emotional truth of behind their characters' dialogue. But the loose, unstructured nature of the play ties his hands and some of the pauses between speeches seem self-indulgent and overlong, even for something about self-examination. It's almost as if, in the absence of real dramatic tension, Grosbard is attempting to allow the audience to fill in the voids and long pauses with their own imagination. He may, in fact, be on to something, but in the end it makes for an unsatisfying experience. Gregorio, a veteran Broadway actress who is excellent in almost everything she does, is also miscast as Lena, Claire's mother. For one thing, Gregorio, who appeared in M Butterfly and The Shadow Box, seemed too together looking, too well-tailored and polished for the role of Claire's mother. You can't imagine her ever hitting her child. Carol Kane, as Rickey, Claire's goofy, thrown-together sister, is appropriately goofy and thrown-together. But her character is more cartoon than character, even though she gets the lion's share of big laughs. Phillips also plays the duel role of Claire and the institution's therapist. As a result, one doesn't really know if Claire is actually playing the therapist or merely spouting the truisms she's learned from professionals or books at the institution. Family Week is produced by Jean Doumanian, who has a long history of producing Woody Allen films, and Ron Kastner, who is co-producing the current Broadway revivals of The Real Thing. And I wish they had both waited until Henley did more work on Family Week.

文学

2017-09/0319/en_head.json.gz/24023

This One Girl's Story This promising new musical, inspired by the life of Sakia Gunn, makes its world premiere as part of GAYFEST NYC. Desirée Rodriguez, Zonya Love Johnson (top), Lucretta Nicole, and Chasten Harmon in This One Girl's Story (© Gustavo Munroy) The brutal, anti-gay hate crime perpetrated against Sakia Gunn in 2003 serves as the inspiration for the promising new musical This One Girl's Story, making its world premiere as part of GAYFEST NYC, at the Abingdon Theatre Arts Complex. However, book writer Bil Wright, composer and lyricist Dionne McClain-Freeney, and director Devanand Janki have been careful not to let the tragic events of their tale outweigh their celebration of the individual who is at the center of it. The bulk of the musical -- which fictionalizes elements of Gunn's story and the names of those involved -- shows the joy and camaraderie between four teenage lesbians of color from Newark, New Jersey: Cee Cee (Lacretta Nicole), her on-again-off-again lover Dessa (Zonya Love Johnson), Cee Cee's cousin Patrice (Chasten Harmon), and their friend Lourdes (Desiree Rodriguez). The foursome travel into Greenwich Village for a night out dancing that could also serve as a possible reconciliation between Cee Cee and Dessa. Foregrounding the love story allows the audience to care for these characters, and Nicole and Johnson not only have a strong chemistry to make their relationship believable, their voices blend beautifully in a number of songs. Neither are shown to be perfect, although Cee Cee more often comes across as unreasonable. We don't get to see as many flaws in Dessa's character, unless you count what seems to be Cee Cee's ungrounded accusations. The fateful moment of violence that ends the girls' evening is foreshadowed early on, mostly through a framing sequence that revolves around Patrice, and on whether or not she will testify against the man accused of the crime. The problem here is that it's not really clear why Patrice has reservations. She does say that she doesn't want to think about that night anymore, but that doesn't come across as a strong enough reason. Moreover, the opening number has Cee Cee singing about the importance of telling the story, and by the end of the song, Patrice is singing along! Musically speaking, this signals a shift in Patrice's overall outlook, and yet once the song is over, she's back to being unwilling to testify again. McClain-Freeney's score is, overall, quite strong, and demonstrates the influences of musical genres such as jazz, blues, gospel, and pop. A disco-like paean to Greenwich Village is quite a treat, and a sultry number sung by a woman at the club named Promise (Tanesha Gary) is another highlight. In the lyrics to a tune sung by Mickey (Charles E. Wallace), who propositions the girls at a bus stop, the refrain "Nobody turns me down" takes on more and more sinister undertones as the song progresses. One slight misstep is a Latin-flavored solo sung by Lourdes that doesn't contribute anything substantial, and disrupts the momentum of the story. The entire cast is solid, although a couple of the actresses don't look young enough to convincingly portray teenagers. Of the performers, Cee Cee is the clear standout. And even with its flaws, the musical has a lot of both power and heart. X

文学

2017-09/0319/en_head.json.gz/24176

CWA Gold Dagger winning author Robert Wilson is set to publish his next novel Capital Punishment with Orion Publishers according to his agents Aitken AlexanderIn a locked room, a kidnapped girl shivers: meet London’s dark side. Alyshia D’Cruz, daughter of Indian tycoon Francisco ‘Frank’ D’Cruz, has grown up in London and Mumbai wanting for nothing. But one night, after a boozy evening out, she gets in the wrong cab home…Charles Boxer, ex-army, ex-police, has found his niche in private security. His speciality: kidnap and recovery. But it’s a rootless life that doesn’t impress his teenage daughter, Amy, or her mother, DS Mercy Danqah.When D’Cruz hires Boxer to find Alyshia, Boxer knows Frank’s crooked business empire has made him plenty of enemies. Despite the vast D’Cruz fortune, the kidnappers don’t want cash – instead favouring a cruel and lethal game. But the UK government don’t want their big new investor to lose his daughter in the heart of the capital. MI6 officers in India follow Boxer’s leads and soon it seems more lives than Alyshia’s are at stake, as the trail crosses paths with a terrorist plot on British soil.To save Alyshia, Boxer must dodge religious fanatics, Indian mobsters and London’s homegrown crime lords. Capital Punishment is a thrilling journey to the dark side of people and places that lie just out of view, waiting for the moment to tear a life apart. Capital Punishment is due to be published in January 2013.Robert Wilson won the Gold Dagger with his novel A Small Death in Lisbon.A number of crime novels are among the 147 titles that have been nominated by libraries worldwide for the €100,000 international IMPAC Dublin Literary Award.The books are – Bandit Love by Massimo Carlotto, The Reversal by Michael Connelly, Faithful Place by Tana French, Harbour by John Ajvide Lindqvist, The Snowman by Jo Nesbo, Heartstone by C J Sansom, and The Rembrandt Affair by Daniel Silva.Spy thriller Tinker, Tailor, Soldier, Spy has been nominated for seven awards at the British Independent Film Awards. Gary Oldman has been nominated for Best Actor for his portrayal of George Smiley. More information can be found here. The awards will be handed out at a ceremony in London on 4 December.According to the Bookseller, crime writer Neil White has moved from Avon to Sphere. The author is set to write a new series, which will make use of his expertise as a criminal prosecutor. The first book in the series will be published in the summer of 2013. The bookseller also report that William Heinemann have acquired a debut crime novel, the first in a series to feature civilian investigator Catherine Berlin, written by Annie Hauxwell. The debut novel entitled In Her Blood will be published in trade paperback and eBook in May 2012.Hot on the announcement of the title of the new James Bond film there is an excellent article in the Daily Telegraph about the longevity of James Bond and why the brand remains popular by Allan Massie.Author Lynda La Plante is known for being forthright and she again does not mince her words when she talks in the Daily Telegraph about the BBC and them declaring not to want anymore crime drama’s.P D James is interviewed in the Guardian by Sarah Crown where she talks about revisiting the characters in Pride and Prejudice and creating a credible crime novel at the same time.Not one to play against type, actor Jason Statham has landed the lead role in the gangland thriller Hummingbird. According to the Guardian, Hummingbird, will mark the directorial debut of Oscar-nominated British screenwriter Steven Knight.And if you haven’t heard already, firstly Patricia Cornwell has been confirmed for a one-off special event at next year’s Harrogate Crime Festival. Tickets can be obtained on 01423 562303 and secondly there has been confirmation that Åsa Larsson will be attending Crimefest Bristol that is due to take place between 24 to 27 May 2012. Asa Larsson, C J Sansom, Crimefest, Daniel Silva, Harrogate, Jo Nesbø, Lynda La Plante, Michael Connelly, Neil White, P D James, Patricia Cornwell, QUERCUS, Robert Wilson,

文学

2017-09/0319/en_head.json.gz/24344

Review: ‘Rootbound’ by Maple Morris and Morris Offspring - The Boston Globe Theater & art Morris dancing gets its own show with ‘Rootbound’ Somerville stop continues international collaboration E-Mail Alan Cole/file Morris Offspring (above) of the United Kingdom will join North American group Maple Morris at Somerville’s Arts at the Armory Performance Hall on July 15. By Jeffrey Gantz Morris dancing, which goes back some 700 years in England, is no stranger to Boston. The Pinewoods Morris Men, the oldest morris team in North America, have been a fixture in Revels performances for decades. And for 40 years now, morris dancers have celebrated May Day in Cambridge, waving their white handkerchiefs and jingling the bells strapped to their legs. But a theatrical show built around morris dancing is a different matter. And that’s what the North American group Maple Morris and its United Kingdom counterpart Morris Offspring are planning with “Rootbound,” which they’ll present at the Arts at the Armory Performance Hall in Somerville July 15, then four days later in Toronto. The show, which is described as “the story of a dancer’s journey in the North American morris dance community,” will have songs from Ian Robb, lyrics from Susan Cooper, and original choreography from Maple Morris and Morris Offspring. So, what about the journey of the Maple Morris dancers? When talking to four of them — Nathaniel Smith, Amelia Mason, Gillian Stewart, and Erika Roderick — in the cozy apartment Smith and Roderick share just outside Somerville’s Davis Square, it turns out that they’re all children of morris dancers. What’s more, they’ve all been Revels children, or at least Revels teens. So the dancing is in the blood, and they were introduced to performance at an early age. They all dance with local groups: Smith with the Pinewoods Morris Men, Mason, Stewart, and Roderick with Muddy River.Maple Morris, Smith explains, is “a community of second-generation morris dancers in North America. It started in 2005, and the idea came from a Canadian group, hence the name Maple Morris. The folks who started it were all children of morris dancers who had been going to morris events for their entire lives. They kept seeing other folks their own age and thought it might be a fun idea to have a weekend just for the younger morris dancers.” Roderick chimes in, “People who were just like us but grew up somewhere else. They feel like old friends because they’ve had the same life.” For a while it was just an event in Toronto, but then the Boston folks decided they wanted to host their own gathering, and it spread to Washington, D.C. All these get-togethers turned the event into something more like a team. And then Maple Morris got asked to dance as a team, at one of the biggest events of the year, the Marlboro Morris Ale in Brattleboro, Vt. Rootbound Armory Performance Hall, www.maplemorris.com Also performing:Maple Morris and Morris Offspring First performance: Get more information on "Rootbound" Meanwhile, a similar English outfit, Morris Offspring, was forming, and its director, Laurel Swift, came up with the idea of morris dancing as a stage performance, with a full band and lighting and dances that were less traditional, with more than the usual six or eight performers. Members of Maple Morris met Swift when she was invited to the Pinewoods Camp in Plymouth. The result was that the North American troupe wound up traveling to London to take part in Morris Offspring’s 2011 stage show “Must Come Down.”Stewart describes “Must Come Down” as “based on the idea of a traditional English fair, so it started with lots of different groups of people dancing and singing.” There was morris dancing and stepdancing and traditional songs and storytelling. It was an intensive week of rehearsals for just one performance at Cecil Sharp Hall near Regent’s Park, and they loved what Roderick calls “the new mode of morris.” That led to Maple Morris inviting Morris Offspring to cross the pond for a return engagement. Like “Must Come Down,” “Rootbound” will celebrate this new mode of morris; at some point there’ll be more than 40 dancers on stage. Fourteen will be members of Morris Offspring, and some of them will be staying in this Davis Square apartment Roderick calls “folk hotel USA.”“You don’t realize how many you can fit till you fit them,” she says. But how will “Rootbound” differ from “Must Come Down”? “The biggest difference between Maple and Offspring,” Mason explains, “is that we’re a collective, and we have committees. We think of ourself as a democracy, and Offspring is definitely a benevolent dictatorship.” Sarah Pilzer Maple Morris (pictured in 2011) sees “Rootbound” as a continuation of a celebration of a new mode of morris dancing. So it took Maple a while to come up with a theme for “Rootbound,” which will run about two hours with intermission. Stewart describes it as being about “how tradition is passed down through generations. We decided we wanted to do a more character- and loosely plot-based show. ‘Must Come Down’ was more atmospheric. Our show has two characters, a fool, which is a traditional character in morris dancing, and then a child who is learning to dance.”The show will have a full band by morris standards: Mason (the group’s bandleader) on fiddle, Roderick on guitar, Emily Troll on accordion, Canadian folk singer and morris dancer Robb on concertina, and some other dancers who’ll be doubling as musicians. Maple Morris is bringing in Robb to perform one or two of his own songs. He’ll also sing the lyrics that were written by Cooper, whom they knew from Revels: Her poem “The Shortest Day” is read every year as part of “The Christmas Revels.”In the course of the project, Cooper invited Maple Morris to her house in Marshfield. “They came down here,” she says when reached by phone, “and we spent the day discussing what we were going to do and me putting in my five cents occasionally.”The four Maple Morris members rate her contribution as being worth a lot more than that. “It was a guidance workshop,” says Stewart.In the end, Cooper recalls, “they said, ‘If you write the verse, we will set it to music.’ And I said, ‘It is much easier actually to write verse to an existing tune.’ ” So they chose the traditional tune “Brigg Fair,” and Cooper wrote eight verses. “They told me the narrative shape they wanted, and the lyrics were designed to fit that. It seems to me that the image of Maple Morris is springtime, because they’re all so young. They are the new generation of the tradition. And I had that in my head when I was writing the lyrics.”Stewart speaks to that sense of being the new generation. “On the one hand, you’re aware of the tradition and the history, and how people talk about traditional dances and traditional tunes and traditional music. And at the same time, it’s a living tradition, and so what you’re doing becomes tradition.”Mason has the last word: “I always think the definition of tradition is, you do it every year.”Jeffrey Gantz can be reached at [email protected].

文学

2017-09/0319/en_head.json.gz/24410

Home Honouring forest heroes and champions Wed, 10 Apr 2013 Five seemingly ordinary people who have done extraordinary work for their communities and forests are being recognized as 'Forest Heroes' at a special 'Forests for People' ceremony taking place today in Istanbul. The awards are being presented as 197 member States meet at the 10th session of the United Nations Forum on Forests (UNFF). Photo: Béatrice Riché / IUCN In addition to the Forests Heroes from Brazil, Rwanda, Thailand, Turkey, and the United States, winners of the International Forest Short Film Festival and the International Forest Photograph competition will also receive awards. The winning filmmakers are from Belgium, Peru, South Africa, United Kingdom, and the United States and the photographers hail from Indonesia, Italy, Spain, Turkey and Ukraine. Nearly 600 entries from 68 countries competed to win these prestigious awards. IUCN is part of the international jury, consisting of renowned practitioners and senior United Nations experts who have selected winners in each category. IUCN is also a partner in the UNFF. Wu Hongbo, United Nations Under-Secretary-General for Economic and Social Affairs, said “The winners of these awards are remarkable individuals who have been working to make a difference through community activities, film, or photography. Their stories serve as inspiration to us all. Any meaningful debate on forests is drawn from the lessons we learn from people-centred approaches and community, and national-level action. The fate of forests truly rests in the hands of people.” Jan McAlpine, Director of the United Nations Forum on Forests Secretariat, said this year’s awardees represent a “truly amazing group of individuals who have devoted their lives to nurturing communities and forests”. She added, “Through their eyes we see that there are creative pathways to realizing that we are an integral part of forests, and forests are a vital part of us all. Their stories are our shining inspiration and they our heroes.” “The astounding exploits of an exceptional few, in giving a voice to the forests we need and depend upon, can inspire all of us to go that extra mile in protecting and restoring our forested landscapes,” says jury member Daniel Shaw, Communications Officer with IUCN's Forest Programme. For the International Forest Short Film Festival, the United Nations Forum on Forests Secretariat partnered with the Jackson Hole Wildlife Film Festival to honour creative efforts of filmmakers who visually capture how forests inspire, shelter, nurture and contribute to our lives. This year’s Film Festival is for short films of five minutes or less. The very first screening of the winning films will take place at the special awards event. “More than any point in our history, media today connects us to each other in a fashion that is more personal, more immediate, and more powerful than ever before — almost instantly, around the entire planet,” says Lisa Samford, Executive Director of the Jackson Hole Wildlife Film Festival. The winning photographs of the first International Forest Photograph Contest, initiated “to celebrate the power of visual imagery in capturing the extraordinary and unique connection between people and forests,” were taken by Atakan Baykal of Turkey, Eka Fendiaspara of Indonesia, Riccardo Gangale of Italy, Olga Lavrushko of Ukraine, Prasetyo Nurramdhan of Indonesia, and Pablo Pro of Spain. The Forest Heroes include Dr. Rose Mukankomeje, who has devoted her life to the protection and restoration of Rwandan forests and has pioneered a unique home grown solution — Umuganda —which ensures that the growth of forests in Rwanda supports livelihoods and benefits the rural poor. Also receiving a Hero Award is 92 year-old Hayrettin Karaca of Turkey, a successful textile businessman, who became aware of the dangers of environmental degradation as he travelled about the country. He went on to found TEMA, one of Turkey’s largest environmental non-governmental organizations. Preecha Siri, a Hero from Thailand, has helped guide his community into a model ecosystem management village by successfully integrating wet terrace fields, rotational farming, beekeeping, native tea and bamboo farming along with forest conservation . At the age of 17, Almir Narayamoga Surui was elected chief of his Paiter-Surui tribe in the Amazon, Brazil, and for more than 20 years he has fought to safeguard both his tribe and the Amazon rainforest. He is spearheading the creation of a “50-year plan” that encompasses large-scale conservation efforts, reforestation projects and developing economic alternatives for his tribe that do not negatively impact forests. And Dr. Ariel Lugo, a scientist from Puerto Rico in the United States, has published over 470 scientific articles, and has worked to conserve forests and improve communities around the world. His most recent project helps to prevent violence and promote healthy childhood development by encouraging the participation of youth in planting seasonal organic products and native trees. The winners of the Film Festival include Rowan Pybus of South Africa, Paul Rosolie of the United States, Elio Alonso Vasquez Miranda of Peru, Sébastien Pins of Belgium, and Dan Childs and Nick Werber of the United Kingdom. The special awards event is being webcast live from the venue of the United Nations Forum on Forests, on Wednesday, 10 April, from 6:15-7:45 p.m., at the Lutfi Kirdar Conference Centre, Istanbul. For more information, contact: Dan Shepard, United Nations Department of Public Information, e-mail [email protected], tel.: +1 646 675 3286; or Ahmet Parla, [email protected], tel.: +90 533 500 1497Work area: EcosystemsForestsSocial PolicyLocation: AsiaSouth AmericaMesoamericaNorth AmericaMediterraneanEast and Southern AfricaWest and Central AfricaWest Asia More information about the award winnersUnited Nations Forum on ForestsWebcast coverage of the awards ceremony and ForumInternational Forest Photograph competition winnersInternational Forest Short Film Festival winners

文学

2017-09/0319/en_head.json.gz/24459

Where Go the Boats? by Robert Louis Stevenson Pirate Story by Robert Louis Stevenson Travel by Robert Louis Stevenson Alphabet Poem by Edward Lear Tired with all these, for restful death I cry (Sonnet 66) by William Shakespeare read poems by edgar allan poe On January 19, 1809, Edgar Allan Poe was born in Boston, Massachusetts. Poe's father and mother, both professional actors, died before the poet was three years old, and John and Frances Allan raised him as a foster child in Richmond, Virginia. John Allan, a prosperous tobacco exporter, sent Poe to the best boarding schools and later to the University of Virginia, where Poe excelled academically. After less than one year of school, however, he was forced to leave the university when Allan refused to pay Poe's gambling debts.Poe returned briefly to Richmond, but his relationship with Allan deteriorated. In 1827, he moved to Boston and enlisted in the United States Army. His first collection of poems, Tamerlane, and Other Poems, was published that year. In 1829, he published a second collection entitled Al Aaraaf, Tamerlane, and Minor Poems. Neither volume received significant critical or public attention. Following his Army service, Poe was admitted to the United States Military Academy, but he was again forced to leave for lack of financial support. He then moved into the home of his aunt Maria Clemm and her daughter Virginia in Baltimore, Maryland.Poe began to sell short stories to magazines at around this time, and, in 1835, he became the editor of the Southern Literary Messenger in Richmond, where he moved with his aunt and cousin Virginia. In 1836, he married Virginia, who was fourteen years old at the time. Over the next ten years, Poe would edit a number of literary journals including the Burton's Gentleman's Magazine and Graham's Magazine in Philadelphia and the Broadway Journal in New York City. It was during these years that he established himself as a poet, a short story writer, and an editor. He published some of his best-known stories and poems, including "The Fall of the House of Usher," "The Tell-Tale Heart," "The Murders in the Rue Morgue," and "The Raven." After Virginia's death from tuberculosis in 1847, Poe's lifelong struggle with depression and alcoholism worsened. He returned briefly to Richmond in 1849 and then set out for an editing job in Philadelphia. For unknown reasons, he stopped in Baltimore. On October 3, 1849, he was found in a state of semi-consciousness. Poe died four days later of "acute congestion of the brain." Evidence by medical practitioners who reopened the case has shown that Poe may have been suffering from rabies.Poe's work as an editor, a poet, and a critic had a profound impact on American and international literature. His stories mark him as one of the originators of both horror and detective fiction. Many anthologies credit him as the "architect" of the modern short story. He was also one of the first critics to focus primarily on the effect of style and structure in a literary work; as such, he has been seen as a forerunner to the "art for art's sake" movement. French Symbolists such as Mallarmé and Rimbaud claimed him as a literary precursor. Baudelaire spent nearly fourteen years translating Poe into French. Today, Poe is remembered as one of the first American writers to become a major figure in world literature.Selected BibliographyPoetryTamerlane and Other Poems (1827)Al Aaraaf, Tamerlane, and Minor Poems (1829)Poems (1831)The Raven and Other Poems (1845)Eureka: A Prose Poem (1848)FictionBerenice (1835)Ligeia (1838)The Fall of the House of Usher (1839)Tales of the Grotesque and Arabesque (1939)Murders in the Rue Morgue (1841)The Black Cat (1843)The Tell-Tale Heart (1843)The Purloined Letter (1845)The Cask of Amontillado (1846)The Oval Portrait (1850)The Narrative of Arthut Gordon Pym of Nantucket (1850) facebook To Helen Edgar Allan Poe, 1809 - 1849 Helen, thy beauty is to me Like those Nicean barks of yore, That gently, o'er a perfumed sea, The weary, way-worn wanderer bore To his own native shore. On desperate seas long wont to roam, Thy hyacinth hair, thy classic face, Thy Naiad airs have brought me home To the glory that was Greece. And the grandeur that was Rome. Lo! in yon brilliant window-niche How statue-like I see thee stand! The agate lamp within thy hand, Ah! Psyche from the regions which Are Holy Land! Edgar Allan Poe Born in 1809, Edgar Allan Poe had a profound impact on American and international literature as an editor, poet, and critic. poem Annabel Lee Edgar Allan Poe 1850 It was many and many a year ago, In a kingdom by the sea, That a maiden there lived whom you may know By the name of Annabel Lee; And this maiden she lived with no other thought Than to love and be loved by me. I was a child and she was a child, In this kingdom by the sea: But we loved poem Lenore Edgar Allan Poe 1850 Ah broken is the golden bowl! the spirit flown forever! Let the bell toll!--a saintly soul floats on the Stygian river; And, Guy De Vere, hast thou no tear?--weep now or never more! See! on yon drear and rigid bier low lies thy love, Lenore! Come! let the burial rite be read--the funeral song be sung!-- poem A Dream Within a Dream Edgar Allan Poe 1820 Take this kiss upon the brow! And, in parting from you now, Thus much let me avow: You are not wrong who deem That my days have been a dream; Yet if hope has flown away In a night, or in a day, In a vision, or in none, Is it therefore the less gone? All that we see or seem Is but a dream within a dream. I stand next ›

文学

2014-35/4521/en_head.json.gz/28509

DeCordova Presents a Panel Discussion: American Perspectives in the Arts LINCOLN, MA.- On Thursday, June 25, DeCordova will host a panel discussion featuring exhibiting artists Barnaby Furnas and Matthew Day Jackson as well as Contemporary Arts Museum Houston Curator Toby Kamps, Boston-based writer and critic Greg Cook, and Ken Turino of Historic England. The panel will explore the role national history and folklore plays in the interpretation of modern American aesthetics. This program is free and open to the public, with guided tours preceding the panel at 5:15 pm and 5:45 pm. The panel will be moderated by Megan Marshall, Assistant Professor at Emerson College. Megan Marshall is the author of two nonfiction books. Her biography, The Peabody Sisters: Three Women Who Ignited American Romanticism (2005), has won many awards including the Francis Parkman Prize, awarded by the society of American Historians; the Massachusetts Book Award in nonfiction; and it was a finalist for the Pulitzer Prize in biography and memoir. Marshall has also received prestigious fellowships from the John Simon Guggenheim Foundation, the National Endowment for the Humanities, and the Massachusetts Artists Foundation. Topics for the discussion will include: What is an American aesthetic, and how does so-called American individuality affect this concept? What is the dialogue between culture, history, and art – and what happens at the intersection of these three ideas? How can the past tell us more about who we are today? Featured Panelists: Greg Cook: Cook is the editor of The New England Journal of Aesthetic Research, an online blog that features exhibitions and events in New England. Cook is also a regular contributor to The Phoenix, an award winning publication known for its journalism on arts and entertainment in the New England region. A reporter for over 10 years, Cook is also part of a new wave of underground cartoonists. Barnaby Furnas: A featured artist in The Old, Weird America exhibition, Furnas was born in Philadelphia, PA. In 2000, he received a Masters of Fine Arts from Columbia University. Furnas frequently exhibits in museums and galleries across America as well as in Europe; his most recent solo exhibitions have been at Anthony Meier Fine Arts, San Francisco, CA (2009); Stuart Shave/Modern Art, London, UK (2008); and The Modern Art Museum of Fort Worth, Fort Worth, TX. Matthew Day Jackson: Also featured in The Old, Weird America, Jackson was born in Panorama City, CA. In 2001, he received his Masters in Fine Arts from the Mason Gross School of Arts, Rutgers University. He currently has a solo exhibition entitled Matthew Day Jackson: The Immeasurable Distance at the MIT List Visual Arts Center, Cambridge, MA. Toby Kamps: Kamps is the senior curator at the Contemporary Arts Museum Houston and the organizer of the traveling exhibition The Old, Weird America, now on view at DeCordova. Ken Turino: Turino is the Exhibitions Manager at Historic New England, one of the oldest and largest regional heritage organizations in the nation. This panel has been created in response to DeCordova’s current exhibition The Old, Weird America. An award-winning traveling show, The Old, Weird America is the first museum exhibition that explores the wide-spread resurgence of folk imagery and mythic history in recent art from the United States. The exhibition illustrates the relevance and appeal of folklore to contemporary artists, as well as the genre’s power to illuminate ingrained cultural forces and overlooked histories. DeCordova | Greg Cook | Barnaby Furnas | Matthew Day Jackson | Toby Kamps | Colombian Museum Hosts Largest Exhibition Ever in Latin America of Andy Warhol's Works Meadows Museum Presents "Diego Rivera: The Cubist Portraits, 1913-1817" Santiago Calatrava to Design Cornerstone for USF Polytechnic's New Campus PHotoEspa�a Opens Annie Leibovitz: A Photographer's Life: 1990-2005 Salvador Dali Exhibition Slated for UB's Anderson Gallery, June-August An Artist with a Powerful Message Exhibits at the Montreal Museum of Fine Arts Recent Major Acquisitions of British Contemporary Art will Go on Display at Tate Britain Blanton Museum of Art Presents First Exhibition of Pioneering Latin American Modernist Aldrich Contemporary Art Museum Offers a Snapshot of Tom Sachs's Cameras Barbican Art Gallery Explores Art and Architecture for a Changing Planet 1969-2009 National Building Museum Exhibition Reveals a Different Side of the Built Environment Exhibition at Dumbo Arts Center Debuts New Site-specific Works by Mai Braun, Elana Herzog and Amy Yoes Toledo Museum of Art Glass Pavilion Hosts Guest Artist Mark Matthews Christs from Las Vizcainas Restoration is Complete Watch This Space Inaugural Group Show at the Opera Quarter Bar in Covent Garden Joseph Chamberlain College Awarded the RIBA/LSC Further Education Building Design Excellence Award 2009 Ullens Center for Contemporary Art Presents Exhibition by Major Artist Yan Pei-Ming Hemingway Exhibition in Havana Highlights Women in His Life DeCordova presents Temporary Structures: Performing Architecture in Contemporary Art on view this fall DeCordova Awarded Prestigious Grant from The Andy Warhol Foundation for the Visual Arts DeCordova Announces Co-Curators for the 2012 Biennial: Associate Curator Dina Deitsch and Abigail Ross Goodman DeCordova Announces the Rappaport Endowment Fund and the Winner of the 11th Rappaport Prize DeCordova Announces Installation of Roy Lichtenstein's Five Brushstrokes DeCordova Host Largest-Ever Chakaia Booker Exhibition DeCordova First-Ever to Host Barbara Norfleet's Landscape of War Series Groundbreaking Acquisition by DeCordova: Antony Gormley's "Reflection II"

文学

2014-35/4521/en_head.json.gz/28530

The Catadon Polka The polka was the great dance craze of the 1840s. So how did the Australian Museum get its own Catadon (Whale) Polka? © Reproduction rights Australian Museum The Polka Craze Introduced to Paris in 1843, and first danced there to a tune by an up-and-coming young bandmaster named Jacques Offenbach, the polka crossed the channel in time for the London season early in 1844. Despite its geographical isolation, Sydney was not far behind. As early as 19 November 1844, The Sydney Morning Herald was already explaining to its reader that the polka is: “danced by a couple, and there is a lively skip in it, and a gentle beating of time, with heel and toe, and the female arm now and then kimboed a little, and they turn about, and dos-a-dos and then fall into a waltz position, and go backwards and forwards, and sideways, with a light and tripping step, to a pretty tune, in quickness something between a quadrille and a gallope, and so on, for about five minutes, without stopping, and then it is over […]” A professional demonstration followed a few months later, on 27 February 1845 at Sydney’s Royal Victoria Theatre, when Signor Carandini and Madame Torning danced the polka onstage for “the first time in this colony”. In the ensuing months, imported polka merchandise also started to infiltrate Sydney’s shops—polka cloth, polka coats, polka bonnets, and polka shawls (“polka dots” came a little later, in the 1860s)—just in time for the dance’s official launch into Sydney high society, at the annual Queen’s Birthday Ball, at Government House, in May. For the next few years, Sydney’s theatre orchestra and town and military bands accompanied polka dancing with music imported from London. But by the early 1850s, Sydney composers started to produce their own music. George Strong, WS Wall and the Catadon Polka One such was George Strong. Born in Sydney in 1824, in 1845 he was 22 and already playing violin in the theatre orchestra when the polka was first introduced there. As a young adult during 1840s George also watched with interest as the sandstone building that would house the Australian Museum was erected on the corner of William and College Streets. And once it was opened to the public, he became one of the hundreds of colonists who helped build its collections. He first appears in the very first published list of donations to the museum in January 1854: “Hermit crabs, and specimens of phos, triton, murex, &c., &c., from Middle Harbour. Presented by Mr. George Strong.” Strong was also one of many Sydneysiders fascinated by an extraordinary new maritime specimen at the museum, a skeleton of a huge sperm whale (Catodonis Australis) acquired by the museum’s curator. It inspired George to make a donation of another sort. Late in 1853 he composed this polka in the catodon’s honour, and “respectfully dedicated” the music on publication in mid-January 1854 to “William Sheridan Wall, Esq., curator Australian Museum”. The first public performance of the polka, by Strong’s own orchestra, followed at the Royal Victoria Theatre on 23 January 1854. When the new Prince of Wales Theatre, on the corner of Castlereagh and Market Streets, opened in 1855, George Strong was briefly the leader of the orchestra there. Sadly, in 1861, he was declared bankrupt, and while his name thereafter disappears from the musical record, he did continue to donate specimens to the museum. The last of these appears in the published list of donations for May- June 1867, where we find: “A sea snake (Pelamis bicolor). By Mr. George Strong.” He died, at his residence in Mitchell Street, McMahon’s Point, on 29 October 1878, aged 54 years. Graeme Skinner The Catadon Polka played by Noriko Akiyama The Catadon Polka music View full size William Sheridan Wall, Curator, 1844-1858 View full size

文学

2014-35/4521/en_head.json.gz/28706

The Supremes at Earl's All-You-Can-Eat Edward Kelsey Moore Trending Interviews Given his tendency to experiment with form (in novels such as Cloud Atlas and Ghostwritten), it’s probably no... Mathew Prichard & Sophie Hannah Agatha Christie's grandson, Mathew Prichard (left), gives the family seal of approval to the new Poirot mystery... Here’s an old-fashioned love story that will make you fan yourself, swoon and maybe even break into a light... Millions of readers have lived, laughed and loved alongside the residents of Mitford since the 1990s. After a... The voice behind the popular web series “Ask a Mortician” exposes the grisly, hilarious details of... More Interviews > First-time author celebrates a 40-year bond BookPage® Interview by Linda M. Castellitto Entering midlife is often associated with trying something new, from skydiving to a new hair color to the ever-popular sports car. For debut novelist Edward Kelsey Moore—already an accomplished professional cellist and college professor—writing was that something new.“I didn’t complete my first short story until after I turned 40,” Moore (who is now 52) tells BookPage from his home in Chicago, where he lives with his longtime partner. “It was one of those midlife things. I thought, I’m not going to be happy until I write. I wanted to all along, but had another creative outlet I really loved and focused on. Finally, I just said . . . I’ll enter the local NPR station’s yearly short-story contest, write one story, and that will fix the urge.”But despite years of experience on stage and in a classroom, Moore wasn’t quite ready to put his writing out in front of people, and he let the deadline pass. Then came a twist of (or gentle nudge from) fate: He was hired by the NPR station, WBEZ, to play in a string quartet during the awards event for the very same short-story competition. “I was sitting there playing Mozart and being reminded that I chickened out,” Moore recalls. Sufficiently chastened, he entered the contest the following year—and won.“That was the start of it all,” he says. Several more published short stories followed, and then, a novel: The Supremes at Earl’s All-You-Can-Eat, published this month by Knopf. Moore says working with Knopf has been “a lovely surprise . . . and I have a lovely agent! What a wonderful position to be in.”It’s a vantage point that’s enhanced by the passage of time: “When I was 25 or 30, I couldn’t have enjoyed this the way I am now. I would’ve been so self-conscious. But you get to a certain point where you can say, this is just good—you don’t have to qualify it or put any weirdness into it.”That’s true of his cello playing, too, Moore says. “I was probably a better technician 25 years ago, but I didn’t allow myself to relax or take any sort of risks. . . . Now I have a lot more freedom emotionally, and knowledge the world won’t end if I make mistakes. Certainly if I’d set out to be a writer first, it would’ve brought the same anxiety. I took a long, long road to adulthood.”The author’s current, more expansive approach to life inhabits every person and encounter—some quotidian, some dramatic, some madcap—in The Supremes at Earl’s All-You-Can-Eat, set in fictional Plainview, Indiana, from the 1960s to the 2000s.Via the 40-year friendship of Odette, Clarice and Barbara Jean (nicknamed “the Supremes” in their teens), Moore makes a convincing case for being open enough to take emotional risks, whether befriending people who see the world differently, speaking your mind even if it’s scary or daring to fall in love.“I wanted to write about women who were like the women I knew, who were smart and interesting and not foolish.”He also does an excellent job giving voice to a sizable array of characters, most of whom are women. Moore says he didn’t set out to write in the female voice and didn’t even realize it might be seen as unusual. “It wasn’t until Knopf bought the novel that anyone mentioned it. I simply never thought about it,” he says.“Maybe if I weren’t a black man or a gay man I wouldn’t feel this way, but I spent a fair amount of my youth trying to get away from the notion that anybody should look at the world a certain way. I think once you let go of that, it becomes a lot easier to empathize with people and see there’s really not that much difference between what someone feels . . . whether it’s a person with 10 times as much money or another set of genitalia.”Similarly, Moore says, “I wasn’t trying to make the book specific to a black experience, or anything other than who I thought these women were. When I first wrote it, they weren’t even all black—I didn’t think that was the most important thing about them, by any means.”“That whole ‘strong black woman’ thing brings in a bunch of stereotypes I didn’t want to write about; it tends to conjure up this sassy, smart-talking TV reality-show woman,” he says of the trope that some find offensive. “It was very important to me that I not contribute to what I feel is often a popular culture that demeans women in general and black women in particular. I wanted to write about women who were like the women I knew, who were smart and interesting and not foolish.”Moore has been lucky to know women like the Supremes. Odette enjoys her food, speaks her mind and is the de facto leader of the trio. Clarice leans toward superficial, but her friends draw out her inner empathy. And preternaturally beautiful Barbara Jean survived a difficult childhood and now struggles with new sorrow and long-held regret. The centerpiece of the novel is one year in the lives of the three friends, but flashbacks told from various points of view reveal mileposts along the women’s journeys, both individual and intertwined.There’s also plenty of hilarity in The Supremes at Earl’s All-You-Can-Eat, whether in the guise of a faux psychic; an astoundingly hypocritical church deacon; a series of unfortunate events at an elaborate wedding; or a vegetarian dog (the only one in southern Indiana).Throughout, everyone circles back to Earl’s, where Moore conjures up the events, sounds and scents of the diner with writerly ease. His charming, skillful evocation of the small-town life of Plainview and its cleverly crafted history will make readers curious about (or nostalgic for) Indiana, where Moore grew up and regularly visits.Soon, though, he’ll be visiting other countries on an international book tour, where he’ll get practice stepping into the spotlight without his cello. “I was surprised at the feeling of nakedness in writing fiction. Every weird little thing coming out of your imagination, you have to own up to it. As a [cello] performer, you can blame Beethoven or the instrument; they serve as a shield.”Ultimately, though, Moore says, “People are going to tell me what kind of book I’ve written, and that’s the way it should be. I wrote what I wanted to write, and what others think about it, what it means to them, is up to them.” Spoken like a true adult—and an author.

文学

2014-35/4521/en_head.json.gz/28710

Stories Done Writings on the 1960s and Its Discontents By Mikal Gilmore The 1960s and 1970s represent a rare moment in our cultural history -- music was exploring unprecedented territories, literature was undergoing a radical reinvention, politics polarized the nation, and youth culture was at the zenith of its influence. There has never been, nor is there likely to be, another generation that matches the contributions of the artists of that time period. In this poignant book, journalist Mikal Gilmore weaves a narrative of the '60s and '70s as he examines the lives of the era's most important cultural icons. Keeping the power of rock & roll at the forefront, Gilmore gathers together stories about major artists from every field -- George Harrison, Ken Kesey, Johnny Cash, Allen Ginsberg, to name just a few. Gilmore reveals the truth about this idealized period in history, never shying away from the ugly influences that brought many of rock's most exciting figures to their knees. He examines how Jim Morrison's alcoholism led to the star's death at the age of twenty-seven, how Jerry Garcia's drug problems brought him to the brink of death so many times that his bandmates did not believe the news of his actual demise, how Pink Floyd struggled with the guilt of kicking out founding member Syd Barrett because of his debilitating mental illness. As Gilmore examines the dark side of these complicated figures, he paints a picture of the environment that bred them, taking readers from the rough streets of Liverpool (and its more comfortable suburbs) to the hippie haven of Haight-Ashbury that hosted the infamous Summer of Love. But what resulted from these lives and those times, Gilmore argues, was worth the risk -- in fact, it may be inseparable from those hard costs. The lives of these dynamic and diverse figures are intertwined with Gilmore's exploration of the social, political, and emotional characteristics that defined the era. His insights and examinations combine to create a eulogy for a formative period of American history. Free Press | 400 pages | ISBN 9780743287463 | July 2009

文学

2014-35/4521/en_head.json.gz/28711

'Cryptonomicon', by Neal Stephenson A review of Cryptonomicon by Neal Stephenson Traces the stories of four people during both WWII and the present. Reviewed by: Michael J. Griffin About Michael J. Griffin I'd been recommended Cryptonomicon a long time ago by a co-worker at Barnes & Noble. The book was out in hardcover at the time, and I was wary of the fact that it was well over 1000 pages. Out of a self-preservation instinct, I avoided buying it, since I didn't want a hernia from lugging this 1000 page hardcover book around. I was also leery of it because in all the other epic books that I had read, such as any of James Clavell's books, I would become hopelessly confused if a new character was introduced on say, page 600. That would cause me to madly flip back through the previous pages to see if I had seen this character mentioned before. I call it "epic confusion." Time went by and then a month ago, I was in Barnes & Noble and saw that Cryptonomicon had been re-released in paperback. Carrying a 1000-page book in paperback is much easier than in hardcover, and I remembered a second friend of mine had recommended it to me as well. I looked at the price. It was still $7.99. Not a bad price for a book that has more than a thousand pages. I began the book and found myself very pleasantly surprised at the readability of it. Stephenson jumps around from person to person but does it in a way that is easy to keep track of. By the end of the book, I was very familiar with the four main characters in the book- Bobby Shaftoe, Lawrence Waterhouse, Goto Dengo and Randy Waterhouse and also some of the supporting characters like Enoch Root, Douglas MacArthur Shaftoe and America "Amy" Shaftoe. Bobby Shaftoe, Lawrence Waterhouse, Goto Dengo and Enoch Root's stories are all involved during the WWII phase of the book. Shaftoe is a haiku-spouting Marine grunt that is trying to get back to Manila to find his girlfriend who may be pregnant with his child. Waterhouse is an Intelligence officer and genius who is trying to crack the codes of both the Germans and Japanese during WWII. Dengo is a Nipponese officer who digs a tomb for the Japanese emperor that houses a deadly secret and Root is a priest who knows a lot more than he lets on. In the present, Randy Waterhouse is also involved in cryptography, but for the computer. He and Avi have a computer company that wants to store information from people from all over the world. This involves some serious encryption programs and some unsavory people want this information. He meets Doug Shaftoe who wants to lay some underseas cables for this information, and Randy falls for Shaftoe's daughter America who prefers to be called Amy. The stories are told in the present tense, so that may be a bit jarring for those not used to that style of story telling. They are easy to pick up even with one story running for many pages, and although Stephenson does use a lot of mathematical formulas, he doesn't do it in a way that detracts from the rest of the book if a reader is not mathematically inclined. Also he uses historical characters like Alan Turing well. Another thing... I finished this book in 4 days. That's how engrossing the book was. It did help that for two of those days I was stuck in the backseat of a car driving back to New York from visiting North Carolina, so that afforded me a lot of time to read. Stephenson is planning on using the bloodline of these characters to produce an epic timeline. He has a new book coming out this year called Quicksilver. I'll probably buy Quicksilver in hardcover. I've been doing a lot of weightlifting and can easily carry around a book of that size now. Click here to buy this book, or read more about it at Amazon.com: Cryptonomicon Copyright © by Michael J. Griffin, 2003 Reviewed by Michael J. Griffin: -- A Prayer For Owen Meany - by John Irving -- The Secret History - by Donna Tartt -- Tuesdays with Morrie - by Mitch Albom -- The Lovely Bones - by Alice Sebold -- She's Come Undone - by Wally Lamb -- Rules of Prey - by John Sandford -- Once More Around The Park - by Roger Angell -- On Writing - by Stephen King -- Dave Barry's Greatest Hits - by Dave Barry -- The Christmas Train - by David Baldacci -- Artemis Fowl - by Eoin Colfer -- Prey - by Michael Crichton -- Shrink Rap - by Robert B. Parker -- Tricky Business -- Hit Man - by Lawrence Block -- Without Fail - by Lee Child -- A Drink Before the War - by Dennis Lehane -- The Day After Tomorrow - by Allan Folsom -- I.Asimov - by Isaac Asimov -- The Blue Nowhere - by Jeffery Deaver -- Cryptonomicon - by Neal Stephenson -- The Millionaires - by Brad Meltzer Home ------- All the Reviews

文学

2014-35/4521/en_head.json.gz/28767

These Courses Are CondemnedNAMOI SCHAEFER RILEY"Christian Morality in American Literature" is biased. "Feminine Perspectives in Literature" is not.Jordan Trivison holds forth in Shannon Jonker's English class, recapping several chapters of Mary Shelley's Frankenstein. Then he and his fellow seniors at Calvary Chapel Christian School in Murietta, Calif., start discussing it. They take up the question of whether the monster in the novel can be blamed for his behavior, since he was abandoned shortly after his formation and no one taught him right from wrong. They also discuss "whether the monster has a soul." Jordan struggles aloud with this issue, noting that, on the one hand, the monster was created by man and not God but, on the other, that he does seem capable of love and compassion. It is just such a class — addressing profound themes in a classic work of English literature — that has the University of California worried. Most California high-school students who apply to the university submit their grades as a part of their application. But the university must deem their high-school classwork to be sufficiently demanding for the grades to mean anything. And lately the university's officials have looked upon the classes in California's Christian schools with suspicion — even as they wave through lighter-than-air classes from public schools. The double standard is alarming, and the effects are potentially devastating to students like Jordan, a bright young man with California blond hair and a well-worn Eagles T-shirt. He plans to apply to UC Riverside, both for its proximity and its price tag. Like many of his Calvary classmates, Jordan doesn't come from a wealthy family. Jordan hopes to major in business and political science, maybe becoming a stockbroker one day or running for Congress. As much as he likes the evangelical atmosphere at Calvary, he doesn't think that a Christian college would challenge him enough. "I want to be in a setting where I can stand up for what I believe in and not back down." A proposed English class, "Christian Morality in American Literature," ...but it was judged unworthy because, according to the university, it "does not offer a non-biased approach to the subject matter." So what does a nonbiased class look like? The university has deemed acceptable such public-school courses as "Feminine Perspectives in Literature" and "Ethnic Experiences in Literature." He is already getting a lesson of what it means to stand up for a belief. A year ago, Calvary Chapel sent a description of some of its new courses to UC for review and inquired about a couple of others. Sue Wilbur, the university's director of undergraduate admissions, rejected three of them as insufficiently rigorous. Calvary officials sat down with Ms. Wilbur and her colleagues to contest the decision — joined by representatives of the Association for Christian Schools International — but the university wouldn't budge. So Calvary took a bold step. Together with the association, it filed a discrimination suit in district court. The university is filing a motion to dismiss the case today. Whatever the outcome, the complaint makes for fascinating reading.A proposed English class, "Christian Morality in American Literature," included readings from Mark Twain, Stephen Crane and Nathaniel Hawthorne, but it was judged unworthy because, according to the university, it "does not offer a non-biased approach to the subject matter." So what does a nonbiased class look like? The university has deemed acceptable such public-school courses as "Feminine Perspectives in Literature" and "Ethnic Experiences in Literature." A history course, "Christianity's Influence on America," was rejected by the university because its focus was "too narrow" and because it was "not consistent with the empirical historical knowledge generally accepted in the collegiate community." But even people who don't like Christianity's effect on U.S. history don't find that it has been "narrow." And the curriculum of the course seems broad enough — covering the role of Christianity in the Founding, abolition, the civil-rights movement and the fall of communism. The course seems downright all-encompassing when compared with approved classes at other schools, like "Modern Irish History" and "Armenian History." And of course there is a problem with Calvary's science classes. The university sends out a form letter to any school that proposes to teach biology and physics using one of the two biggest Christian textbooks now in circulation. The courses that assign such books, the letter claims, will not be "consistent with the viewpoints and knowledge generally accepted in the scientific community." Students thus "may not be well prepared for success" in the university's science courses. Chris Patti, the university's general counsel, tells me that the textbooks have many "scientific errors" and the "biggest one is [the way they describes] evolution." Such a statement is itself far from rigorous. The physics textbook is like any other — with pure science in it — except that a verse from Scripture stands at the head of each chapter. Barbara Sawrey, a chemistry professor at the San Diego campus, who advised the university on this matter, told Burt Carney, the school association's legal-affairs director, that the verse appearances alone were enough to disqualify the textbook. (Talk about biased.) As for the biology textbook, it is certainly true that it includes a presentation of creationism and intelligent design, but it presents evolution as well, straightforwardly. Mr. Patti notes that, although Calvary students who take such courses might not be admitted to the university by the normal route, they could get in with high test scores: They would have to score in the top 4% on exams like the SATII. Or they might get in under an "exception" ruling. Last year only eight students were granted exceptions in the entire California system. The university's rules aren't affecting a lot of students right now because they apply only if a high school submits new courses to the university for approval. But it is easy to imagine, at some point, university officials reviewing the 150 or so religious schools whose current classes would be regarded as unacceptable if new. "If California prevails," Mr. Carney says, "the only way for student to go from our schools to university would be to strip out the religious elements of their education." Indeed, a list of "helpful hints" from the university — offered to high schools as part of the curricular review process — suggests stripping religion even out of the religion classes: "Religion and ethics courses are acceptable . . . as long as they . . . do not include among its [sic] primary goals the personal religious growth of the student." Such a condition is hard to define and even harder to impose. Religion is an object of study, certainly, but it is also part of the character development of students at Christian schools. The discussion of Frankenstein in Jordan Trivison's class was not purely academic or purely religious. It was both. Jordan's teacher, Ms. Jonker, is herself a graduate of the University of California. She says that she values the education it provides. But she is disappointed in the university's nay-saying officials. "Our students have the knowledge they need to survive in addition to being culturally aware and well rounded . . . .I thought that's what UC stood for." ACKNOWLEDGEMENT Namoi Schaefer Riley. "These Courses Are Condemned." The Wall Street Journal (October 28, 2005). This article reprinted with permission Opinion Journal from The Wall Street Journal editorial page. THE AUTHOR Ms. Riley is the Journal's deputy Taste-page editor and the author of God on the Quad; How Religious Colleges and the Missionary Generation Are Changing America. A longer version of this article will appear in Education Next.Copyright � 2005 Wall Street Journal

文学

2017-09/0319/en_head.json.gz/24523

Lysistrata Lysistrata by Henderson, Jeffrey, Aristophanes by Henderson, Jeffrey, Aristophanes Publisher: Oxford Univ Pr Henderson, Jeffrey, Aristophanes In addition to its many topical references to social life, religion, and politics in classical Athens, the Lysistrata is one of our best sources for the life of women in antiquity: unlike epic, tragedy, and oratory, Attic comedy draws its characters and plots from everyday life and provides a unique glimpse into the situation of everyday Athenians. Henderson's standard edition of Aristophanes' play provides much new evidence for those working on anthropological and sociological aspects of Athens, as well as those working in traditional philological fields. The text is brought fully up to date with the advances made in Aristophanic scholarship over the past sixty years. In particular, it is the first to report all the manuscripts, papyri, and testimonial sources of the text, offering a new account of its history and a detailed review of the transmission of the Aristophanic corpus as a whole. Henderson's text and apparatus criticus is supplemented by a full Introduction giving details of the background to the play, its content, staging, philological interest, the textual transmission, and by a detailed Commentary.Henderson, Jeffrey is the author of 'Lysistrata ', published 1990 under ISBN 9780198144960 and ISBN 0198144962.

文学

2017-09/0319/en_head.json.gz/24562

Walter Dean Myers Message Board 10/13/2007 8:31:53 PM Talk about the novels, new and used books that Myers has written! Author Myers's Book Reviews 145th Street Stories "145th Street Stories" is a collection of short tales tied together by the fact that all characters reside on the same street in Harlem. The first story, "Big Joe's Funeral" tells the humorous tale of a Harlem resident who decides to plan his own funeral, while very much alive. He encounters some dissent from his girlfriend's teenaged daughter, but still goes forward with his plans. "Kitty & Mack: A Love Story" is a tale of young love and how life-cha... At Her Majesty's Request Sarah, an Egbado princess, watches as her tribe is overrun by invading Dahoman warriors. She is about to be executed with the rest of the royal family as she is rescued by an intervening English soldier. He takes her to the local outlet of the church missionary society where she is cared for, educated, and introduced to the wiles of "civilized" society. Sarah later becomes the ward of England's Queen Victoria and is given freedoms that she would n... Dope Sick Lil J is involved in a drug deal which has gone terribly wrong and a cop ends up dead. He ends up being shot in the arm, while his partner Rico points the finger at him when he is found by the police, but, it is Rico who actually pulled the trigger. Now he must run from the law for as long as he can because the there are one of two ways which his situation would end up and these are long prison terms or death. When he sees a policeman notice him he take... Richie is an intelligent and naive young man who is changed by his time fighting in the Vietnam War. Richie is an excellent student at a black high school in Harlem. He doesn't have any prospects for college, however, and decides to volunteer to fight in the Vietnam war. He has a knee injury that he believes will keep him out of intense combat. He makes friends with PeeWee and Jenkins during basic training. The three are stationed in Chu Lai where they e... Myers booklist Malcolm X By Any Means Necessary Malcolm Little was born on May 19, 1925, in Omaha, Nebraska, the son of Louise and Earl Little. Louise Little was a mulatto born in Grenada in the British West Indies and Earl Little, a six-foot, very dark skinned man from Reynolds, Georgia, was a Baptist minister and organiser for Marcus Garvey, who wanted that all Afro-Americans go back to the land of their ancestors, Africa. Louise, his second wife, bore six children: Wilfred, Hilda, Philbert, Malcol... This story is about a 16-year-old teenage black boy, Steve Harmon, who is caught up in a series of accused murder and robbery. He is accused of so because there were people that claimed that they saw him there at the scene of the crime. He battles to prove his innocence and battle the prosecution with sheer determination. Steve also inserts entries of his diary into this novel, he talks about how tough his life is in prison and the kind of problems he... This book for teens is written more like a compilation of reports than it is like an actual book. At the very beginning, you know something serious has happened in one of the schools in Harrison County, but you are not quite sure what. The happenings are slowly revealed through interviews with two students, Cameron and Carla, and a few reports written by the police and doctors. These interviews appear to have been conducted about a year after the inciden... The novel "Slam" by Walter Dean Myers is a story about an African american teenage athlete by the name of Greg. Greg is a highschool student and a star basketball player at his highschool. Greg is so good in basketball he earned the nickname "Slam." Greg lives in the ghettos of New York with his younger brother and mother. His best friend in the story is Charles and his girlfriend is Kiesha. The problem Greg faces in the story is ... The Shadow of the Red Moon Jon and the companions he meets on the road coming from the Crystal City are leaving there for the Ancient Land. The Fen are his enemies, they've overrun the Crystal City, but who are they and why, we never find out. He is an Okalian, I'm not sure what that means either, whose mother had a parent who was Fen. Jon meets a brother and sister on the road, and the brother Kyra is as wild as the possibly barbarian Fen. They come to a community where all t...

文学

2017-09/0319/en_head.json.gz/24577

Mummies, Mugs, and Museum Shops by Wijnand van der Sanden Bog body gifts raise questions about using the dead as marketing tools. What passes over the counters of museum shops is rarely a topic of discussion. The merchandise is usually brightly colored, educational or serving some other useful purpose. Many of the objects offered for sale we would class as kitsch, but that's something we can live with. Sometimes, however, we come across things that are worse than kitsch, and we can't help wondering whether ethical lines have been crossed. This is now the case in Canada and the United States, where, in the context of the travelling exhibition "The Mysterious Bog People," representations of a Dutch and a German bog body--Yde Girl and Neu Versen Man (Roter Franz or Red Franz)--have come to be printed on a range of utilitarian products and foodstuffs. Before going into this, I will first discuss how European museums treat bog bodies, how the public responds to them, and what museum shops in Europe offer for sale in this context. Restricting ourselves to northern and northwestern Europe, we may conclude that exhibiting human remains recovered from archaeological contexts does not violate any taboos. In several museums, the public comes face to face with human remains recovered from bogs, some preserved in exceptionally good condition. The most important bog bodies are to be found in the National Museum of Ireland in Dublin, the British Museum in London, the Drents Museum in Assen, the Landesmuseum für Natur und Mensch in Oldenburg, the Niedersächsisches Landesmuseum in Hanover, the Archäologisches Landesmuseum der Stiftung Schleswig-Holsteinische Landesmuseen Schloss Gottorf in Schleswig, the Forhistorisk Museum in Moesgård, the Nationalmuseet in Copenhagen, and Silkeborg Museum in Silkeborg. In all these museums the bog bodies occupy a special place. Some visitors come to these museums specially to see the mummy or mummies. This is for example the case at Silkeborg Museum, where Tollund Man has been the focus of attention for more than 50 years. He presumably owes his great popularity to his peaceful appearance and what are generally described as his noble features. The Dutch Yde Girl also scores very high in terms of popularity. In her case it's not noble features that win the public's affection--quite the contrary, she actually looks terrifying--but the young age at which she died. Yde Girl died around the age of 16. She was strangled with a woollen woven band and deposited in a small bog. Shortly after its discovery, in May 1897, the mummy made its way into the Drents Museum. In May 1994 the museum presented a reconstruction of the girl's face to the world. This reconstruction, which was made by Richard Neave of Manchester University, generated a lot of publicity, winning Yde Girl international fame. She inspired a radio play, several children's books, a song, and several poems. An artist organised a Miss Lookalike contest, whose winner undeniably resembles Neave's reconstruction. All these reactions had one thing in common: they were not organised by the Drents Museum. They were initiatives proposed by third parties, some more successful than others. All the publicity surrounding the reconstruction of Yde Girl's head prompted the University of Manchester to conclude an official contract with the Drents Museum to the effect that a portion of the proceeds of the sale of commercial articles bearing representations of the reconstruction would go to the university. If you take a look round the Drents Museum's shop today, you will soon find that the high expectations have never been met. So what can you buy in this and other European museum shops? Besides books, slides, posters, and postcards, the museums in Dublin, London, Assen, Emden, Oldenburg, Hanover, Schleswig, Silkeborg, Moesgård and Copenhagen sell very few bog-body-related articles whose production was commissioned by the museums themselves. To the best of my knowledge, the only such articles are those sold in the shops of the Drents Museum (key rings, thimbles, and ties bearing a representation of the facial reconstruction of Yde Girl) and Moesgård Museum (a pen with a representation of the corpse of Grauballe Man). So, leaving the pen and ties out of the picture (showing the "portrait" of a strangled child on an item of clothing that has to be tied in a noose to wear it seems rather cynical to me), it can safely be said that the museums concerned show a fairly reserved attitude. They have not discussed this matter together, but they appear to tacitly agree about what is acceptable and what is not. The ICOM Code of Ethics for Museums provides few guidelines for such matters, the only reference of relevance is in section 2.11, on Income-Generating Activities, which states that objects offered for sale by museums should respect the integrity of the originals. The code moreover explicitly refers to replicas, reproductions, and copies, whereas I am now talking about photos of the bodies themselves and facial reconstructions on (utilitarian) objects. So we may conclude that European museums have no problems about exhibiting bog bodies, nor about selling postcards depicting the bodies (a few museums also sell posters), and that the few other objects they sell in this context--leaving aside the Moesgård pen--bear only representations of facial reconstructions, and not of human remains. Toward the end of the 1990s, the Drents Museum came up with the idea of organising an exhibition focusing on votive objects recovered from peat bogs in the northern part of the Netherlands and northwest Germany together with the Niedersächsisches Landesmuseum in Hanover and two Canadian museums--the Museum of Civilisation in Ottawa and the Glenbow Museum in Calgary. The exhibition was to present objects ranging in date from the Mesolithic to the sub-recent as well as bog bodies from that timespan. It was to be called "The Mysterious Bog People" and was to travel from Hanover to Ottawa, then on to Calgary, Assen, Manchester and several museums in the USA. The presentation was officially opened on May 8, 2002 in Hanover, where its title was changed to the somewhat less sensational "Der Tempel im Moor" ("The Temple in the Bog"). In Germany, the exhibition attracted some 32,000 visitors. The NLM's shop sold key rings in the form of two wooden anthropomorphic figures that were found along a bog trackway, badges and cuff links bearing a representation of the Bronze Age temple of Barger-Oosterveld, and picture postcards of the museum's own bog body, Red Franz. When the presentation moved on to Canada things changed. The exhibition caused quite a stir even before its opening. First Nations (Native American) staff members of the CMC were somewhat perturbed when the bog bodies arrived. But their problems were solved by organising a "smudging ceremony," in which foreign curators and several First Nations CMC staff members participated. After this ceremony, which served to placate the spirits and ask for their forgiveness for any errors made by the organizers, the opening could take place as planned. In Canada, we see a marked break in trends with respect to the use of visual material. The CMC placed the contorted head of the Yde bog body in a prominent position on one of the flags intended to catch the attention of people passing by the museum. Clearly visible is the woollen band around the girl's neck, the instrument used to strangle her. The museum shop sold T-shirts bearing the same representation. The one tooth remaining in the girl's mouth was incidentally removed by retouching--that was evidently considered too scary. After Ottawa, where it attracted more than 316,000 visitors, the exhibition moved on to Calgary. Here it was visited by 50,000 people. In Calgary the merchandising went even further. The GM's shop sold a wide range of articles bearing a representation of the Yde bog body--again the mummy's head, complete with the woollen band. This evocative depiction (now including the tooth!) is to be found on mugs, paper stands, T-shirts, shopping bags, pocket flashlights, and pens and pencils. When the exhibition left Canada, it went to Assen (NL) and Manchester (UK), and now "The Mysterious Bog People" is on show in Pittsburgh (from July 9, 2005, to January 23, 2006). While the Drents Museum in Assen and the Museum of Science and Industry in Manchester did not sell any products other than postcards and books, the range of products for sale in the shop of the Carnegie Museum of Natural History includes "Mysterious Bog Coffee" and a "Mysterious Bog Bar." The label and the wrap show the face of the German bog body, an adult male who died some time between the second and fourth centuries A.D. and was buried in the Bourtanger Moor, where he was discovered by peat cutters in 1900. This development is extremely surprising. As I have already pointed out, the European museums whose collections include bog bodies do not sell utilitarian objects bearing representations of the bodies themselves (with the single exception of the pen of Moesgard Museum). Things are no different in other European museums displaying mummies. By European standards, the American and Canadian museums have crossed a boundary with their use of imagery. The Yde bog body, the remains of a 16-year-old girl who lived around 2,000 years ago, has during its time in the New World degenerated from a human being to a logo. In Ottawa and Calgary, her shrunken head has been printed on a flag, coffee mugs, paper stands, shopping bags, pens, pencils, and T-shirts. The people who drink from those mugs place their lips on the bog body's head. In Calgary, you may come across someone sporting a representation of a bog body on their chest and carrying an Yde "body bag" stuffed with bags of crisps and cans of beer. This imagery has depersonified the Yde girl, stripped her of her human identity and reduced her to an object. The same fate awaits Neu Versen Man in Pittsburgh and the venues beyond. These products show in a dramatic way how different the European and New World museums deal with human remains from the distant past. Its interesting to see, yet hard to understand, that these products are sold by museums that have First Nation curators and in their day-to-day practice make every possible effort to prevent upsetting the First Nations when native human remains are involved. Clearly none of the three museums made any effort to find out how European museums approach mummies and the associated commercial aspects. Apparently some ancestors are more equal than others. It is often said that all things that happen in the New World will in due time happen in the Old World. It will be interesting to see whether European museums will follow in this respect, too. It will not come as a surprise to you that I sincerely hope that they will not follow in the footsteps of their transatlantic counterparts. In my opinion, the production and sale of the aforementioned objects contravene the principles of the ICOM code of Ethics for Museums, and insult the integrity and dignity of human mummies. Of course, they cannot prevent third parties from producing such objects, but they can decide not to produce or sell products displaying representations of corpses in their museum shops themselves. They can also decide not to produce banners bearing such representations in front of their doors. Things could be taken even further. If large flags bearing a representation of a mummy are unacceptable, then why should a poster or postcard showing the same depiction be admissible? Museums should indeed ask themselves whether they are going too far in this respect. We may intuitively feel that representations of a perfectly preserved bog body are more acceptable than those of bog bodies with a distorted or poorly preserved face, or bog bodies showing clear evidence of how the individuals concerned met their death. In actual fact, such aesthetic considerations should be irrelevant; the main point in both cases, after all, is that the bodies represent the remains of human individuals. One of the next stops is Los Angeles. My heart is in my throat. Wijnand van der Sanden is archaeologist for the province of Drenthe, the Netherlands. See more articles on bog bodies. © 2005 by the Archaeological Institute of Americaarchive.archaeology.org/online/features/bog/exhibit.html

文学

2017-09/0319/en_head.json.gz/24642

Cecilia Gaerlan Cecilia GaerlanPlaywrightNovelistBataan Legacy Historical SocietyEventsArticles Bataan Legacy Historical SocietyBataan Legacy Historical Society now has its own webpage Like it on Facebook Bataan Legacy Historical Society is now a 501(c)(3) non-profit educational organization. Contributions are fully tax-deductible. Bataan Legacy Historical Society was established to depict the real story of World War II in the Philippines and the major role of the Filipinos during the war. The price of peace was paid dearly by the defenders of Bataan. But their place in history has been ignored, derided, and even maligned. The men of Bataan fought a fierce and bitter battle that disrupted the timetable of the Japanese occupation, enabling the Allied Forces to harness the resources that turned the tide of war in the Pacific. And yet, five months after the war ended, the benefits for the Filipino veterans were rescinded by President Truman in 1946 and to this day have not been fully restored. The recent decision by the ninth Circuit of the U.S. Court of Appeals to reject the veterans’ claims has tipped the scales of justice even further. Only a handful of these veterans are left and soon they will pass on without receiving recognition for their great sacrifice. The project includes The Bataan Legacy presentation, a multi-media presentation with live interviews with WW II veterans, Implementation of AB199, a California legislation passed in 2011 which encourages the inclusion of the role of the Filipinos during WWII in the Philippines, Interviews with WWII Veterans and Survivors, a one-man show Breach of Faith – The Men of Bataan and a full-length play, In Her Mother's Image.WATCH BATAAN LEGACY! Share and Like the Bataan Legacy Facebook Page.May 5, 2013 Bataan Legacy at San Francisco Public Library's Koret Auditorium. WATCH it on You Tube.Watch Justice and Dignity for Filipino Veterans by Mike Daly. Bataan Legacy and Implementation of CA Legislation AB199 As the daughter of a veteran of the Bataan Death March which took place after the fall of Bataan on April 9, 1942 in the Philippines, I am reaching out to you to let you know of this seminal event in American history. Although the Philippines is many thousand miles away, it was a colony of the United States from 1898 to 1946 and when President Franklin D. Roosevelt declared war against Japan after the bombing of Pearl Harbor on December 8, 1941, the ravages of war did not reach the United States. Instead, the war was fought in the Philippines where thousands of Filipino and American soldiers died and approximately one million civilians perished.In many ways, it is just as important if not even more significant than Pearl Harbor. But because of the stigma of defeat, this event is not commemorated in the United States nor is it taught in schools. The Fall of Bataan on April 9, 1942 is only remembered today as the largest single surrender in U.S. military history. What is not remembered is its greater significance. The U.S. Army Forces of the Far East (consisted of 12,000 Philippine Scouts, 19,000 Americans and 118,000 Philippine Commonwealth troops) were able to disrupt the timetable of the Imperial Japanese Army and prevented them from reaching Australia. This delay enabled the United States and its Allied Forces to harness the necessary resources to turn the tide of war which led to their ultimate victory. Without Bataan, the war would have lasted much longer or worse, our political landscape today could even be different. But this sacrifice by the Filipino and American troops came at a high price. Because the United States could not fight a war in two fronts, the troops were abandoned in Bataan. The defenders of Bataan and the Filipino nation were unaware that President Roosevelt and Prime Minister Churchill had met in Washington, DC between December 22, 1941 and January 14, 1942 (Code Name Arcadia) and agreed to save Europe first. Meanwhile, the defenders of Bataan fought without any air or naval support as they were destroyed during the early days of the war. Despite promises that food, reinforcement and ammunition were on the way, no help ever came. Two weeks into the war, the troops subsisted on half rations. Quinine (cure for malaria) and other medication were no longer distributed in February and 500 men a day became victims of malaria and dysentery. By March, they were subsisting on quarter rations so that by beginning of April, there were no longer any reserve troops and combat efficiency was down to zero. By the time of the surrender on April 9, 1942, most of the men were suffering from massive disease and starvation. They were forced to march some 60 miles in searing tropical heat with no provisions for food, water or shelter. Those who could no longer go on were either beaten, bayoneted or even left to die. There were some who were even beheaded. And those civilians who tried to help were dealt with in the same manner. This became known as the infamous Bataan Death March. Approximately 10,000 Filipino and 750 American troops died during the march. Once inside their prison camp at Camp O’Donnell, another 25,000 died consisting mainly of Filipinos.During the liberation of the Philippines in 1945, the Filipino people paid a heavy price. Manila, once called the Pearl of the Orient, became the second most devastated city in the world after Warsaw. Approximately 100,000 civilians died in Manila between February and March, 1945. By the end of the war, approximately 1,000,000 Filipino civilians perished.And yet today, the Filipino soldiers’ role during WWII and the suffering of the entire Filipino nation are not mentioned in U.S. history books. Furthermore, five months after the war ended, President Truman signed the First Surplus Rescission Act in February, 1946, which deemed the service of the Filipino soldiers as not full-time, thereby disqualifying them from receiving their rightful benefits. Many have died without receiving their benefits. A handful are still waiting. There are only a few of them left and with each passing goes a piece of this history. Once they are all gone, this seminal point in history will be forever lost. We have a small window of opportunity to correct this injustice. In 2011, the California legislature passed a bill (AB199) which encourages the inclusion of the Filipinos’ role during WWII in the social studies curriculum for Grades 7-12. Unfortunately, after its passage, its implementation has not taken place. This is the raison d’être for Bataan Legacy Historical Project. Its multimedia presentation is designed to teach everyone the importance of WWII in the Philippines and to present the war from different points of view – soldiers, civilians, Filipinos, Americans and other nationalities (e.g. Mexican Escuadron aviators, Czech volunteers, German nationals, etc.). Extensive research from many sources including declassified information and interviews with veterans and survivors have contributed to the making of this multimedia presentation which consists of short films with live narration, pictures, lecture and even a theatrical scene. The presentation is followed by a Question and Answer portion with veterans/survivors. One of the projects of Bataan Legacy is to document these interviews for use by future generations. Eventually, this presentation will be made into a film format so that schools and the general public can have access to it. But in order to fully comprehend WWII in the Philippines, we should go beyond the mandate of AB199 and present the war not just from the Filipino soldiers’ point of view but from all facets including the American soldiers, the civilians, and other nationalities that were affected by the war in the Philippines. It is only in presenting a comprehensive view can we fully understand the impact of the war and the sacrifices that were made in order to bring the freedom that we are enjoying today. Bataan Legacy is collaborating with the following organizations in the implementation of this bill, not just in California, but the rest of the United States: Battling Bastards of Bataan, Filipino Veterans Foundation, Veterans Equity Center, Manila Memorare 1945, Bataan-Corregidor Memorial Foundation, Roderick Hall Collection on World War II in the Philippines and Maywood Bataan Day Organization. By implementing AB199 in schools in California and hopefully the rest of the United States, we can ensure that the legacy of those who sacrificed during WWII in the Philippines will live on not just in this generation but in those to come. COLLABORATIONSBataan Legacy is collaborating with the following organizations to ensure that the legacy of the men and women who fought in Bataan, Corregidor and the Philippines be learned by this generation and those to come. Click on the sites to link to their websites.Battling Bastards of BataanRoderick Hall Collection on World War II in the PhilippinesBataan Corregidor Memorial Foundation of New MexicoFilipino Veterans FoundationManila Memorare 1945Maywood Bataan Memorial CelebrationVeterans Equity Center Articles on Bataan Legacy Positively Filipino by C. Gaerlan: READAsian Journal: READ Rappler.com (Written by Cecilia): READ New America Media - May 9, 2012 http://news.newamericamedia.org/news/view_article.html?article_id=671ba86c729b98a4cab610e1c275da1c May 6,2012- General MacArthur and the Fall of Bataan and Corregidorhttp://www.hyphenmagazine.com/blog/archive/2012/05/general-macarthur-and-fall-bataan-and-corregidor Hyphen Magazine April 6, 2012 - The 70th Anniversary of the Fall of Bataanhttp://www.hyphenmagazine.com/blog/archive/2012/04/70th-anniversary-fall-bataan Philippine Sentinel (Australia) March 5, 2012- My Father Survived the Death Marchhttp://www.philippinesentinel.org/?p=1793

文学

2017-09/0319/en_head.json.gz/24672

Shilling Photographer: Naomi Andrzejeski Source: Photographer: Naomi Andrzejeski Museums Victoria http://collections.museumvictoria.com.au/articles/3777 (713 x 800, 130.6KB) Australian Commonwealth Coinage Although the Commonwealth of Australia was formed in 1901, it was to be 1909 before any steps were made for a national coinage. In 1902 and again in 1911 British Imperial coins were authorised for use in Australia. The Melbourne Branch of the Royal Mint had been established in 1872 to strike small diameter gold coins with dies provided from London and in 1901 that was still the situation. None of the branches of the Royal Mint (there were three in 1901 after the opening of Perth in 1899) was capable of designing or preparing dies for a Commonwealth coinage, and none had the machinery necessary for striking the larger diameter silver and bronze coins that would be needed. Trial tools were made in 1909 by the Royal Mint in London, but no patterns or coins were struck. However in 1910 four silver denominations, identical in weight, size and silver content with the current British coins, but with the Australian arms and a crowned bust of King Edward VII were struck in London and shipped to Australia. In 1911 the penny and halfpenny denominations were added. All 1911 coins bore the head of the new king, George V. The outbreak of World War I resulted in changes to the manufacture and shipping of Australia's coinage from Britain. The Royal Mint itself was to be heavily involved in manufacture of materials needed for the war effort. In 1914 and 1915 The Mint, Birmingham, a private mint established and managed by the Heaton family, was called upon to assist in filling the Australian orders (their mint mark, “H” appears on silver coins of those dates). In 1916 it was decided to transfer production to Australia. The choice for the mint in Australia to strike the silver coins was between Melbourne and Sydney. Like Melbourne Mint, the Sydney Mint was under control of its state government. Sydney had been making a constant loss and the New South Wales government was talking to the Commonwealth about transferring the responsibility for the mint and completely redeveloping it at a new site. Melbourne too was not profitable but its buildings were in a good state of repair and its machinery was more up-to-date. On 1 November 1915 Melbourne was instructed to prepare to strike silver coinage. As with the dies for the gold sovereign and half-sovereign, the dies for the silver florin, shilling, sixpence and threepence were made in London and bore the letter M, the Melbourne mint mark. They arrived at the mint on Christmas Eve 1915. At that time mints took the raw materials for coining, then assayed, melted and alloyed it to the legal standards. Then they worked the bars to the necessary thickness and stamped the coining blanks from the metal strips. After that the blanks were treated to soften them for striking and raise the rims to keep the pressures needed in the coining presses to a minimum. They needed to be weighed and those too heavy or too light rejected. Then they were fed into the presses and struck while retained within a circular ring bearing the edge milling. After striking they were ejected from the press into a collection box and then examined to ensure they were well struck. All of these processes required new tooling at the mint. While the dies came from London, everything else was done in-house. Between 1 November 1915 and 10 January 1916 all of these changes were made in time for the Governor of Victoria to ceremonially strike the first shilling. During the rest of 1916 the other denominations were also brought into production. The small threepence caused the most difficulty, while the large florin (2 shillings) caused the greatest wear on the small presses. In 1919 more powerful Taylor and Challen presses were put to work on the florin production. Since the introduction of Australia's own silver coinage the mint had been involved in the removal of British Imperial coins from local circulation. These were divided into two classes, those that could be re-issued and those that were deemed worn. The former were exported to other British Dependencies in the region, principally to New Zealand, but also to Samoa. The worn coins were melted and from 1916 the ingots were sold to the Commonwealth and then used by the mint to produce the new Australian silver coins. Since 1911 there had been no new official importations of Imperial coins, although on occasions the Commonwealth found it necessary to return some of the coins which had been withdrawn to circulation. Only with the British going off sterling silver standard in 1920 were new issues of British coins not legal tender in Australia. In 1916 the Commonwealth made arrangements for the Indian mint at Calcutta to strike Australia's bronze denominations. They too were supplied with dies from London, bearing the mint mark I. But with the end of the war and with Melbourne now possessing more powerful presses, the production of the penny and halfpenny denominations was also brought to the mint. It was now beginning to make its own dies for the Commonwealth coinage and was experimenting with the different steels available for die production. In 1919 and 1920 small dots were added in different places around the reverse of the penny dies as part of this steel experimentation. With contracts from the Commonwealth for the silver coins, the Melbourne Mint made a profit from 1916, a profit transferred to the Victorian Treasury. This was looked upon with interest at the Sydney and Perth mints. They too demanded a share of the Commonwealth contracts. Melbourne however was by that time well ahead in the other stages of coin production. Sydney obtained a contract to strike halfpenny coins in 1919 and pence in 1920, while Perth obtained a contract for Pence in 1921. By this stage the Commonwealth Government had decided that there would be no mint marks on its coins, so from 1921 the M ceased to be employed. References Holland, Paul, “Australian Pre-Decimal Bronze Coinage”, Journal of the Numismatic Association of Australia, Vol.17, pp. 16-20. Sharples, J.P. “Australian Coins 1919 to 1924”, Journal of the Numismatic Association of Australia Vol.1 pp. 4-18 Sharples, J.P. “Collecting Commonwealth Coins”, Journal of the Numismatic Association of Australia, Vol.5, pp. 17-21. More Information Sharples, J. (2010) Australian Commonwealth Coinage in Museums Victoria Collections http://collections.museumvictoria.com.au/articles/3777Accessed 23 February 2017 Melbourne Mint The Melbourne Branch of the Royal Mint began operation on 12 June 1872. It was the second branch to be opened in Australia, the Sydney Branch having opened in 1855. The Melbourne Mint had two main functions: purifying and ... Australian Nickel Patterns Melbourne began experimenting with a new coinage for the penny and halfpenny in 1919. The new coins would be of nickel and would be square with rounded corners so the there would be no confusion with the silver coinage. The ... Master Dies, 1923 It is necessary that coins of each denomination are identical. To achieve this, the working dies from which the coins are made must be identical. However these working dies have a relatively short life, so additional steps are ... The 1930 Australian Penny In 1930 the country was in an economic depression and the Melbourne Mint received no orders from the Commonwealth Government for new coins. Orders for silver coins were always treated differently at the mint to those for bronze; ... Melbourne Mint during World War II Melbourne Mint's skills at accurate production saw it called on for munitions work during World War II. The annual reports during the war years were not published other than as brief summaries of coin production. Their war effort ... Closure of Melbourne Mint In 1964 the first steps which would lead to the closure of the Melbourne Mint occurred. In addition to deciding to introduce decimal coinage, the Commonwealth Government also moved to open its own mint in Canberra. It recruited ... Deputy Masters of the Melbourne Branch of the Royal Mint Major General Sir Edward Wolstanholme Ward KCMG, 1867-1877 Vernon Delves Broughton, 1878-1884 George Anderson, March 1885-April 1895 Robert Barton June, 1895-May 1904 Edward Stanfield Wardell May, 1904-Aug 1915 Matthew Lawson ... Establishment of Melbourne Mint, 1872 The discovery of gold in Victoria in 1851 occurred at a time when the colony used British Imperial coins. Prime among these coins was the gold sovereign, a coin of international repute whose gold content fixed the value of the ...

文学

2017-09/0319/en_head.json.gz/24713

Jenny (The Little Mermaid) Share Guinevere Corey Guppy, known by her friends as Jenny, was a pink boxfish who had a crush on Flounder. However, because of her tiny size, she also was not noticed by many people, which, alongside Flounder's disinterest with her and calling her a "silly little guppy", left her extremely depressed. When Ariel was attempting to get back to the concert on time, she managed to find Jenny (albeit with some difficulty, due to her size). Ariel then decided to be her friend and, upon learning of her wanting to be Flounder's girlfriend, decided to help her, even if it meant being late for King Triton's concert. However, she then witnessed Flounder, largely due to peer-pressure, be nasty towards Jenny and drive her off. She and Jenny then visited Scuttle for relationship advice, with him then giving advice and some of his own feathers for her to wear (albeit the latter after accidentally burning himself with a magnifying glass). When Flounder and Sebastian were in danger of being killed by Scarface, Jenny risked her life to tell him off for trying to harm Flounder, although she then hid inside a cave. As she was the only one small enough to go for the exit, she then fled and warned Ariel about Scarface attacking Flounder and Sebastian. This also improved Flounder and Jenny's relationship somewhat, with him standing up to his friends and telling them to back off of her. Jenny is a major character in the A-story for the third issue of the Disney Comics serial for The Little Mermaid, Guppy Love. Retrieved from "http://disney.wikia.com/wiki/Jenny_(The_Little_Mermaid)?oldid=2383909" The Little Mermaid characters

文学

2017-09/0319/en_head.json.gz/25001

Canetti, Man of Mystery As a literary type after World War Two, the German-speaking International Man of Mystery found Britain a more comfortable land of exile than America, where he was always under pressure to explain himself in public, thereby dissipating the mystery. The chief mystery was about his reason for not going back to German-speaking Europe. Before the mysterious W.G. Sebald there was the even more mysterious Elias Canetti. While the Nazis were in power, Canetti had excellent reasons to be in London. But now that the Nazis were gone, why was he still there? Like Sebald later on, Canetti might have found Britain a suitable context for pulling off the trick of becoming a famous name without very many people knowing precisely who he was. Canetti even got the 1981 Nobel Prize for Literature, and people still didn’t know who he was. He was a Viennese Swiss Bulgarian refugee with an impressively virile moustache; he was Iris Murdoch’s lover; he was a mystery. Apart from a sociological treatise called Crowds and Power which advanced a thesis no more gripping than its title, his solitary pre-war novel Die Blendung, known in English as Auto da Fé, was the only book by Canetti that anybody had ever heard of. Hardly anybody had read it, but everybody meant to. Those who had read it said it was about a mysterious man in a house full of books, and that the house, in a symbolic enactment of the collapse of a civilization, fell down, or almost did, or creaked a lot, or something. While living in Britain, Canetti wrote three books of memoirs about his life in pre-war Europe. He wrote them in German. (All three volumes are now available in English, although readers are warned that the translations lose some of the effortless pomposity of the original.) They were full of literary gossip: hard material to make dull, even for a writer with Canetti’s knack for colourless reportage. He proved, however, that he had a long memory for the frailties of his colleagues. He had a good story about Robert Musil, author of The Man Without Qualities. In the circumscribed world of the Vienna cafes, Musil reigned unapproachably as the resident genius. But Musil was eaten up by resentment of the public recognition accorded to Thomas Mann. When, in 1935, Canetti published Die Blendung to some acclaim in the press, he entered the café to find Musil, who had previously barely noticed his existence, rising to meet him with a congratulatory speech. Canetti was able to say that he had a letter in his pocket from Thomas Mann, praising him in exactly the same terms. Musil sank back into his chair and never acknowledged Canetti again. The story shows how Canetti could recognize self-obsession in others. But there is no account of his ever recognizing the same failing in himself. His memoirs not only take him to be the centre of events — a standard strategy in autobiographical writing, and often an entertaining one — they proceed on the assumption that no events matter except those centred on him. Hitler scarcely gets a mention. The story is all about Canetti, a man with good reason, we are led to assume, for holding himself in high esteem. Canetti spent the last part of his life in Zurich. In his last year he was at work on his memoir about London. (Now, in Elysium, he is probably working on his memoir about Zurich.) The unfinished book, Party in the Blitz, is the story of his years in and around Hampstead during the war and just after. We are fortunate that there is no more of it, lest we start wondering whether Canetti should not have received another Nobel Prize, for being the biggest twerp of the twentieth century. But a twerp must be at least partly stupid, and Canetti wasn’t even a little bit that. Instead, he was a particularly bright egomaniac, and this book, written when his governing mechanisms were falling to bits, simply shows the limitless reserves of envy and recrimination that had always powered his aloofness. The mystery blows apart, and spatters the reader with scraps and tatters of an artificial superiority. Witnessing, from Hampstead Heath, the Battle of Britain taking place above him — the completeness with which he fails to evoke the scene is breathtaking — Canetti, unlike many another German-speaking refugee, managed to take no part whatever in the war against Hitler. He had his own war to fight, against, among others, T.S. Eliot. Canetti’s loathing of Eliot is practically the book’s leitmotiv: you have to imagine a version of Die Meistersinger in which Beckmesser keeps coming back on stage a few minutes after he goes off. “I was living in England as its intellect decayed,” Canetti recalls. “I was a witness to the fame of T.S. Eliot... a libertine of the void, a foothill of Hegel, a desecrator of Dante... thin lipped, cold hearted, prematurely old... armed with critical points instead of teeth, tormented by a nymphomaniac of a wife... tormented to such a degree that my Auto da Fé would have shrivelled up if he had gone near it...” Maria Salgado - Adio Querido Where Are the War Poets - Cecil Day Lewis, Appreci... Ken Russell: Mahler Vincent van Gogh: Starry night over the Rhône Hermann Hesse: In the Mists Gustav Klimt: Adele Bloch-Bauer's Portrait Luchino Visconti: Ludwig (1972) Kandinsky: Bride. Russian Beauty (1903) Marina Tsvetaeva: To Akhmatova An Interpretation of E. M. Forster's A Room with ... Pablo Picasso: Guernica, 1937 Virginia Woolf: Street Haunting: A London Adventur... Boris Pasternak: In Memory of Marina Tsvetaeva George Sand's letter to Alfred de Musset Daily Disaffirmation - Witold Gombrowicz's Diary William Butler Yeats: When You Are Old Mezquita Cathedral, Córdoba, Spain Lao Tzu: The supreme good is like water Kahlil Gibran: Love Franz Kafka and Milena Jesenska Anna Akhmatova: Memoir on Modigliani

文学