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2017-09/0320/en_head.json.gz/13656

The Ivory Hour (a future memoir) ISBN 978-1-881471-53-0 $16.00 186 pages cover art by Susan Sanford Laynie Browne channels the energy of Mira in a book that is both charred and luminous. Her writing is a gift of abrasion, making the body of the reader a portal too. Who is arriving? Who is very near? The intensity of this narrative carried me through the summer in which I read it. Browne is a genius of aperture and stance. All desire, she has written a remarkable book. It changes something to read it (the book) and to have it near. If you are reading these words, then you have found your way to Browne’s work and her immense, compassionate and tender genius as a writer and a human being. Bhanu Kapil, The Jack Kerouac School of Disembodied Poetics Naropa University Laynie Browne is the author of seven collections of poetry and one novel. Her most recent publications include The Scented Fox, (Wave Books 2007), Daily Sonnets (Counterpath Books, 2007) and Drawing of a Swan Before Memory, (University of Georgia Press, 2005). Two collections are forthcoming: Roseate, Points of Gold, from Dusie Books and The Desires of Letters, from Counterpath. Her work has been anthologized recently in Not For Mothers Only (Fence Books), Wreckage of Reason, An anthology of Contemporary Xxperimental Prose by Women Writers, (Spuytenduyvil), and in The Reality Street Book of Sonnets (Reality Street Edititions, U.K.). With others she has co-curated various reading series including the Ear Inn reading series in New York, the Subtext Series in Seattle, and now as part of the POG reading series Tucson Arizona. She has taught creative writing at The University of Washington, Bothell, at Mills College in Oakland and at the Poetry Center at the University of Arizona.

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2017-09/0320/en_head.json.gz/13742

Comment: Michael Ross The conclusion of Ben Barnes’s period at the helm of the Abbey at the end of next year, by what the artistic director has described as mutual agreement with its board, offers the theatre an opportunity to move beyond the dead-end obsessions and aversion to risk that have characterised its performance over the past five years. When Barnes was appointed at the beginning of 2000, he took over a theatre in reasonably good shape. Outgoing artistic director Patrick Mason, while continuing to take risks on stage, stabilised the national theatre and passed on to Barnes a solid platform on which to build. Though he restructured the commissioning of new work at the theatre, something long overdue, Barnes stopped short of the risk-taking demanded by his position and failed to advance significantly the Abbey’s long-term goals of developing new premises and reaching out to wider audiences. If anything, his strategic errors

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2017-09/0320/en_head.json.gz/13935

Pulling up stakes: The Guggenheim Hermitage Museum, housed in the Venetian, will close next month. The gallery was never intended to be a permanent fixture in Las Vegas, Guggenheim officials say. By Kristen Peterson Sunday, April 13, 2008 | 2 a.m. Sam Morris A reading area in the Bellagio Gallery of Fine Art is a quiet place to reflect in a city that hustles and bustles. The gallery is located far away from the noise of the casino. Sun Archives Vegas, say goodbye to Guggenheim (4-10-2008) Dueling modernist shows bring art world together on the Strip (2-11-2008) Commentary: Can Las Vegas learn the art of appreciation? (8-14-2007) Beyond the Sun Guggenheim Hermitage Museum Bellagio Fine Art Gallery Two galleries. Almost 40 million tourists. Extravagant resources and big names in art. When the Guggenheim Hermitage Museum and the Bellagio Gallery of Fine Art opened on the Strip, both set out to feed art to the masses. Neither was enough to justify a stop in Las Vegas for the savvy cultural tourist. But that was never the plan. The plan was to insert art where art hadn’t been, make a lot of money doing so and add cachet to the resorts. If you’re going to have designer boutiques and top-notch restaurants, then keep the brows raised by adding an art gallery. Dabble a little. Add another crazy element to the mystique of ever-evolving Las Vegas. The only two art spaces on the Strip were vastly different creatures. With Guggenheim Hermitage Museum closing next month, we are left with the Bellagio Gallery. And the question: What happened with the Guggenheim? The satellite museum, operated by the Solomon R. Guggenheim Foundation in New York, offered a lot of promise but struggled to gain community support and lacked special programming for Las Vegas. Moreover, it never seemed to possess the prestige that the Bellagio Gallery enjoyed. Guggenheim officials touted the greatness of its two Rem Koolhaas-designed galleries at the Venetian. “The Art of the Motorcycle” in the larger gallery, which opened to fanfare and celebrity endorsement, closed in 15 months, turning the focus on the smaller Guggenheim Hermitage, a partnership between the Solomon R. Guggenheim Foundation and the State Hermitage Museum in St. Petersburg, Russia. Unlike the Bellagio Gallery of Fine Art, the Guggenheim seemed like a Vegas outsider, a satellite to New York. Even when PaperBall, a subsidiary of New York’s PaceWildenstein, took over the Bellagio Gallery, it delivered intimate shows tailored to Las Vegas. The Guggenheim arranged some fantastic showcase exhibits for Las Vegas. But its other shows had been rotated through other Guggenheims before landing here. A Robert Mapplethorpe exhibit opened in Berlin in 2004 and stopped in St. Petersburg and New York before arriving in Las Vegas in 2006. The exhibit compared Mapplethorpe’s work to original mannerist engravings from the State Hermitage Museum at the other Guggenheims. Here, the Guggenheim Hermitage displayed copies of the prints. Similarly, a Rubens exhibit opened in Bilbao four years before it arrived in Las Vegas, and the “Russia!” show here was dwarfed by a much larger version of the same exhibit at the Guggenheim in New York. But that was to be expected. Thomas Krens, then the director of the Guggenheim Foundation, stated as much in the 2000 news release that said the partnership between Guggenheim and Hermitage would result in small exhibitions that would show “as part of an international tour.” On the other hand, Steve Wynn and his Bellagio Gallery were all about Las Vegas. The gallery was so intrinsic to his vision for the Bellagio that even after it was sold to MGM Mirage and the gallery was taken over by PaperBall, Wynn’s thumbprints were still visible. Some had no idea that Wynn was out of there. PaperBall ushered in interesting boutique shows such as Alexander Calder and the Kremlin’s Fabergé treasures. Its Andy Warhol exhibit focused on the artist’s love of celebrity, showing his celebrity portraits and personal accouterments: a wig, eyeglasses, a tape recorder and photographs. Liza Minnelli, Warhol’s good friend, narrated the audio guide and told stories of her times with the pop artist. Even the openings of the museums were distinct. The Bellagio Gallery opened in 1998 to two-hour waits to see Steve Wynn’s personal collection. The huge crowds prompted Wynn to move the gallery from its original location off the conservatory to a larger space on the property. The Guggenheim Hermitage arrived three years later, opening less than a month after the Sept. 11 attacks, when tourism and the economy were taking a beating. Nobody, especially locals, could argue that it wasn’t great to have paintings by Beckmann, Modigliani, Picasso, Manet, Monet, Bonnard, Marc, Klee and dozens more at the Guggenheim. But the Bellagio Gallery of Fine Art continued to grab attention. Its partnership with the Museum of Fine Arts astonished and angered the museum world, but delivered an extravagant show to Las Vegas: “Claude Monet: Masterworks from the Museum of Fine Arts, Boston.” In 16 months, the show drew 450,000 visitors. Moreover, the headlines it created over the clash between old money and new money, tradition and a 21st-century city furthered the gallery’s reputation. Whether it was an innovative way to bring money into museums that relied mostly on patrons with deep pockets or an issue of a well-respected museum selling out to commercialism didn’t matter to Las Vegas, and especially the Bellagio. It was a master stroke of branding. Meanwhile, the Guggenheim had its own struggles. The nonprofit museum relied on community support: corporate sponsors, membership and deep-pocketed patrons. But nobody was throwing money at a museum housed in a casino, whose majority shareholder, Sheldon Adelson, is one of the richest men in the world. Managing Director Elizabeth Herridge said in an October 2005 Sun article that only 4 percent to 6 percent of the museum’s 200,000 annual visitors are locals. “If we were not so close to all of this (foot) traffic, we would probably have a serious financial problem,” she said. “The key to the success here is the fundamental relationship with this hotel. They really want to put their money behind it after what was a very dubious start.” Herridge struggled to build the museum into the community through educational programs with the Clark County School District. She led the Young Collectors Council. The group of young professionals visited artists’ studios and attended private lectures at the Venetian. The Guggenheim’s exhibition space is cool and cavernous with Cor-ten steel walls. But it’s also hard to find and casino noise is audible while viewing art. Across the street, the Bellagio’s cozy space, set far away from the casino, offers a more calm, intimate and relaxing environment. Krens’ plans for creating a space that had “the aesthetic and practical capability to do things that were not possible in any other museum or exhibition space in the world” died when Guggenheim Las Vegas closed. We never saw the fashion, architecture, multimedia and video exhibits, as well as a “retrospective of massive Richard Serra sculpture.” Guggenheim officials now say that the partnership with Las Vegas was always temporary. No surprise there. After all, this is Las Vegas. 0 Join the Discussion: Check this out for a full explanation of our conversion to the LiveFyre commenting system and instructions on how to sign up for an account. Full comments policy Please enable JavaScript to view the comments powered by Disqus. Most Popular Viewed Trending Police: Woman punched, robbed while playing slots Adelson says Japan casino-resort could cost up to $10 billion MLB commissioner says Las Vegas could be viable for a team U.S. to expand pool of people targeted for deportation ESA questions again dominate Treasurer Schwartz’s testimony Complete Listing » Complete Listing » Complete Listing » Connect with Us Facebook Twitter Google+ Tumblr Email Edition RSS Scene in Las Vegas Concert review: A subdued AFI leaves fans wanting more Dining: Pinches Tacos a brunch favorite Five Thoughts: Ween at Brooklyn Bowl Featured Galleries 2017 USBC Open Championship WALK Church Pastor Heiden Ratner George Strait at T-Mobile Arena More photos » AP Headlines Calendar 22 Wed23 Thu24 Fri25 Sat26 Sun A Public Fit's Outburst "The Usual Place," 100 S. 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2017-09/0320/en_head.json.gz/14236

Cultural and Media Studie... American Idol After Iraq: Competing for Hearts and Minds in the Global Media Age By: Mike Medavoy (author), Nathan Gardels (author)Hardback This dazzling little book explores the role of US media in foreign policy, not only at the present moment, but with an eye to the future. Written by a veteran Hollywood film executive and an internationally known columnist in foreign affairs Explains how American movies, TV shows, and pop music provide the images of America to the rest of the world, and the rest of the world to Americans Includes discussions of the cartoons of the Prophet Mohammed Danish daily newspapers, Tibetan monks censored out of Chinese TV news reports only to show up on You Tube, and the Vatican's assault on the Da Vinci Code movie Argues that Hollywood is a key player in the 'deep coalition' required to support a 'smart power' foreign policy and build a global cultural infrastructure that will make the world safe for interdependence Nathan Gardels is the editor of New Perspectives Quarterly. He has written widely for many publications, both nationally and internationally, including The Wall Street Journal, The Los Angeles Times, The New York Times, The Washington Post, the Guardian, Corriere della Sera, El Pais, Le Figaro, and the New York Review of Books. Mike Medavoy is the chairman and co-founder of Phoenix Pictures. Throughout his career he has been involved in the creation of countless films, including sixteen nominated for Best Picture Academy Awards, and seven winners. Foreword. Six Key Concepts of This Book. 1 Hearts, Minds, and Hollywood. 2 The Magic is Gone - Except at the Box Office. 3 Creativity into Cash: How Hollywood Works. 4 Seeing and Being Seen. 5 Hollywood Beats the Red Army. The Height of America's Cultural Appeal. 6 Backlash: Soft Power is Still Power, and Still Makes Enemies. 7 Culture Wars in the West: The Pope vs. Madonna. 8 Media Storm Troopers of the West vs. Islam. 9 New Stories, New Audiences in the Global Age. 10 Reinventing Cultural Diplomacy. Index. Cultural and Media Studies publisher: John Wiley and Sons Ltd» imprint: Wiley-Blackwell (an imprint of John Wiley & Sons Ltd)»

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2017-09/0320/en_head.json.gz/14276

Architecture of Oxfordshire Home / Buildings / Architecture of England / Architecture of South East England / Architecture of Oxfordshire / 1860 – Oxford University Museum, Oxfordshire 1892 – Municipal Buildings, Oxford 1860 – Oxford University Museum, OxfordshireArchitect: Deane & Woodward The neo-Gothic building, one of the finest in Britain, was designed by the Irish architects Thomas Newenham Deane and Benjamin Woodward. Directly influenced by the writings of critic John Ruskin, it was finished in 1861. Woodward died in 1861. The adjoining building of 1886 that houses the Pitt Rivers Museum was the work of Thomas Manly Deane, son of Thomas Newenham Deane. The museum consists of a large square court with a glass roof, supported by cast iron pillars, which divide the court into three aisles. Cloistered arcades run around the ground and first floor of the building, with stone columns each made from a different British stone. The ornamentation of the stonework and iron pillars incorporates natural forms such as leaves and branches, combining the Pre-Raphaelite style with the scientific role of the building. Statues of eminent men of science stand around the ground floor of the court — from Aristotle and Bacon through to Darwin and Linnaeus. Although the University paid for the construction of the building, the ornamentation was funded by public subscription — and much of it remains incomplete. The Irish stone carvers O’Shea and Whelan had been employed to create lively freehand carvings in the Gothic manner. When funding dried up they offered to work unpaid, but were accused by members of the University Congregation of “defacing” the building by adding unauthorised work. Tags: 1860, Architecture of Oxfordshire, Deane & Woodward, museums, Oxford

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2017-09/0320/en_head.json.gz/14351

Posted November 13, 2012 12:24 pm - Updated November 13, 2012 01:39 pm By Keith Claussen Columnist The Artside: Aiken art exhibit features 'The Five' Celebration by Elizabeth Moretz-Britt is part of an exhibit of works by The Five at Aiken Center for the Arts. A reception will be 6-8 p.m. Thursday, Nov. 15. Jill Stafford's People is on exhibit at Aiken Center for the Arts. She says she is inspired to paint from the heart through the numerous mission trips she's taken. "Love Two" by Judy Adamick is on view at Aiken Center for the Arts. "Beach Scene" by Aiden Lassell Ripley is among more than 50 paintings in the Reflections of Water in American Painting exhibit at the Morris Museum of Art. Thomas Crowther's "Southern Sunset: Fragments 1" is on exhibit at the Gertrude Herbert Institute of Art as part of the Augusta State University art faculty biennial show. The Aiken Center for the Arts will hold a reception celebrating several new exhibits from 6 to 8 p.m. Thursday, Nov. 15. One features works by The Five, a group of the well-known artists Judy Adamick, Elizabeth Moretz-Britt, Doris Sofge, Anne Smith and Jill Stafford. The artists, who have known one another for years, work in a variety of media.Adamick is a native of Connecticut who worked in oil and acrylics for 20 years before moving to Aiken and changing her focus to watercolors. She has exhibited in many shows, including the South Carolina Watermedia Society’s traveling exhibitions, and recently exhibited in Paris. She will be teaching at the Aiken Center for the Arts beginning in January.Moretz-Britt was born in Salt Lake City, grew up in Augusta and now makes her home in North Augusta. She has a bachelor’s degree in drawing and painting from the University of Georgia and has had extended study in Europe, at the Scottsdale Artists School with Milt Kobayashi, and at the Studio Group with Paul Davis and David Dorman. She is known for her strong style of colorful figurative painting.Sofge studied art at Florida State University and the University of South Carolina. She holds the Member of Excellence designation in the South Carolina Watermedia Society and has won awards in local, regional and national exhibitions.Smith studied at Anderson Junior College and the Ringling School of Art and Design and resumed painting full time after retiring from the South Carolina Forestry Commission. She enjoys painting barns, sheds and structures, using pen and ink and watercolor.Stafford is a member of the South Carolina Watermedia Society and served as its president in 2004. Her work has been selected for the society’s traveling show and has received numerous awards. For the past six years she has traveled the world on Christian mission trips, which she believes give her inspiration to paint from the heart.• A separate show at the Aiken Center for the Arts features the work of Esther Melton, a national award-winning watercolorist who uses transparent paints to achieve the illusion of sunlight streaming through everyday objects in her still-life paintings. She is a member of several watercolor societies and will teach a workshop at the center in December.• Barbara Yon, a native of Anderson, S.C., is the featured artist for November in the Aiken Artist Guild gallery at the center. Working in watermedia and collage, she experiments with geometric shapes and nature patterns. Her work has been featured in several public art projects and the South Carolina Watermedia traveling exhibition.For information on any of these exhibits, call (803) 641-9094. THE MORRIS Museum of Art has opened Reflections on Water in American Painting, a major exhibition showcasing more than 50 paintings and works on paper drawn from the Arthur J. Phelan collection. A reception and lecture will take place at 6 p.m. Thursday, Nov. 15. The event is free to museum members and $5 for others.According to museum director Kevin Grogan, the exhibit is “an homage to America’s oceans, rivers, lakes and harbors; to the ships that traversed them … and the artists who took inspiration from the beauty and timeless attraction of the water.”The collection traces more than a century of maritime and seaside history from the Atlantic to the Pacific shores of the United States, with works ranging from 1828 to 1945. Highlights include works by Frank Benson, William Trost Richards, William Merritt Chase, Aiden Lassell Ripley and Reginald Marsh. THE GERTRUDE HERBERT Institute of Art will stage a reception Friday, Nov. 16, honoring members of the Augusta State University art faculty, whose biennial exhibition is on display in the main galleries. Exhibiting artists are Sarah Buckius, Kristin Casaletto, Jackson Cheatham, Thomas Crowther, Dorothy Fletcher Eckmann, Pamela D. Ferguson, Jennifer Onofrio Fornes, Suzette Hollins, Amanda Ladymon, Alan MacTaggart, Philip Morsberger, Randy Pace, Raoul Pacheco, Brian Rust, Rosanne Stutts, Joseph Tolbert, Chad Tolley, Janice Williams Whiting, and current Morris Eminent Scholar William Willis.The reception also honors Evans artist Laura Neff, whose work is featured in the Creel-Harison Community Art Gallery on the third floor. Primarily a mixed-media artist, Neff uses transfigured female forms in her work to express both challenging emotions and confident beauty.• Also on Friday’s calendar is a free lecture at the Morris Museum of Art. Augusta State University art faculty member Karen Klacsmann will talk at 1 p.m. on The Enduring Influence of Classical Cultures. JEFFERSON COUNTY Arts Guild members will have their work on display at the Fire House Gallery in Louisville, Ga., through Nov. 24. A reception is scheduled Nov. 17 from 7 to 9 p.m. LANDSCAPE paintings by Don Jolley are on exhibit at Tire City Potters on 10th Street. The show is titled As Eye See It.• Continuing on view at Sacred Heart Cultural Center are paintings by Judy Avrett, Lillie Morris and Lucy Weigle. AND ELSEWHERE: Works by Edward Rice and Philip Morsberger are on exhibit at If Art Gallery in Columbia as part of a group show spotlighting gallery artists included in the new book, 100 Southern Artists.• Augusta artist and ASU art faculty member Jennifer Onofrio Fornes recently opened a show with her mother, sculptor Judy Onofrio, at the South Dakota Art Museum in Brookings. The exhibit will remain on view at the museum through early January.• Former Augustan Luke Allsbrook has opened an exhibit titled Bare Trees, Bright Water, at the Mason Murer Gallery in Atlanta. Christopher Kuhl, another former Augustan, will have work in the first international multi-media artists exhibit in Yangon, Burma. Advertisement Tue, 02/21/2017 - 22:17 Ramblin’ Rhodes: Opry star Conlee ‘Busted’ for helping others Tue, 02/21/2017 - 22:04 Pop Rocks: Detailed work continues on Miller Theater Dennis Sodomka Wine Time: Star Lane Cabernet Sauvignon 2013, Santa Barbara Don Rhodes Ramblin’ Rhodes: Vince Gill to bring wealth of musical talents back to Augusta

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Related Program: All Things Considered Remembering Mexican Writer Carlos Fuentes By editor Originally published on May 15, 2012 4:46 pm Transcript ROBERT SIEGEL, HOST: One of Mexico's greatest writers has died: Carlos Fuentes. He was 83. Fuentes was a central figure in the Latin American literary boom of the 1960s and '70s. And he was publishing fiction and essays until the end, including an essay published today in the Mexican newspaper Reforma. Our own book critic Alan Cheuse knew Fuentes and reviewed many of his novels. Hi, Alan. ALAN CHEUSE, BYLINE: Hi, Robert. SIEGEL: And first, give us a sense of the broad sweep of Carlos Fuentes' career, and what made his work so important? CHEUSE: He was a master of intertwining local themes - local as in Aztec myth and history, the tumultuous history of the formation of the Mexican nation - and international themes - international politics and the kind of international humane efforts that people work with in politics today. SIEGEL: You worked with him in the late 1980s at George Mason University... CHEUSE: Yes. SIEGEL: ...a period of great upheaval and conflict in Latin America, and that figured in his writing. He mixed politics with his work. CHEUSE: Yes. He arrived - I arrived the same month he did, and he gave a 10-week lecture series on the smoke and mirrors of Mexican history and culture. And I introduced him at his first reading there. Let's say we had a few cups of a certain liquid long before the reading was supposed to begin. And we got to the top of the steps at this amphitheater, and he tripped and tumbled head over heels all the way down this long flight of stairs, picked himself up like an acrobat and turned to the audience and said: Behold, I am here. (SOUNDBITE OF LAUGHTER) SIEGEL: Carlos Fuentes was a very international character. He was the child of a diplomat. I believe he was born in Panama, spent much of his childhood... CHEUSE: Yes. SIEGEL: ...in Washington, where his father was at the embassy. English, I gather, was pristine. CHEUSE: He spoke in not just in sentences but in paragraphs. SIEGEL: He was, obviously, very much a man of the world. CHEUSE: He was a man of the world, but he was a writer of the world too: big, bold, intelligent themes, inventive. He had a mind that worked twice as fast as most other people's minds. And the work showed all of that. And the man was very, very similar to the work. SIEGEL: Of course, he was one of those writers like Graham Greene and I suppose Philip Roth who's always being mentioned as a possible Nobel laureate for literature but never won it. CHEUSE: I don't know about the politics of why he never got the Nobel, but he's now on that long list of great writers who didn't get it. SIEGEL: He kept writing, never stopped. And in fact, I gather, he has a novella coming out later this year. CHEUSE: Yes, in July. It's called "Vlad," and it's about a vampire loose in Mexico City. And then he has a novel coming out in the fall called "Adam in Eden." So he was working, I guess, right up to the very end. SIEGEL: Whom did he influence? When you think of people who owe some aspect of their writing to Carlos Fuentes, where would you go look? CHEUSE: Well, the American writers I know weren't influenced by him line by line or even paragraph by paragraph because of the language difference, but I think he showed us just how big and inventive and bold and daring a writer could be, taking imaginative themes and tying them to everyday life of ordinary people. SIEGEL: And when we speak of a boom, talk about being international and... CHEUSE: Yes. SIEGEL: ...mixing Spanish and English, that's what it was called. The movement was... CHEUSE: El Boom. SIEGEL: El Boom. CHEUSE: Yeah. And he was one of the big sounds in El Boom. SIEGEL: When Latin American literature really came center stage. CHEUSE: It came center stage. It replaced the world of Camus and Sartre and Thomas Mann. It became international. At the same time, it was also American because it was close to our shores. SIEGEL: Alan, thanks for talking with us. CHEUSE: Pleasure. SIEGEL: Carlos Fuentes - that's ALL THINGS CONSIDERED's book critic Alan Cheuse. We were talking about the Mexican writer Carlos Fuentes, who died today in Mexico City. He was 83. Transcript provided by NPR, Copyright National Public Radio.TweetShareGoogle+EmailView the discussion thread. © 2017 KWIT

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2017-09/0320/en_head.json.gz/14622

Jump to: navigation, search Peter Pan in Scarlet, UK edition Peter Pan in Scarlet, US edition Peter Pan in Scarlet is a novel by Geraldine McCaughrean. It is an official sequel to J. M. Barrie's Peter and Wendy, authorised by Great Ormond Street Hospital, who were given the rights to the character and original story by the author. McCaughrean was selected following a competition launched in 2004, in which novelists were invited to submit a sample chapter and plot outline. The book continues the story of the Lost Boys, the Darling family, and Peter Pan, in 1926 during the reign of George V, following World War I. The book was released internationally on October 5, 2006. In the U.K., the first printing consisted of a standard run of approximately 30,000 copies, and a limited edition of 1,500 copies with a specially printed bookplate, individually numbered, and signed by the author. Five copies of a special edition, leather bound in a slipcase were also printed, with copies going to the author, Great Ormond Sreet Hospital, Oxford University Press, Queen Elizabeth, and the last auctioned at the book launch. The book was released in Britain with a cover illustration and interior silhouettes by David Wyatt, and in the United States with a cover illustrated by Tony DiTerlizzi and interior silhouette illustrations by Scott M. Fischer, published by Margaret K. McElderry. The book was also released in audio format in the UK and US. An edition abridged for younger readers by McCaughrean, and fully illustrated in colour by David Wyatt, was published in the UK in October 2008 by Oxford University Press. 3 Themes 5 Continuity with Peter and Wendy The novel sees the return of Wendy Darling, her brother John, and adopted brothers Nibs, Slightly, Tootles, the Twins and Curly, who were once Lost Boys. At the end of Peter and Wendy, the Darling children had brought the Lost Boys home to London where their parents adopted them. The novel opens with John Darling and his wife denying the vivid, realistic dreams he keeps having about Neverland, which bring back different relics of his time there as a child: a cutlass, a pistol, et cetera. We discover that each of the former Lost Boys and Wendy have also been having similar dreams, and Wendy arrives at the conclusion that bombs from the Great War have punched holes through their world into Neverland and dreams and ideas are filtering through. Wendy tells the former Lost Boys, now known as Old Boys, that they must find a way of returning to Neverland to help Peter Pan return both worlds to normalcy. Peter has been dreaming of the Darlings as well, and to his consternation they were much too big. When they and their "new" dog finally return to Neverland, claiming to be dreaming of him too, he is indifferent. He does not even notice that Nibs is absent, nor that Michael is dead. He is concerned only with having the best adventure in the world. When the Neverwood catches on fire, Peter and company escape the island by way of the Jolly Roger, renamed the Jolly Peter. While on board, Captain Pan discovers the late Hook's second-best coat. In the pocket, he finds a treasure map of Neverland. Finally noticing the beginnings of an adventure, he immediately plans to head to the mountain of Neverpeak to claim Captain Hook's treasure. Peter makes a fatal mistake in allowing an adult, the circus master Ravello, to join his crew as butler. Ravello seems very urgent when asking Peter to wear the red coat; he is sure the boy will catch cold without it. But along the journey, Peter grows more and more irritable. He develops a harsh cough, and it seems that whenever he wears the coat he is grouchiest - he banishes the fairy Fireflyer for depleting the food supply, and when he learns Slightly is growing older, he banishes him as well - to the awful Nowhereland, home of all the Long Lost Boys Peter has banished in times past. The band of Explorers is shocked when Peter's speaking becomes littered with sailor terms, and especially when he replaces his customary crow with the word "AVAST"! The hike up Neverpeak is particularly arduous; Ravello offers to detach the children's shadows, so they won't get tangled on the way up. When the band finally reaches the summit of Neverpeak, Peter is impatient to get at the treasure, because he has a feeling that he wants whatever is inside so much. He digs through ice with his bare hands, flaying them raw, only to get at the treasure Peter has grown to want all along - Eton treasures. Wendy asks why Peter wants them so; he barely hears her as he admires a silver trophy, when he again catches his reflection. He looks exactly like a young version of Captain Hook, complete with long black hair and Eton tie. Peter is horrified that he is not himself, when Ravello suddenly reveals himself — he is none other than James Hook, who has survived the crocodile. Hook is still extremely resentful of Peter, and reveals that he served as his valet so he could train him; he wanted Peter to have his own exact feelings, which were passed on to the boy through the old pirate coat. Hook explains that since he is grown he can no longer wish, and he knows Peter is the only one who could wish strong enough for the treasures Hook has wanted all his life. So he cut off Peter's shadow so the boy could not fly, combed the imagination out of his hair, and choked him with the white Eton tie. Peter refuses to believe he has become Hook, even though he knows he has been wishing Hook's wishes and even dreaming Hook's dreams. The band is shocked, and Peter is horrified. Hook nearly steals the boy's childhood by asking him what he wants to be when he grows up, when Slightly suddenly appears. Slightly, who has been dogging the band's trail all along, warns Peter not to answer, because if you answer, you have betrayed childhood and "Looked Ahead" to adulthood. Peter feebly banishes Hook to Nowhereland, but to no avail. The league is stuck on the mountain in a blizzard, with no fire and no way to get down. Then the other outcast appears — Fireflyer, who, to impress the newly revived Tinker Bell, plunges into the brush and starts a fire, surviving the process. But Peter, who has cast off the hated coat, has become cold and ill in his flimsy tunic. He falls to the ground in a coughing fit, and is soon taken up dead. Tootles insists they need a doctor, so Curly Looks Ahead, growing up and becoming a doctor. He makes an incision over Peter's chest, and draws out a long dusty strand. It is soon learned the Ravello and Hook's coat have not been the cause of Peter's demise, but a strand of common London fog brought in on the children's clothes. Warmed by the fire and gladdened by Peter's newfound health, the band finds spirit enough to descend the mountain. But the danger is not yet over - Peter is accosted by the banished Long Lost Boys at the foot of the mountain, where he, John, and Wendy are thrown in the quicksand to sink. Luckily, they manage to pull themselves out, but during the interval, Ravello has arrived, with his returned circus animals. The animals are about to devour Peter and the Explorers, when a band of warring fairies descend and smother the animals. Hook is enraged, and vows to fight the weaponless Peter, but Peter is again saved, this time by the dog the children brought along. Hook is attacked by the Newfoundland, and is at the verge of death, when Wendy says all he needs to heal is a bit of sleep. She gives him a goodnight kiss, and tucks the dying man under his tattered red coat. The children manage to escape without harm, and even find a way home with help from Mr. Smee, but Peter remains on the island. He cannot fly anywhere, because his shadow has not yet grown back. Wendy's good-bye words to Peter are, "I think your mother only shut the window to keep out the FOG!" Unknown to Peter, Ravello "repairs" himself, once again becoming Captain Hook. The story ends with Hook cursing Peter Pan. Characters Peter Pan - Peter, the One-and-Only Child, has taken up a lonely residence in the abandoned Wendy House. At the return of the Darlings, he immediately proposes a quest. Finding the Jolly Roger and renaming it the Jolly Peter, he discovers Hook's map of Neverland, showing treasure on top of mount Neverpeak. Peter faces many obstacles along the way, but uses his cleverness to outwit the enemy, until he is nearly turned into Captain Hook because he has donned the pirate's coat. Peter is nearly killed, but is saved by Dr. Curly. At the end of the novel, The Marvelous Boy is shadowless, and confined to the island because he has lost the ability to fly until his shadow grows back. Wendy Darling - at the start of the novel, the adult Wendy Darling announces they must return to Neverland. Wearing her daughter Jane's clothing, she returns to Neverland and her role as the Lost Boys' mother. Wendy is a stickler for good manners, and she is also very compassionate, feeling sorry and taking care of even the worst villains. Wendy is banished by Peter for saving the enemy, but she completely disregards her sentence. Ravello - Ravello is a travelling man, a circusmaster who set up tent on the island of Neverland. When the island is set on fire, he escapes with his animals to serve as valet to Peter. Ravello is very mysterious - he is clad in a ragged woolen coat, never sleeps, and eats only eggs. It is later revealed that he is none other than Captain Hook, who survived inside the crocodile's stomach, but was mutated by stomach acid into a soft, nothing of a man. Ravello is nearly killed by the Darling's dog which was saving Peter from him, but he survives as Hook, thanks to Wendy's good-night kiss. John Darling - John starts off the novel with the announcement "I won't go to bed". He is terrified by plaguing dreams of Neverland, but later consents to return to Neverland. John tries to be chivalrous throughout the novel, including opening the door for Wendy when she is banished. John's manner bears an allusive resemblance to his father George Darling, when John states "Can't a man be believed in his own house?" Tootles Darling - As an adult, Tootles is a portly Judge who loves his moustache and believes everything can be solved judicially. Tootles has only daughters, so in order to return to Neverland, he must dress like a girl. This is fine with the young female Tootles, who dreams of becoming a princess and a nurse; she would also love to marry Peter, and become Tootles Pan. Curly Darling - Curly is a whippety thin, sensible doctor when he decides to return to Neverland. When Peter's life is threatened, Curly agrees to become an adult, risking banishment to save Peter. Curly escapes banishment, leaving Neverland on raft. Dr. Curly takes along the family Puppy, Nana's great-great-great-grandpuppy, to Neverland and upon returning home is chastised by his children for "growing the puppy". Slightly Darling - Slightly Darling has become a baronet, but his wife has died and he is left childless. He is the only one to "go down to the bottom of the bed" as a way to become a child. Slightly has learned clarinet in his adulthood, and his playing saves the League from a particularly dangerous situation. Slightly begins to grow up while on the island, and is banished by Peter. Slightly's only companion in banishment is the loyal fairy Fireflyer. Slightly helps to save Peter from growing up. When Slightly returns to London, he remains eighteen, and makes a living playing clarinet in a dance band. In this sequel, Slightly seems to have lost his rather conceited personality, and is now portrayed as shy and gentle. First and Second Twin Darling - The grown-up Twins live next door to each other in London, each the father of twin boys. When they return to Neverland, they are only a few who escape banishment by Peter. It is revealed that First Twin and Second Twin are not their actual names, but Marmaduke and Binky. Nibs Darling- Nibs has grown up to work in an office. He completely intended to return to Neverland, but resigned at the thought of leaving his beloved children. Fireflyer - Fireflyer, a silly blue fairy, was born as the result of a baby's laugh in Kensington Garden. He is thoroughly devoted to Slightly, who admired the size of his lies. Fireflyer wishes for Tinker Bell to be alive, and ends up marrying her by the end of the novel. Tinker Bell - Tinker Bell, the fairy that Wendy and John meet in their first adventure to the Neverland, where she was friend of Peter Pan and of the Lost Boys returns as the result of Fireflyer's wishing to meet her and to know her. She ends up marrying him in the end of the novel, where both of them decide to sell dreams to Roamers (ex-lost boys-who were cast out by Peter). Smee - Smee has returned for this novel, and is attributed to the post of both first mate and bo'sun. Smee has taken up residence in the underground den, and knows a great deal about Grief Reef and the Maze of Regrets. He leaves the island for London, where he sets up a shop selling souvenirs from Neverland. Starkey - First mate Starkey has taken control of a steamship, and has reared a group of young Indians for his crew. Starkey launches an unsuccessful attack on the Jolly Peter, and his treasure of 7,284 onions was eaten by Fireflyer. Themes Peter Pan in Scarlet is centered around the idea of "clothes making the man". This theme first appears when the adult Darlings don their children's clothing in order to become children themselves (this is exaggerated in the case of Tootles, who puts on a dress and becomes a girl). Later, Peter Pan discovers Captain Hook's second-best coat, and decides to wear it; Peter then morphs into a form of Captain Hook, even growing long dark curls and inheriting his temper. Only when Peter removes the coat does he become himself again. Later, it is revealed that Ravello, who is clad in unravelling clothes, is really Hook. When Ravello again wears his second-best coat, he is hardened and returns to the form of Captain Hook. Another theme that is stressed in the novel is "time passing where no time should have passed". In Neverland, the land of summertime, it has turned autumnal and scarlet. This is supposedly due to Hook's poison, but it is suggested in the afterword that it may be caused by the war tearing holes in the veil that separates the island from the real world. It is stated that for a few ticks, time has passed in Neverland and caused it to age. Ravello is also exposed to forbidden time when he is trapped inside the crocodile. He should be dead, but he is forced to live a stenching life in a "crocodile tomb", that causes him to decay into a living rag. Further themes are mother-love, healing and growing up. Unlike the original play, which took several years to be adapted into other media, Great Ormond Street Hospital was quick to arrange for Peter Pan in Scarlet to be adapted. A radio adaptation of the book was broadcast on BBC Radio 4 shortly after its release, on October 14, 2006. Narrator/Nibs - Robert Glenister Peter Pan - Daniel Mays Wendy - Kate Maberly Ravello - Roger Allam John - Tom George Tootles (female) - Robin Weaver Tootles (male) - Joseph Kloska Fireflyer - Peter Gunn Curly - Simon Scardifield Slightly - Steven Webb Twin 1 - Damian Lynch Twin 2 - Paul Richard Biggin Starkey/Smee/Roarer - Sam Dale Woman 1/Roarer - Rachel Atkins Tinker Bell - Emerald O'Hanrahan Music composed by David Pickvance; producer/director Celia de Wolff. A movie based on the book is reportedly being produced by a consortium of Headline Pictures, the UK Film Council, and BBC Films. No release date has yet been announced. Continuity with Peter and Wendy In the book it states that characters require a shadow to fly. However, in the original book when Peter's shadow is taken from him in the Darling home, he is able to fly away from the house to escape being caught, and later return to collect the shadow back. The book states that the Neverland is 'always in summertime' but this is not so. According to Barrie, it harbors all seasons at once. The original novel contains an epilogue in which Peter meets the grown-up Wendy and takes her daughter Jane to Neverland. In the sequel this second meeting is never referred to; indeed, it is mentioned that Jane has never met Peter Pan and thinks of Neverland as "just a bedtime story". It can therefore be assumed that Peter Pan in Scarlet takes place before this epilogue which means that Michael may have been killed in WWI Wikipedia: Peter Pan in Scarlet Buy Peter Pan in Scarlet from an independent bookseller Retrieved from "http://neverpedia.com/pan/Peter_Pan_in_Scarlet" Category: Books Views

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Bryn Chapman RssFollowers Bryn Chapman to get instant updates about 'Bryn Chapman' on your MyPage. Meet other similar minded people. Its Free! Description: Bryn Chapman is a former beauty queen and young operatic soprano who is a former Miss Indiana representative and a top-ten finisher in the 2004 Miss America pageant.Chapman was born and raised in Carmel, Indiana but at the age of 13 moved to Kentucky to live with her mother and stepfather for four years, before returning to Carmel High School for her senior year. Whilst living in Kentucky Chapman won the Miss Louisville 2002 title and placed first runner-up to Miss Kentucky 2002. She represented Kentucky in the Miss National Sweetheart pageant for Miss America state runners-up held in September 2003, and placed third runner-up. During this time she was very active as a spokesperson for the American Diabetes and American Heart Associations.In 2003, having returned to Indiana, Chapman won the Miss South Central title and then Miss Indiana 2003. She represented Indiana in the Miss America 2004 competition held in Atlantic City in September 2003 and placed in the top ten at the nationally televised pageant.Chapman completed her undergraduate degree in Vocal Performance at the Jacobs School of Music in Bloomington, Indiana, and continued on to pursue a masters degree at Miami University in Ohio.In December 2006, she married operatic bass singer Campbell Vertesi.

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Squire Adamsson: Or, Where Do You Live? First written in 1862-63 and revised in several subsequent editions, Squire Adamsson was one of the most widely read Swedish novels in the second half of the 19th century. The author, Paul Peter Waldenström (1838-1917), was then a young student in Uppsala, and would later go on to be an influential preacher, critiquing the religious practice of the Lutheran state church and founding the Mission Covenant Church of Sweden. The heroine of the novel is Mother Simple, who assists Adamsson in his journey toward understanding the limitless nature of God’s grace. Several of the themes in this novel build on concepts within Lutheran Pietism as popularized by Spener, Francke, Zinzendorf and C.O. Rosenius, particularly the nature of God’s grace, congregational polity, and the practice of faith. Furthermore, Waldenström’s emphasis on the subjective experience of faith bears similarity to notions of temptation (anfäktelse) articulated by both Luther and Kierkegaard. This new English translation of Squire Adamsson is published by the devotional journal Pietisten in honor of the 150th anniversary of the novel. The translation was completed by Mark Safstrom, lecturer in Swedish at the University of Illinois, and features extensive notes and a scholarly introduction. The novel is introduced by Gracia Grindal, professor emeritus of rhetoric at Luther Seminary. Buy the the printed book - $24.99 Buy the the printed book and eBook bundle - $29.99 Buy the Kindle Edition - $9.99 The Narrow Path by Gracia Grindal My pastor father and mother, serving in the Lutheran Free Church, a small pietistic Norwegian American Lutheran Church, loved to tell the story of a new family in town. The family belonged to an even smaller Norwegian pietistic church body, and had to go shopping for another Lutheran church because there was no congregation in town from their denomination. As Lutheran Pietists they believed strongly that Christians were to separate themselves out from the world, and that to be a Christian was to stand firmly against it. The pastor of the largest Norwegian Lutheran congregation in town came to them and said, “You will want to join our church because everyone belongs to it!” The couple reacted in horror. Such a congregation was the last sort of church they wanted to join, they said, to the puzzlement of the pastor. It was a failure to understand another culture, but more than that, evidence of a great divide, unbridgeable, between the two pieties. (Of such misunderstandings came many jokes in our parsonage!) They might as well have been speaking two completely different languages. The gulf between the pastor and the couple is the conflict that Waldenström and his readers know in their bones: Is one a Christian simply because one is Swedish and part of the state church? Ernst Troeltsch (1865-1923) described the difference in his morphologies of religious groups as a “sect type,” since the sect type emphasizes faith as a decision, believing that the normal beginning of genuine Christian life is spiritual transformation through explicit commitment to Christ and taking responsibility for one’s life in moral terms. Lutherans historically have been both church types and sect types because of the pietistic traditions from which many of the Lutheran immigrants to this country tended to be, especially the Scandinavians. I thought of that story many times while reading Squire Adamsson. For those who understand the “language of Canaan” this book will be easy reading—they will understand what is being said, almost like the secret code that tells everything when a believer in Scandinavia hears the answer to the question, “Are you a believer?” (“Er du troende?”) If you answer, “Of course, I go to church,” your inquirer will know exactly what you are saying, but you will have no idea that they have just heard you say, “I am not a Christian.” I grew up in such a version of Norwegian-American Lutheran pietism, much influenced by Hauge’s revival in Norway and softened some by Carl Olof Rosenius, whom my Grandfather Grindal read for daily devotions along with Bishop Laache, Norway’s chief exponent of Rosenius’ teachings. While I do know my grandparents read Pilgrim’s Progress by John Bunyan, whom some could say was the inspiration for Squire Adamsson, I would not be a bit surprised if they had also read this book. Even though as Americans the Scandinavian state church was not our reality, it lingered in our minds. We knew people who practiced a kind of “churchianity,” as we called it, rather than Christianity. They would be puzzled when a young person in their midst would return from Bible camp, Young Life, or FCA, with the testimony, “Although I was baptized and confirmed a Lutheran, it wasn’t until [some experience] that I came to know Jesus as my personal Savior.” It is still a staple testimony of those who have come to faith through an experience of conversion or an awakening of their baptismal faith. Many Lutherans think that such a statement is somewhat unseemly, and yet it lurks in most Lutheran traditions in America, especially in my part of the Norwegian-American Lutheran tradition. Even though we did not insist on an experience of salvation, we knew it well. We knew faithful Christians who had remained in their baptismal covenant, but also rejoiced at conversions. God could work in many ways, but talk of conversion troubled other Lutherans, especially those from other Lutheran traditions, like Eastern and Missourian Lutherans. Conversion? That’s Baptist! It did not sound, nor look Lutheran to them. We Norwegians made our peace with each other as Norwegian Lutherans in the Madison Agreement of 1912, which said one could be an orthodox Lutheran and not resolve the argument, but value both orthodoxy and pietism as expressions of the faith. Although contested by some, it brought most of the Norwegian Lutherans in this country together in 1917 when they formed the Norwegian Evangelical Lutheran Church, later simply the ELC. The agreement and the tolerance of the theology of conversion that the Norwegians accepted have always stuck in the craw of the other Lutherans in this country as not being Lutheran. The Haugean pietist in me, however, understands the agreement in my bones. As does the Swedish Augustana Lutheran Pietist one would find at the Lutheran Bible Institute, or those among our best friends, Swedish Covenanters. We, after all, began our lives in this country together in the Scandinavian Augustana Synod (1860-1870) until the Norwegians and Danes broke away to form their own seminaries—Augsburg and Augustana. (My part of the Norwegian Lutherans always says, with regret, we merged with the wrong Swedes!) We have always understood, with Luther, whom we read with affection and delight, that faith is not knowledge or ritual, it is a living, breathing, active relationship with Jesus that sets one against the world. Those Lutherans who understand the language of Canaan, most often Pietists, will know the city named World and the city named Holiness, the bookkeeper Conscience (a nice picture) and the city named Evangelium. They may even feel a slight needling at the Mission Society in one area of the City, Sanctification, where the Workshop for the Redeemed keeps people busy doing good. They have met Shepherd-for-Hire, they grew up with Squire Adamsson, and will know why he changes his name to Abrahamsson and then Hagarsson. They know exactly why Mother Simple grows concerned for him, and even why she feels that Immanuel has abandoned her in what Luther would have called the dark night of the soul. They will hear biblical verses and stories referenced naturally as the way people spoke to one another of their common lives. People in these traditions uttered themselves biblically because it was the language they spent their time reading and speaking. And they knew when they were being reproved or upbraided. Waldenström’s book has sharp teeth that cut at all religious and pious delusions. No matter whether one is a church or sect type, one is always surprised by one’s own foibles, or sins. Mother Simple, like many pious women in my background, is the voice of the true Christian, calling back, reproving, encouraging, speaking the truth. One thinks of Lina Sandell, whom the leaders of the Swedish revival knew would be a spiritual leader from her childhood on, or of Kristine in the first part of Bo Giertz,’ Hammer of God, who is able to bring peace to the dying man when the young seminary graduate could not. They are, however, not without their own spiritual struggles and terrors, all of which devout Christians know and fear. This is an edifying and cautionary tale for awakened Christians (and maybe for those church types trying to figure them out) to watch for all the ditches along the narrow way, from lukewarm Christianity that wants to sue for peace with the world to intellectualizing the faith, to works that try to hide the lack of faith, to other enthusiasms we delude ourselves with as we live both in and outside the church. There are dragons on all sides, and only Immanuel can save us. Mother Simple knows that and teaches us that the Christian life is not onward and upward, but daily ups and downs, lapses and successes, that turn us toward Immanuel. Faith in him assures that we are counted as righteous, nothing else. Waldenström knew where all the dragons lay in wait, and his book is an edifying guide on our way.

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dimecres, 18 de novembre de 2009 Gorge Zarkadakis - New author at SalmaiaLit We are happy to post information about 'The Island Survival Guide' a novel by George Zarkadakis, a new author (who writes both in Greek and English) that has just joined SalmaiaLit.'The Island Survival Guide' is already published in Spanish (Ediciones B) and Greek (Kedros), and we hope more foreign languages will follow soon. With remarkable talent and energy, George Zarkadakis creates in this novel a bizarre world brimming with suspense, as well as a fascinating journey into the mysterious nature of identity and consciousness. In Spain the author has been compared to a Murakami, Auster or Vonnegut. The Spanish newspaper 'El País' has said: "Philosophical speculation plenty with mystery and abundant literary references are revealed in the narrative world created by Zarkadakis in “The Island Survival Guide” (Ediciones B), a thriller which allows the author to establish a complete drama which unfolds with agility and freshness". - El País Below please find more information about the novel's plot and the author.***A stunning novel of ideas -and a murder mystery - in the spirit of Haruki Murakami, Paul Auster, or the recent ‘The Remainder’ by Tom McCarthy.Imagine that you couldn't see your reflection in a mirror or your image in a photograph. Such is the last day of life for Alexander Eleftheriou, a Greek journalist suffering from a rare neurological disease that renders him invisible to himself. Alex must decide whether to have surgery that would correct the problem but wipe out his identity, or waive the surgery to keep his sense of self…but surely die within days. Ironically, Alexander's brain disorder is not his biggest problem as he becomes the victim of an assassination attempt. As he sinks into a coma, Alex embarks on a surreal odyssey in his last moments of life, while his newspaper colleagues struggle to solve the mystery behind his imminent death. Alexander's fantastical journey reveals his greater role in the universe as he travels to an infinite bookstore, uncovers dark secrets about his parents' past during the German occupation of Athens in World War II, and reunites with his long lost love, Mina. With remarkable talent and energy, George Zarkadakis creates a bizarre world brimming with suspense, as well as a fascinating journey into the mysterious nature of identity and consciousness.George Zarkadakis (Athens, 1964) is the publisher of Avgo Books, the science imprint of Oceanida Publications. He is the author of four other novels, which have been published in Greece, Italy and Spain. His second novel End of the East was runner up for the prestigious Greek State Literary Prize. George holds a Ph.D. in Artificial Intelligence and was formerly the Editor-in-Chief of Focus magazine, the largest popular science magazine in Greece. He has written for television, published short stories, poetry, science books, and several of his plays have been staged in Athens. This is his first novel in English. Publicat per El anticuario: deals in Poland, Russia and Czech R... The August Prize goes to The Destitutes of Lodz! Dido, Queen of Carthage. By Isabel Barceló

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Another chapter in the mystery of Everett Ruess Jul 02, 2008 | 1535 views | 0 | 33 | | A new chapter is being added to one of the enduring mysteries of the Canyon Country, the fate of Everett Ruess. And this chapter has a San Juan County connection.Ruess, a gifted and adventurous youth renowned for his writings and art, simply vanished in the canyon country in 1934, at the age of 20. His whereabouts have been the topic of much speculation in the subsequent 74 years. Despite years of search, the desert has not given up its secret about the fate of Ruess.Now, a Bluff resident is dedicated to investigating the possibility that Ruess was murdered in San Juan County. Dennison “Denny” Bellson has spent much of the past month tracking the details of a family story about a murder long ago. Bellson first heard the story in May about his grandfather, Aneth Nez. In the story, Nez, then in his 30s, witnessed the murder of a white man with light brown hair in an area south of the San Juan River. The few details of the story include that Nez witnessed the murder from a vantage point high above the valley floor below. He said that the man was killed by a group of unfamiliar Native Americans, who hit him over the head with a rock and then stole two mules.Nez buriedthe body soon after the murder and returned to the scene of the crime many years later, in the 1970s, for ceremonial purposes. He never did notify authorities of what he had witnessed in the 1930s. Nez passed away in 1983.Bellson said he never heard of Everett Ruess until after he heard the story. He said Ruess’ name was mentioned several times as he asked local residents for information on unsolved crimes in the 1930s.Determined to investigate further, Bellson began to search near the Poncho House ruins south of Bluff, assuming the murder took place there.It didn’t take long before Bellson found human remains and notified authorities. Upon closer inspection, investigators determined the remains were of a mother and child and were several hundred years old. Even after the first failed effort, Bellson was determined to track down the mystery. The FBI agents encouraged him to continue to look, just not near Anasazi ruins. So he returned to maps and talked to family members to narrow the search area. The research sent him several miles north of the Poncho House ruins.With a metal detector and a keen eye for detail, Bellson searched for an area that fit the criteria. The first clues he was getting close were the remains of saddle leather strewn about the area. Bellson guesses his grandfather may have used the saddle to move and bury the body and simply abandoned the saddle afterward.Bellson eventually found human remains, including a skull with apparent blunt force trauma to the head. He has not disturbed the remains until law enforcement officials are able to investigate.Law enforcement officials discussed the challenges faced in identifying remains of a body that has been exposed to the elements in the canyon country for more than 70 years. Possible evidence that may help identify the body include dental records or materials interred with the body.Bellson has learned much about Ruess in the past month. In addition to books, videos and on the internet, he has heard that a Navajo Medicine Man once dreamed that Ruess would eventually be found near the San Juan River.Ruess was a young man from Monterrey, California, who left his comfortable surroundings and pursued his dream of solitude in the Desert Southwest. While many speculate Ruess was killed in the Escalante region by jealous prospectors or from a fall, he spent time in the San Juan wilderness east of the Colorado River. Bellson speculates Ruess may have left the Escalante area, where he was known to be in 1934, for Canyon de Chelly in Arizona, where he had been the prior winter. The trail would have led through San Juan County, where he may have run into trouble, Bellson hopes that his search for the identity of the body near the San Juan River helps solve the mystery of Ruess. He quoted a family member, who said, “There is somebody down there in that canyon who had a family somewhere. They still wonder where he is.”Time will tell whether this is simply a new chapter or the final chapter in the Everett Ruess mystery.

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Thamaniat wa ushrun laylan wa bayt min al-sheir Twenty-Eight Nights and A Poem FILM EXCERPT © Akram Zaatari [...] | Twenty-Eight Nights and ... LBN/FRA by: Akram Zaatari © Akram Zaatari Feb 11, 2015 | Akram Zaatari [...] Feb 11, 2015Akram Zaatari The director of the Lebanese film. ForumThamaniat wa ushrun laylan wa bayt min al-sheir (Twenty-Eight Nights and A Poem) The song ‘Fil bahr’ (At Sea) extols the moon in twenty-eight different ways before finally making its point about the fleeting nature of love at the end. Different variations on one and the same thing, each an original: 28 Nights and a Poem is an interpretation of the archive of the Sheherazade photo studio. Photographer Hashem el Madani opened the studio in 1953 in the Lebanese city of Saïda after spending years photographing people in front of their shops, in public squares or at the beach to satisfy their wish to appear before the camera. Some of the poses he captured on film were adopted by those who saw the photographs and subsequently took on a life of their own. They were recorded by photo and 8 mm cameras and are accompanied in the film by songs recorded on cassette tapes and played back on a laptop, together with el Madani’s stories. In one children’s programme, a polyphonic song is used to teach the alphabet. The archive’s numerical ordering system is topsy-turvy because the booklet with the list of recordings was held the wrong way round. The archive does not actually exist in itself, but is generated by a system of recordings and transmissions in infinite variations. Lebanon / France 2015, 120 min Akram Zaatari

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A Millennium Miscellany Millennium Central The Millennium The 20th Century 1999: The Year in Review Spelling Era Time Magazine reported that millennium is not only one of the most overused words of the year, but one of the most frequently misspelled. In 1999, newspapers and magazines left out the second n in the word at least 4,709 times. Millennium Over-Chil Sick to death of the word millennium? Be the first in your crowd to switch to the little used synonym, chiliad, (pronounced kill-ee-ad) as in, "all this crass chiliastic hype is getting to me," or "technically, this chiliad doesn't end until 2001." That's chiliad with one l. Wherefore Art Thou Y2K? The second most overused word of the year was virtually unheard of before 1999. The term Y2K was actually coined more than five years ago, according to Slate magazine. In fact, Slate identifies the exact moment of its creation: an email sent on Monday, June 12, 1995, at 11:31 p.m. The inventor was not some high-strung teen-age computer geek as some of us might assume, but a distinguished looking 52-year-old computer consultant from Massachusetts. As Y2K's creator David Eddy told Slate, "People were calling it Year 2000, CDC [Century Date Change], Faddle [Faulty Date Logic]. There were other contenders. [Y2K] just came off my fingertips." See the Slate article, which offers an exhaustive exegesis of the term. The Just-in-Time-for-the-Millennium Department In Dec. 1999, Pope John Paul II publicly apologized for the Catholic Church's execution of Czech reform leader Jan Hus, who was burned at the stake for heresy some 584 years ago, in 1415. In Oct. 1999, Alabama rescinded the nation's last remaining ban on interracial marriages among the 50 states. Alabama's 1901 constitution prohibited a black person, or any descendant of a black person, from marrying a white person. South Carolina (which only rescinded its miscegenation laws 8 months before Alabama) will be the only state entering the millennium with the Confederate flag flying over its statehouse (Alabama abandoned its Confederate flag in 1993). In Italy, more than 100 misdemeanors were decriminalized in 1999. It is finally legal for Italians to insult a public official, duel, get drunk in public, or beg "in a repugnant or tormenting manner." Blasphemy and exhibiting "insulting behavior" toward the dead are now also among the civil rights of every Italian citizen. Free at last. For years, New Hampshire was the only state without a Martin Luther King Jr. holiday and one of only two states outlawing gays from adopting. In 1999 it not only instituted Martin Luther King Day but changed its adoption laws, leaving Florida the only state prohibiting adoption by gays. Kuwait's ruler, Emir Sheikh Jaber al-Ahmad al-Sabah, issued a decree in 1999 giving Kuwaiti women the right to vote for the first time. An incensed Kuwaiti parliament, however, rescinded the decree. So there are still a few pockets of the world that could do with enlightenment in the new millennium. First NASA Loses the Mars Lander, Now It Delays the Millennium According to the physics magazine CERN Courier, in order to launch Cassini-Huygens space vehicle on its seven-year journey to Saturn, NASA had to perform a slingshot maneuver last August that caused the Earth's orbit to slow by about one-millionth of one-millionth of a second. As a consequence, there will a corresponding delay in the arrival of the new year. Reset your atomic clocks accordingly. Millennium Meretriciousness Amid the spangled Y2K tee-shirts and other millennium novelties, two creations have distinguished themselves as the very best examples of shameless marketing and worthless gimmickry: The Cheap and Cheesy Award: The Friskies® Millennium Memories Scrapbook, "Complete with colorful growth charts, special sections for important milestones, and dedicated space for tracking visits to the veterinarian." The scrapbook is free with just six UPCs (bar codes) from any Friskies dry, canned, or treat cat or dog food product plus $1.99 for shipping and handling. Don't kid yourselves, cat lovers. It is the rare cat who will deign to recognize the millennium—few are slaves to the Gregorian calendar. A Fool and His or Her Money Award: The $10 Million Millennium Bra by Victoria's Secret is made up of 3,024 diamonds and sapphires. Diamonds that spell out "2000" adorn the left strap, in case you were wondering what was millennial about it besides the price. A matching string bikini is thrown in for free and an armored car will deliver it in time for the big night. If you wake up the next morning hung over and bankrupt, don't even think of bringing it back—a Victoria's Secret spokesperson explains that it is "not returnable because it's custom made." Twentieth Century Dinosaurs The term twentieth century has stood for progress, modernity, and the state-of-the-art, but it will soon become synonymous with the previous century. To dissociate themselves with such passé mustiness, a number of innovative companies will be keeping up with the times by having a name change. Twentieth Century Industries in Woodland Hills, Calif., for example, will change its name on Jan. 1 to the Twenty-first Century Insurance Group. According to the New York Times, however, at least one company is insisting that its temporal name has a timelessness about it: Twentieth Century-Fox film and TV studios has announced, "there is no chance of our changing such a well-known and respected name. If it was good enough for the 20th century, it is good enough for the 21st." More Features !

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Kerby A. Miller, Arnold Schrier, Bruce D. Boling, David N. Doyle, eds. Irish Immigrants in the Land of Canaan: Letters and Memoirs from Colonial and Revolutionary America, 1675-1815. New York: Oxford University Press, 2003. xxvii + 788 pp. $83.00 (paper), ISBN 978-0-19-515489-4; $108.90 (cloth), ISBN 978-0-19-504513-0. Reviewed by Patrick Griffin (Department of History, Ohio University) Published on H-Atlantic (February, 2004) An Essential Resource for Irish, Early American, and Atlantic History Irish Immigrants in the Land of Canaan is a remarkable piece of work. Ostensibly, the editors intended to showcase a wonderful collection of documents including letters, diary entries, and memoirs that illuminate the experience of the earliest migrants from Ireland to America. Finding these obscure documents, transcribing and contextualizing them, are amazing achievements in their own right. But the editors--and we should really call them authors--have given us much more. Not only do they interpret each of these documents ranging from the mid-seventeenth to the early-nineteenth centuries, but they also provide penetrating explanations for the movement and adaptation of more than 400,000 men and women from the Old World to the New. By uncovering in rich detail the experiences of so many who animated early modern Ireland, America, and a broader Atlantic world, the authors have reclaimed a "lost" phase of Irish-American history. Through their efforts, we can now appreciate the scope and scale of Irish migration during the eighteenth century, as well as the human face of that movement. Moreover, the authors suggest that the formative period of the Irish-American experience took shape not during the years of famine migration but much earlier, when Irishmen and women of all denominational stripes took advantage of the pre-industrial linkages between Ireland and America to better their lot. These men and women left Ireland and arrived in America during arguably the most formative periods of each nation's past. And this epic movement, often overshadowed by the millions who would sail the ocean a few generations later, had great and lasting influences on both sending and receiving societies. Irish Immigrants is the work of four writer/editors: Kerby Miller, Arnold Schrier, Bruce Boling, and David Noel Doyle. While the scope of the book reflects the broad Irish-American interests of David Doyle's work--in particular his splendid book Ireland, Irishmen, and Revolutionary America, 1760-1820 (1981)--the interpretations offered are "the final responsibility" (p. xii) of Kerby Miller, the author of the epic Emigrants and Exiles: Ireland and the Irish Exodus to North America (1985). We see in Irish Immigrants in the Land of Canaan many of the sensibilities that animated Miller's earlier work. This book, like Emigrants and Exiles, suggests that a transatlantic approach, one rooted in the archives and literatures of both sides of the Atlantic, offers the only meaningful way to recreate the experiences of those who lived lives in both the Old and New Worlds. The book, therefore, charts the fortunes of men and women who migrated as a single transatlantic sequence of experience. It covers who the migrants were and why they left, how they adapted to a new environment, and the effects these movements had on both sides of the ocean. The first two parts of the collection explore the Irish side of the equation, detailing the "causes" and "processes" of migration. The middle sections, more firmly rooted in America, offer a glimpse of the multifaceted ways different types of migrants struggled to make sense of the new societies and peoples they encountered. The authors arrange these chapters along occupational lines, examining the things migrants did to understand how they negotiated the New World. Finally, the book focuses on the ways in which these men and women shaped and were informed by the epic struggles of the late-eighteenth century--the American Revolution and the political tumults in Ireland in the years thereafter--by illustrating how the men and women who settled in America viewed their experiences through transatlantic lenses. Each of these sections, which can stand alone, includes a number of letters arranged in chronological order that contribute to the broader themes discussed. The section on "farmers and planters," for example, begins with a letter from John Blake, who settled in the Caribbean in the seventeenth century, and concludes with a nineteenth-century letter from Pennsylvania to Donegal written by James and Hannah Crockett, whose extended family stretched from Ulster to New York City, New Jersey, and Tennessee. Although the settings of the two vignettes are separated by thousands of miles, and a century and a half, the similarities are striking. Blake and the Crocketts came to terms with a New World by employing Old World ways, and each tenaciously hung on to the transatlantic connections by which they defined themselves. The use of letters such as these often written to close relations back "home" gives the volume an intimate feel. Relying on private correspondence to frame a transatlantic narrative humanizes the movement of so many individuals whom we are all too accustomed to view as bits of demographic data. The authors have encased each of these letters in brilliant little essays that discuss what was going on in both sending and receiving regions and that offer in-depth portraits of each of the subjects. Like these Irish migrants, the authors have proven amazingly adaptive, ranging far and wide over historiographical debates and demonstrating a familiarity with the details of disparate times and places. Through these snapshots a number of patterns of early Irish migration to America emerge. For starters, we could call the men and women who left the "up-rooted" and the "un-rooted." Flying in the face of many assumptions about the Presbyterian character of eighteenth-century Irish migration, the book argues that all migrants did not sail from Ulster. No doubt, most did. Yet a small but vital stream of Catholics trickled over in the years before 1800. These people defy some of the enduring generalizations about early modern Irish migration. Before they left, they were not linked to America through the production of linen or through adherence to a reformed Protestant faith. In the fluid world of America, most would abandon their Catholic faith and meld in with their Protestant neighbors. Many of the Ulster Scots who left Ireland--the so-called Scots Irish--had a different experience in the Atlantic world. Some had only spent as little as a generation in Ireland, particularly in areas around Derry, which had witnessed a huge movement of Presbyterians from Scotland in the 1690s, before coming to America. Yet this culture of movement--a distinct aspect of a larger "world of motion" that Bernard Bailyn argues animated the whole early modern Atlantic--did not preclude them from holding onto faith traditions more tenaciously than their Catholic neighbors. What emerges in this book, then, is a kaleidoscopic world of Presbyterians, Quakers, Anglicans, and Catholics facing periods of uncertainty in the Old World and betting their futures on a promising, yet just as uncertain, New World. These various peoples came from a fluid early modern Irish society--one, of course, defined along confessional lines, yet one caught in the grips of profound demographic, economic, and political change. If there was one constant, it was the viability of cultural and commercial bonds between Ireland and America. In the seventeenth century, these links would take the Irish, especially those from Munster, to places like Montserrat. A century later, the chosen destination became the American region most closely connected to Ulster: the Middle Colonies. Finally, in the early-nineteenth century, increasing numbers of Irish migrants immersed in a burgeoning industrial Atlantic economy would people the growing American cities in the East and the developing West. The kaleidoscopic nature of the transatlantic experience prepared migrants well--perhaps too well--for the challenges of the New World. At times they found common cause with their Euro-American neighbors. All too often, however, this ability to get along in a plural world came at the expense of Indians. A number of documents dealing with the Scots Irish on the American frontier illustrate the vexed relationship this group had with Indians. As the title of the book suggests, America could be viewed as a new promised land. But something else is at work with the use of the term "Canaan." At times, just as Protestants in Ireland could regard Catholics as beyond God's reach (much like the Canaanites of the Old Testament), the Scots Irish could also view America's natives. Just as the cursed Canaanites forfeited their land to a chosen people, so too, of course, did Ireland's Catholics and America's Indians. The men and women who traveled from Ireland to the New World demonstrated an amazing adaptive capacity in re-fashioning older cultural ways in a new context. However, Old World lenses at times could prove resistant to change; indeed, some of the more pernicious understandings of cultural difference that had flourished in Ireland--far from softening--hardened in America. In Irish Immigrants in the Land of Canaan, no stone goes unturned in finding the smallest detail of the lives and experiences of each of the subjects. Yet through this painstaking approach, a larger, vivid picture emerges. And at the heart of this portrait--and the book for that matter--lies the meaning of "Irishness." Out of the transatlantic experience of migrants that reshaped Ireland and America "emerged modern 'Irish' (and 'Scotch-Irish') ethnic and political identities on both sides of the Atlantic Ocean." These sensibilities would change, merge, and diverge over time as they "not only reflected but even helped create the categories of 'Irish' identity that emerged in contemporary political discourse on both sides of the Atlantic" (pp. 8-9). Irish Immigrants in the Land of Canaan is a monumental achievement. Historians of early modern Ireland, colonial America, and the British Atlantic world now have at their disposal a rich resource that they can dip into time and time again to gain a more intimate understanding of what it meant to navigate the difficult shoals between the Old and New Worlds. If there is additional discussion of this review, you may access it through the network, at: https://networks.h-net.org/h-atlantic. Citation: Patrick Griffin. Review of Miller, Kerby A.; Schrier, Arnold; Boling, Bruce D.; Doyle, David N., eds., Irish Immigrants in the Land of Canaan: Letters and Memoirs from Colonial and Revolutionary America, 1675-1815. H-Atlantic, H-Net Reviews.

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May 13 Reading, Complications Posted in Uncategorized by whytherearewords on April 16, 2010 May 13, 7 PM at Studio 333. $5 gets you in. The theme is Complications. You know what those are. So do the authors who’ll be reading. Come and hear theirs. Daniel Handler is the author of the novels The Basic Eight, Watch Your Mouth, and Adverbs, and far too many books as Lemony Snicket, including the forthcoming 13 Words, a collaboration with Maira Kalman. He lives in San Francisco with his wife and child. Tony DuShane Tony DuShane is the author of Confessions of a Teenage Jesus Jerk, a novel loosely based on his life growing up a Jehovah’s Witness. Vanity Fair picked it as a Hot Type title for March 2010. He lives in San Francisco’s Tenderloin and writes for lots of publications including the San Francisco Chronicle, The Believer, Mother Jones, and SFGate.com. He hosts the radio show Drinks with Tony and DJs at bars and clubs around San Francisco. He uses Wild Hair Moustache Wax and is obsessed with the World’s Strongest Man Competition. Lori Ostlund Lori Ostlund’s first collection of stories, The Bigness of the World, received the 2008 Flannery O’Connor Award for Short Fiction and was published by the University of Georgia Press in October 2009. She was one of six emerging women writers chosen to receive a Rona Jaffe Foundation Writers’ Award in 2009. Her stories have appeared in New England Review, The Georgia Review, and The Kenyon Review, among other journals. She teaches developmental English and story writing at The Art Institute of California-San Francisco and is currently at work on a novel and a second story collection. Christina Sunley Christina Sunley was born in New York City, raised on Long Island, and has lived for the past twenty years in the San Francisco Bay Area. She attended Wesleyan University, got a BFA in Film from New York University, and received her Masters in English/Creative Writing from San Francisco State University. Christina’s short fiction has appeared in a variety of literary journals. She was a writer-in-residence at Klaustrið (The Monastery), a stone farmhouse in a remote area, near where her grandfather had lived. The Tricking of Freya is her first novel, about which Publishers Weekly (starred review) said “”This grand coming-of-age-novel boasts a dynamic set of characters and a rich bank of cultural and personal lore, making this dark, cold family tale a surprisingly lush experience.” Christina also works full-time in the nonprofit sector. Bora Reed Bora Reed was born in Seoul, Korea, and grew up in Southern California. In 2002, she left her job in campus ministry, went to writing school, and started working on a novel set in the Korean War. In 2006, she was privileged to travel to North Korea with her father, who left Pyongyang in 1950 as a war refugee. North Korea, then and now, remains one of her enduring interests. To support her writing habit, Bora now works as an editor at the Goldman School of Public Policy at UC Berkeley. She holds a MFA from Warren Wilson College and a MA in Theology from the Graduate Theological Union. Ethel Rohan Born and raised in Dublin, Ireland, Ethel Rohan now lives in San Francisco. She received her MFA in fiction from Mills College, CA. While there, she was awarded both a Dean’s Undergraduate Merit Scholarship and an Alumni Graduate Merit Scholarship. Her work has or will appear in Storyglossia, Keyhole 9, The Emerson Review, Los Angeles Review, and Potomac Review, among many others. She blogs at her website. Share this:FacebookTwitterPinterestStumbleUponTumblrRedditGoogleLinkedInEmailPrintLike this:Like Loading... Tagged with: 13 Words, Adverbs, Basic Eight, books, Bora Reed, Christina Sunley, Confessions of a Teenage Jesus Jerk, Daniel Handler, Drinks with Tony, Ethel Rohan, Flannery O'Connor Award for Short Fiction, Keyhole 9, Klaustrio, Lemony Snicket, literary reading series, literature, Lori Ostlund, Los Angeles Review, Maira Kalman, Mills College MFA, Mother Jones, New England Review, Potomac Review, reading, reading series, Rona Jaffe Foundation Writers' Award, San Francisco, San Francisco Statue University, Sausalito, Storyglossia, Studio 333, The Art Institute of California, The Believer, The Bigness of the World, The Emerson Review, The Georgia Review, The Kenyon Review, The Tricking of Freya, Tony DuShane, Vanity Fair Hot Type title, Warren Wilson MFA Program for Writers, Watch Your Mouth, writers 1 comment « Marin Independent Journal covers WTAW June 10 Reading: “Heat” » Literature News | Dark Sky Magazine said, on June 21, 2010 at 11:49 am [...] generous support and encouragement. Last month, I had the great honor of reading alongside Lori at Why There Are Words. While we waited for our turn at the podium, we shared a tiny couch together. Our shoulders [...]

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AICN COMICS STM EXCLUSIVE Q&@ w JMS & GEOFF JOHNS on DC EARTH ONE! Published at: Dec. 7, 2009, 9:07 p.m. CST by ambush bug @@@@ EXTRA! EXTRA! @@@@ SPECIAL EDITION! @@@@ Special Two-part Q&@ with J.M. Straczynski & Geoff Johns on DC EARTH ONE! @@@@ EXTRA! EXTRA! @@@@ SPECIAL EDITION! @@@@ What’s SHOOT THE MESSENGER? Well, AICN COMICS: SHOOT THE MESSENGER is your weekly one stop shop for comic book -EWS. What’s comic book –EWS? Well, it’s our hodge podge of everything not reviews here at AICN Comics. Sure you can find out the @$$Holes’ critical opinions of your favorite books every Wednesday at AICN Comics. But here, you’ll find special reports such as previews, interviews, special features, and occasionally news gathered here from our online brethren at Newsarama, CBR, Wizard, etc. Sure those guys are the best at reporting news as it breaks. Click on the links for the original stories. This column cuts the crap to run down all the vital information for those of you who don’t follow it as it comes in, and serves it all up with that special ingredient of @$$y goodness. Good Morning, Talkbackers! Ambush Bug here. We’ve got an extra special column this bright and shiny Monday morning. We’ll have an AVATAR contest, an interview with myself from my book signing for my new comic THE TINGLERS and Matt Adler’s interview with LENORE’s Roman Dirge, plus a whole slew of previews in an extra special Tuesday edition of Shoot the Messenger tomorrow. But this column is going to be dedicated to a trio of very cool exclusives for you all. First we have a pair of exclusive interviews with J.M. Straczynski and Geoff Johns concerning the just announced SUPERMAN: EARTH ONE and BATMAN: EARTH ONE graphic novels! This morning, DC announced a pair of huge 2010 releases: SUPERMAN: EARTH ONE and BATMAN: EARTH ONE, two graphic novels spotlighting the most powerful heroes of the DC Universe, with their first years and earliest moments retold in a standalone, original graphic novel format. SUPERMAN: EARTH ONE will be written by J.M. Straczynski and drawn by Shane Davis. BATMAN: EARTH ONE will be written by Geoff Johns with art by Gary Frank. Read more about this one from The Source. I had a chance to talk with both Straczynski and Johns about these exciting new books. What secrets will be told? Does this major announcement mean the end of monthly comics? These questions and more will be answered. Read on… Bug and JMS talk SUPERMAN: EARTH ONE! AMBUSH BUG: Tell me a little bit about the premise behind SUPERMAN: EARTH ONE. J. Michael Straczynski (JMS): There's this notion, which has really become a kind of accepted cliché, that as soon as you get powers, you put on a superhero (or super-villain) costume and you're off to the races. But logically, there would have to come a moment when you have to decide if you actually want to do that, or if you should do that. It's that moment in the Garden of Gethsemane where you have to decide if you want to endure everything that's going to happen to you if you decide to expose yourself. Clark comes to Metropolis in his 21st year to decide what he really wants to do. And this is someone who can be anyone, do anything. If he keeps his background secret, as he's done for the preceding 21 years, he can be the best athlete the world has ever known, he could be the next Stephen Hawking, could take away the golf crown from Tiger Woods, create patents that could earn billions. He can finally step out of the shadows and into the light. By contrast, if he chooses to become Superman, then Clark must live forever in the shadows, dedicated to a life of service and self-sacrifice that could eventually get him killed. That's a hard choice for anybody to make, let alone a 21 year old kid who wants to look after his mom and is lured by the idea of money and success and fame. So the story is about Clark's Gethsemane moment, when he has to finally make that choice, why he makes it, and what follows after. Against this backdrop, we flash back to his life growing up in Smallville, so we can see how the Kents helped mold him and protect him and get him to a point in his life where he can finally make this most difficult of choices. BUG: How is your take on the younger years of Superman going to be different than previous takes on his origin? JMS: This is probably one of the most often told and re-told stories in comics history, so you have to be careful to preserve what's established while trying to find areas where you can bring a fresh approach. But I'll be straight up with

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You no longer follow Gilmara Lima Mendes OK You now follow Gilmara Lima Mendes OK Gilmara Lima Mendes Audible Obsessed wishes she had more time for so many audiobooks. Piscataway, New Jersey | Member Since 2012 The Mark of Athena: The Heroes of Olympus, Book 3 Narrated by Joshua Swanson Annabeth is terrified. Just when she’s about to be reunited with Percy - after six months of being apart, thanks to Hera - it looks like Camp Jupiter is preparing for war. As Annabeth and her friends Jason, Piper, and Leo fly in on the Argo II, she can’t blame the Roman demigods for thinking the ship is a Greek weapon. With its steaming bronze dragon figurehead, Leo’s fantastical creation doesn’t appear friendly. Annabeth hopes that the sight of their praetor Jason on deck will reassure the Romans. Jm says: "Felt like an episode of a weekly tv series..." "Adventurous to the core!" Where does The Mark of Athena rank among all the audiobooks you’ve listened to so far? It is one of the most exciting audiobooks to which I've listened. Rick Riordan's stories just gets better and better. It is the third book of the Heroes of Olympus Series, and it is filled with suspense, adventure and wit. I love the humor in it. All the characters are unique and original. When you think nothing new can come along, R. Riordan keeps surprising us. I loved the fact that even though these kids (demigods) are from 13 to 16 they have maturity to face all those dilemmas and adventures. I see many adult characteristics in them. They have different personality traits, but combined, they can do some serious damage to monsters. The one where they appear with the Argo2 to save Annabeth. Yes. I couldn't stop listening to it. Now, My hands are sweaty, my breath is shaky, and my heart is beating anxiously waiting for the next book - The House of Hades. I don't know what I am going to do to be able to wait another year for this.A thing I love about R. Riordan's books is that he doesn't miss detail, and even though there is a lot of mystery and suspense, you can't get tired of all the action. Actually, you can't get enough of it. A Grimm Warning: The Land of Stories, Book 3 Narrated by Chris Colfer By Chris Colfer Conner Bailey thinks his fairy-tale adventures are behind him - until he discovers a mysterious clue left by the famous Brothers Grimm. With help from his classmate Bree and the outlandish Mother Goose, Conner sets off on a mission across Europe to crack a two-hundred-year-old code. Meanwhile, Alex Bailey is training to become the next Fairy Godmother...but her attempts at granting wishes never go as planned. Will she ever be truly ready to lead the Fairy Council? Gilmara Lima Mendes says: "It keeps getting better!" When I read Land of stories 1, I was still unsure of what I was getting myself into, but then I moved onto Land of Stories 2, and it got better, but now, with A Grimm warning, Chris Colfer left a cliffhanger that makes me itch! Very nice and unexpected ending! When is the next one out?The author gives those beloved characters we know so well, a personality, interesting points of view, and most importantly, something to fight for.It is very nice to see characters like Red, who is a spoiled brat, turning into a woman who wants to fight for something bigger than herself, and not having temper tantrums. The author also presents new characters with very intriguing storylines for us to follow. Like I said, it keeps getting better and better. I can't wait for the fourth one.5 stars to Chris Colfer's performance, which also keeps on improving each time! If you are unsure about getting this book or not, take it. It is awesome, and like I said, better than the first two. You will not regret it.Now, if you haven't read the first two, I suggest you do, otherwise you might not understand what is in store for you here. Narrated by Alex McKenna Every morning, A wakes in a different person’s body, a different person’s life. There’s never any warning about where it will be or who it will be. A has made peace with that, even established guidelines by which to live: Never get too attached. Avoid being noticed. Do not interfere. It’s all fine until the morning that A wakes up in the body of Justin and meets Justin’s girlfriend, Rhiannon. From that moment, the rules by which A has been living no longer apply.... "Original & Moving" "Love the inside and outside." Despite the fact that this book can make the reader (listener) a little confused, it brings a very interesting and unique perspective about love. Nowadays people don't really worry about loving someone for what they are, but for what they have. It is very easy to fall in love with the way one looks, but very hard to fall for what they truly are inside, and this book kind of forces us to reflect on that aspect of love, and also love without gender. Just love. Another interesting thing to consider about the story is: would we be able to give up our own happiness so that others could be happy? I truly liked this book, but if you are into happy endings or normal and convenient stuff, you might not appreciate this book. Narrated by Wil Wheaton The space-faring Yherajk have come to Earth to meet us and to begin humanity's first interstellar friendship. There's just one problem: They're hideously ugly and they smell like rotting fish. So getting humanity's trust is a challenge. The Yherajk need someone who can help them close the deal. Enter Thomas Stein, who knows something about closing deals. He's one of Hollywood's hottest young agents. C. Paget says: "Peaceful Sci-fi" If you are looking for some Sci-fi without all the fighting and bad - ET drama, this book is for you. In this book, Josh, an ET and all his race are trying to befriend the people on earth, but because of their appearance and smell, which are completely different and even a little repellent (the smell), they have to find someone to mediate this encounter, more precisely, an agent, Tom. Tom is one of the youngest and most successful agents in LA, and he has to deal with all the pressure of being an agent in Hollywood and having all these famous clients, especially one particular new movie star called Michelle Beck (who is very important to the story), and on top of that, being the agent of an entire race, which can't be easy. I loved the book. It had very interesting twists. In the beginning you think you can predict where the plot is going, but then you just can't. It is a nice surprise.Will Wheaton is a great narrator. I loved listening to him and I wish he could narrate more books. KUDOs! 5 stars well earned. The Five Love Languages of Teenagers Narrated by Chris Fabry Who is your teenager listening to? Teenagers today are bombarded by messages from their peers, the Internet, music, movies....the list goes on. As parents, you may wonder if your words mean anything at all. If so, take heart: all research indicates that the most significant influence on the life of a teenager comes from his or her parents. Yes—parents! Judy Lokits says: "Eye-opener" "Still up-to-date!" This book is about not only loving your teenager, but also about learning how to demonstrate your love in a way they feel they are loved. Sometimes at home with all the rules and responsibilities, it is hard to appreciate your rebel teen, let alone show them they are appreciated. When I started this book, I had already listened to 5 Love languages of children, and 5 love language for couples, thus I thought it would repeat itself, but it didn't. This one has a great approach for teens, and if you are one of those renitent parents who is struggling with his/her teen at home, you need to get this book and absorb every ounce of knowledge this book has to offer. With the advance of modern life, it gets harder and harder to understand your teen, but this book presents simple things and strategies you can do with your teen in order for you to have a more harmonious domestic environment. This book is especially aimed at helping parents not only to learn to show their kids' love language, but also to understand their teen's. If you are not a parent, but want to understand the teens around you, and how to show your love for them in a way they get it, this is a great source of knowledge. I recommend it. 0 of 0 people found this review helpful The One: Selection, Book 3 By Kiera Cass The time has come for one winner to be crowned. When she was chosen to compete in the Selection, America never dreamed she would find herself anywhere close to the crown - or to Prince Maxon's heart. But as the end of the competition approaches, and the threats outside the palace walls grow more vicious, America realizes just how much she stands to lose - and how hard she'll have to fight for the future she wants. "Fabulous Final Installment" "Happy ending after all!" Well, because I thought I didn't know what was coming, I got tense while reading the book. I even had to stop listening for a while until I felt safe and sure I wanted to continue. I was rooting for our America.There were some events I saw coming, and some other twists that could have been nicer and more intrieguing, but the author didn't do anything about it, so those details were just revealed and nothing happened. That part was disappointing. I think the author could have done really nice things with those new twists. Through the ending some other things were a little predictable, but what I liked most about this book was the fact that we saw America not only as the brave girl who fights and stands up to the man, but a girl who has teenage conflicts and emotions and she is very confused until the last hour and a half of listen. Another thing I have to point out is that everything fitted into place. There was no final major conflict for America to resolve. The author could have done something about it too. It would have been spicier. I loved this book, nonetheless, and I do recommend it. It is truly a YA with lots of teen drama, but it is a very nice read / listen. 0 of 0 people found this review helpful The selection began with 35 girls. Now, with the group narrowed down to the Elite, the competition to win Prince Maxon's love is fiercer than ever. The closer America gets to the crown, the more she struggles to figure out where her heart truly lies. Each moment she spends with Maxon is like a fairy tale, filled with breathless, glittering romance. But whenever she sees her first love, Aspen, standing guard, she's swept up in longing for the life they'd planned to share. "This fan girl enjoyed it...love triangles and all!" "Interesting Development of this Love Triangle" 1st of all, if you haven't read the first book, go back and read it, because you will miss most of the fun, and won't understand the story.2nd of all, I have mixed feelings about the development of this love story / triangle, I mean, I have my pick, and I don't know who she is going to choose. Some people say this was a little predictable, but I don't agree. America is still trying to figure out how much she wants to be in this competition and how much she wants to be princess (or not), and the twists that happen in book 2 certainly make her re-think her whole belief system. She screws up a few times in order to start finding out what she truly wants. Very exciting events happen. I listened to this in 3 sittings! I am dying to find out what happens next. Will she be the next princess of Ilea, or will she choose to be the love of Aspen? I guess we will have to read and see. 0 of 0 people found this review helpful The Selection: The Selection Trilogy, Book 1 For 35 girls, the Selection is the chance of a lifetime: the opportunity to escape the life laid out for them since birth... to be swept up in a world of glittering gowns and priceless jewels... to live in a palace and compete for the heart of gorgeous Prince Maxon. But for America Singer, being Selected is a nightmare. It means turning her back on her secret love with Aspen, who is a caste below her, and leaving her home to enter a fierce competition for a crown she doesn't want. "You might want to wait... if you hate cliffhangers" "Sparks going both ways!" I started this book because of my students' recommendations. I didn't think I would enjoy it as much as I did. As an YA fan I believed I would like it, and I just realized how much now, because I keep thinking about it and keep wanting to purchase the next one as soon as possible. You just know how much you like a book when you start dying to read the sequel.This is the story of America Singer. Her country is divided into casts. She is a 5 - not a good place to be - but she actually has the chance of a lifetime. She can change her life by entering a selection process in order to be chosen by prince Maxon to become princess of Ilea. The thing is, she is in love with Aspen, and the stupid guy pushes her into the selection so that she could have a better life. Little did he know that Lady America had some good chances, and that the odds could be ever in her favor.This book reminds me a little about hunger games because of how these girls lost their privacy so quickly, because of the TV crews which keep trying to find out more about prince Maxon and the so far selected ladies, and also because of the hunger, poverty and suffering going on in the lower casts, the underprivileged.The highlight is the friendship / sth else between lady America and the Prince, and it gets even better when Aspen, the stupid ex boyfriend, gets back in the picture.Can't spoil it. You have to read it! 0 of 1 people found this review helpful How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond By John Powell Have you ever wondered how off-key you are while singing in the shower? Or if your Bob Dylan albums really sound better on vinyl? Or why certain songs make you cry? Now, scientist and musician John Powell invites you on an entertaining journey through the world of music. Discover what distinguishes music from plain old noise, how scales help you memorize songs, what the humble recorder teaches you about timbre (assuming your suffering listeners don’t break it first), and more. C. Beaton says: "Great book - wrong narrator" "Enlightening, but..." Although the author tries to give layman an over view of music and how it works, if you don't know anything (or practically anything) this book is not for you. This book should be read, not listened to. This is the kind of book where you have to read some concepts over and over, and you also have to do some practice on your own (even though there is some demonstration at the end of each chapter, but it feels too theoretical).When I purchased this book, I thought I was going to learn about psychology of music, or even some concepts of music therapy, but this book is not about that. This book gets very technical at some points, and some dumb at others. I feel a little disappointed. 2 of 2 people found this review helpful What Einstein Told His Cook: Kitchen Science Explained Narrated by Sean Runnette By Robert L. Wolke Why is red meat red? How do they decaffeinate coffee? Do you wish you understood the science of food but don't want to plow through dry, technical books? In What Einstein Told His Cook, University of Pittsburgh chemistry professor emeritus and award-winning Washington Post food columnist Robert L. Wolke provides reliable and witty explanations for your most burning food questions, while debunking misconceptions and helping you interpret confusing advertising and labeling. "It was actually pretty interesting" "Shame I didn't absorb as Much as I wanted" ReviewThis was a hard book for me to finish, not because it was boring, but because it was hard for me. In his introduction the author says he will to try to make things easy for you to understand the book, but unfortunately, his attempts failed with me.This is not a health or nutrition book. I was a little disappointed by this. This is a chemistry book. If you don't know much about chemistry, or don't remember what you learned in high school, I suggest you go to basic chemistry first. The author tries to be funny and tries to tone things down for readers like me, but I think it wasn't enough, for I realized I need to get my chemistry together.I did Learn interesting things here, but I have to away I retained very little information. It is a good book. I recommend it, but only if you commit to listen to it many times. Cragbridge Hall, Book 1: The Inventor's Secret Narrated by Kirby Heyborne By Chad Morris Imagine a school in the year 2074 where students don't read history, but watch it happen around them; where running in gym class isn't around a track, but up a virtual mountain; and where learning about animals means becoming one through an avatar. Welcome to Cragbridge Hall, the most advanced and prestigious school in the world. Twins Abby and Derick Cragbridge are excited as new students to use their famed grandfather's inventions that make Cragbridge Hall so incredible. "Harry Potter meets DaVanci Code -Young Adult title" "Harry Potter meets National Treasure and Avatar!!!" This is the story of two twin teenagers, Abby and Derek who go to this amazing school for geniouses named Cragbridge Hall, named after their grandfather - Oscar Cragbridge, a scientist and inventor who invents amazing devices thinking about the human kind's wellfare. However, some people are trying to put their hands on those inventions, and if they fall into the wrong hands, human kind's hystory as we know it might change altogether.This is not a school of magic, but I mentioned Harry Potter because of the style in which the author chose to write. If you are a fan of Harry Potter you might enjoy this one very much. There are many twists of events and there is a lot of adventure too.The thing is, because of his invention, Oscar, his son and daughter-in-law are kidnapped and blackmailed in exchange for this some precious information that only Oscar can provide. Before any of this would happen, Oscar leaves his grandkids a pair of lockets that would only be activated if he went missing, and also, some clues that might help them solve the puzzle as to why he might have been missing, kidnapped, or even killed.I also compared it to National Treasure because this journey is full of clues, and without solving them, Abby and Derek cannot go on in the search for their loved ones.Why did I mention avatar? Well, you have to listen to it, I don't want to spoil it for you. But there is a mixture of styles here.Even though the narrator was very good, he will not get 5 stars because he did not do the accent of the Brazilian character correctly ( I know that because I am Brazilian). Brazil speaks Portuguese, and the accent the narrator chose to adopt was clearly Spanish. #disappointed.As a YA fan, I do recommend this book. I am sure that if you are an YA fan like me, you will enjoy it. 0 of 0 people found this review helpful

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CultureBooksNews Literature: The secret history of Donna Tartt American novelist Donna Tartt and her 1992 bestseller, 'The Secret History' Her production rate may be arthritically slow, but the news will delight her fans. The cultish American novelist Donna Tartt will publish another book in October – her third, after the international bestseller The Secret History (1992) and its follow-up, The Little Friend (2002).Observing her fondness for a 10-year gap in publication, readers in 2012 wondered if that year might bring a new work. Little Brown, her publisher, revealed it has been sitting on the new book since 2008, and had pencilled in a 2012 launch date – but it was mysteriously pushed back.Last summer the book was still untitled. It now has a title, The Goldfinch, and concerns a young New York boy who survives an explosion that kills his mother, lives rough and is drawn into the “art underworld” through his obsession with a small painting.Tartt, 49, is big on youthful obsession. The Secret History, set in a posh college in Vermont, traces the lives of six classics students whose adventures take on the dimensions of a Greek tragedy and involve them in a murder. The Little Friend concerns a girl called Harriet who is obsessed with her brother’s death, stalks the man whom she thinks responsible until he becomes obsessed with her. Murder, guilt, unpunished crime and death of innocence are her themes.Tartt’s books have a voice that’s dry, calm, allusive and unexcitable, even when she’s telling you shocking things. She’s also famous for her love of privacy. She hasn’t given an interview since 2003 and was always reluctant to discuss her personal life. So readers have themselves become a little obsessed with her: with her 1920s bob haircut; her position in the so-called Brat Pack who took US fiction by storm in the 1980s; her friendship with Bret Easton Ellis; her fondness for the novel True Grit, which she has narrated on audiobook; that her great-grandmother was Scottish and read her the works of J M Barrie and R L Stevenson. Stand by for a flurry of excitement in October as the transatlantic literati compete to interview her – and try to find out why the new book has taken so long… More about:

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BooksAuthorsSeriesAbout Us John Julius Norwich J N John Julius Norwich is the author of more than twenty books, including the New York Times bestseller Absolute Monarchs. He began his career in the British foreign service, but resigned his diplomatic post to become a writer. He is a former chairman of the Venice in Peril Fund and the honorary chairman of the World Monuments Fund. Sign me up for news about John Julius Norwich Books by John Julius Norwich The Middle Sea Paradise of Cities A Short History of Byzantium Byzantium (II) John Julius Norwich Also Contributed To History of My Life

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Wednesday, February 22, 2017 • Morning Edition • "Special collector's edition 4D variant!" Review Group: Runaways #7 by LOLtron » Wed Mar 04, 2009 2:25 pm In it’s first ever week at The Outhouse, the Review Group takes a look at Runaways #7 from Marvel Comics.The Review Group is a collection of posters who get together each week to discuss comics and post our reviews for a comic that we each take turns selecting. Our thread can be found in The Outhouse’s Newstand forum and is open for anyone and everyone to participate in. This week Sire v 2.0 had the pick and he selected Runaways #7 by Terry Moore, Takeshi Miyazawa and Christina Strain. This is the third time the group has covered an issue of Runaways and the third time we’ve reviewed a Terry Moore comic with each of those selections having been well received. All of that is in the past however as this time around reviews were mixed at best. Takeshi Miyazawa’s heavily manga influence take on the characters was a hot topic of discussion and Brian K. Vaughan and Adrian Alphona’s shadows still clearly loom large over their creation. Enough of my rambling however, let’s see what the rest of the group had to say._______________ Review by Starlord I haven't read this since Whedon's run because I've been collecting them in trades. Now I'm not sure if I'm going to pick up the next trade or not. This is not the Runaways I've been enjoying but I think part of that is the art. It's waaay to close to Manga for my liking. The characters feel slightly off from what they have been. BKV did it the best and Whedon gave a good attempt and for the most part, did well, but Moore and crew. Highly disappointing. Story: 5Art: 2My score: 3_______________ Review by thefourthman Since, other than the boring by the numbers story, my big problem with this book is the art and not that it is bad, but just inconsistent with the artist work on the book before and with everyone else who has worked on the book, I offer the following quote from my review... "When Alphona was working the book, Miyazawa seemed to be able to keep the characters in line with what the creator envisioned. With each arc on the book, Miyazawa has strayed further and further from the fusion of the original design and more in line with books published by Viz. The style, in itself, would not be a bad thing, except consistency is lost. After Ryan gave the book a typical capes sheen at the conclusion of the second volume of the book and Ramos found his groove again at the onset of this third volume, there was no longer a cohesive style to the book. Just when Ramos’s super cartoonish style had grown on even his detractors, we get this issue." You can read the rest of my review at http://www.brokenfrontier.com/reviews/details.php?id=2168 Story 5Art 5Overall 5_______________ Review by 48THRiLLS I dropped this a couple issues ago. I didn't hate it, just sorta tolerated it. The art was fine, I actually like Ramos. The story wasn't bad (except the evil shock jock, really? an evil shock jock?) I like Terry Moore, I was just not enjoying this book as much as I would like to. I love how this issue opens up with the Wii stuff but it was pretty much downhill after that. The shock jock is still here and I was really hoping that would be wrapped up in the last arc and then the whole Airheads bit with the band at the radio station was kinda eh...The art in this ish is very manga influenced as other posters have stated and Mr. 4thman is right Chase did look like a girl but it didn't bother me too much but I do prefer Ramos but that is just me.This book was okay but that is just not good enough. STORY - 6ART - 6OVERALL – 6_______________ Review by GLX Writing-Fun issue. Everything felt right. Not BKV grade but great. Art-Miyazawa, for the most part, did a great job. Art wise, the problem is with Strain. The colors are bit bright, at times. Overall- 8* out of 10*_______________ Review by Punchy Story - I'm a big Runaways fan, the digests of Volume 1 were some of the first comics I picked up when I started getting into US books, and they really connected with me, since I was about 15 then. The Runaways (and me I suppose) have come a long way since then, creators Brian K Vaughan and Adrian Alphona have gone, and they are now on their 3rd volume, after a lackluster outing from Joss Whedon, Terry Moore took over the book, and it's been OK, pretty average stuff, entertaining, but it didn't seem to stand out in the way that the original Runaways did from the rest of the superhero genre. But I think this issue was a step in the right direction. Which is both a blessing and a curse, because Moore is leaving after this arc. This to me felt the most like the Runaways of old as any other issue, the focus was on the characters, and the 'villains' were off-beat and not anything any other team would face, the Runaways isn't the Teen Titans or the Young Avengers, and this issue conveyed this well. From the opening page, drawn in a Wii Sports style, this was fresh, funny stuff. I particularly liked the band who were dropped from their label and taking them hostage, it was humorous, but also a good way to fill the issue's action quota, and we also have the main plot, which is equally interesting, Val Rhymin (Howard Stern, yeah?) is not only a Radio Shock Jock, but also a wannabe wizard and super villain, and his plan is pretty ingenious, through the use of an ancient chant played in the background of a new song he'll be playing on the radio, he'll be able to turn everyone in LA who's had plastic surgery into monsters! That's pretty crazy stuff, and perfect for the Runaways, sure, monsters are nothing new, but the idea of turning those who have artificially made themselves more beautiful into creatures is a smart one, and it also serves as a commentary on the power media figures have over the general public, oooh, it's all multi-layered and stuff. So yeah, this is a solid issue, but it's still not as top-notch as the Runaways could be, but I don't think the fault lies with Terry Moore, it seems to me that the Runaways don't have a purpose anymore. They've defeated the Pride, and also the new Pride, what do they do now? Just wander around bumping into things? They aren't running away from anything anymore! And until the team has a purpose to keep going, and not just be there because it's a fan-favorite, the book will never reach the heights it once did. Maybe they should bring Alex back? Art - This seems to have been a sticking point for other reviewers, but I have no problem with Miyazawa's pencils, he's been filling in since Volume 1, and also did the most recent Young Avengers crossover mini, and he fits the tone well, it's manga-ish, which gives the book a youthful feel, but it's also dynamic and striking enough to fit the super heroics. Mad props to colorist Christina Strain too, she's an integral part of Runaways, and her style is pretty distinctive here, bright and nuanced. Plus, the girls look nice. Best Line - 'No! Don't shoot! I'm diabetic!' I don't know why, but that just tickled me. Very LA. 7/10_______________ Review by guitarsmashley I miss BKV and Alphona. And that made no sense at all. Score: 1_______________ Review by Young Neil Runaways was one of the first few comics that I started to read when I first diverged from my 4 comic pull list of mostly X-Men titles. Runaways and Young Avengers were two titles that I tried that just had a different feel to them. And Runaways thanks to the amazing writing has stayed on my now much larger pull list to this day. Now the problem with reviewing a book later in the week, means you end up either agreeing with everyone or contesting your point, however this week I just seem to be agreeing.Ever since the end of Brian K Vaughn’s run has finished, the Runaways’ seem directionless and without cause. Joss Whedon’s run was good and would have been better if it had come out on time, but it was basically a “filler” arc. With Moore coming on and the re-numbering of the series, it would have been a perfect opportunity, to take a good look at the team, give them a purpose, a drive. This very much is Moore’s fault, I can’t find a single fault with his other work to date, but as a writer, it comes to you to make a book worth reading. I can’t believe this book has been reduced to Chase having a job, and some lame zombie/magic/villains. Now the art itself is a high point of contention. I loved Miyazawa when he filled in on the old runaways volumes. I mean if it had to be a fill-in artist, I’m glad he pulled it off as well as he did. However now it feels like he just thinks he has free reign to redesign or slightly tweak the characters. I thought Chase was a girl, and victor looks like he’s come down with a nasty case of anorexia. I always looked forward to the HC’s as I’ve collected this series, but I can’t even see me picking the next one up when it comes out. Runaways has gone from one of my favorite marvel books, to one that I couldn’t even be bothered reading. Story – 4Art – 4A big fat 4 overall this week_______________ Review by McKegan This was the best issue of Moore's run so far, and that isn't saying much. I don't know if it was the loss of Ramos' hyperkinetic art, but the characters finally got some space to breath and be themselves and interact in a way familiar to long time readers. Maybe Moore's just getting comfortable with the characters, and his worse has been miles better than Whedon's crapfest, but this title is still lacking. I would have dropped Runaways if it hadn't been this week's pick. Honestly, I think it might be time to put the book out of its misery. The book has been fairly aimless since BKV left. With no evil parents/grown-ups, there's little to differentiate this book from any other teen super group book. They've got nothing to runaway from, and about the only worthwhile conflict they have is with their grocery bill. Story: 6Art: 7.5Overall: 6.75_______________ Review by amlah6 It's no secret that I'm a huge Terry Moore fan and over the course of his run on Spider-Man Loves Mary Jane, I became a Takeshi Miyazawa fan as well. Put the two of them together on one of my favorite series of the past couple of years and I'm bound to love it, right? Well, maybe love is a bit too strong a word, but I did like this a lot. I'm not going to claim Moore's run on Runaways has been perfect, there have been a stumble or two but by the time we reached the end of his first arc I was enjoying his work just as much as I enjoyed any of the previous creators except for maybe the best of the BKV issues. This comic is very much a transition piece to tack on an epilogue to the previous arc and set up the final two issues of Moore's run. I loved the characters playing Wii and the bit of interaction between Nico and Karolina. The transition to the fight at the Capitol Records building was a bit awkward on my first read through, but it was the most fun part of the book and had the best lines. Molly and Klara together are always good. When Val Rhymin was introduced in the first issue of this volume it was a very cringe worthy moment, but this issue made me hopeful that Moore can do something interesting with him. Bringing magic into the story with an acquaintance to the Minorus was a nice touch. It's really surprised me to see how mixed everyone's reactions have been to Miyazawa's art this week. I absolutely love his work, especially when combined with Christina Strain's considerable talents as a colorist. Miyazawa's layouts always have a very natural flow to them whether he's doing talking heads or action sequences. The tone and feel of the art is just perfect for Runaways, I really wish Miyazawa would become the regular artist for the series. Story: 7Art: 8Overall: 7.5_______________ As of press time, that gives Runaways #7 a rather unimpressive score of 5.25. It would appear the Review Group’s love affair with the Runaways has come to an end. For further discussion about this issue and our reviews, feel free to join us in this week's thread (http://www.theouthousers.com/forum/viewtopic.php?t=19308) found the Newstand forum where you are also invited to join the group by posting your own review._______________ Mr. Batman has the pick for March 4th and he has selected Superman: World of New Krypton #1 from DC Comics. Look for the new thread that will be available Wednesday morning to join in on the fun. Superman: World of New Krypton #1Written by James Robinson and Greg RuckaArt by Pete Woods Following the events of the "New Krypton" crossover, the Man of Steel has had to embrace his past to ensure humanity's future. And while a devastating armed conflict with Earth may have been averted, keeping the peace will be Superman's greatest challenge yet. READ THIS ARTICLE ON THE FRONT PAGE, HUMANS!

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Tor.com content by view profile | RSS feed InfomocracyTor.com Publishing Cast Our Book in Metal, Please! Printing Malka Older’s Infomocracy Irene Gallo Tue Jun 14, 2016 9:30am Post a comment Last week, we were very excited to release Tor.com Publishing’s first novel-length hardcover, Malka Older’s Infomocracy. As someone who has been in publishing for over 20 years, one of the many gifts Tor.com has given me is to make the process seem new again. I’ve been working on book covers since 1993 and loving every year of it, but still, it is impossible not to take a special pride in this line. Combine that with a few new people in the art department (waves at Esther and Christine!), we decided we were due for some behind-the-scenes coverage of our shiny, shiny jacket for Infomocracy. On This Day Chesley Bonestell: Striving Towards the Stars Irene Gallo Fri Jan 1, 2016 9:00am 12 comments Artwork by David A. Johnson (Click to Enlarge) Today would have marked Chesley Bonestell’s 128th birthday. Throughout the 1930s Bonestell worked as both an architect and a movie matte painter on high profile projects ranging from New York’s Chrysler building and San Francisco’s Golden Gate Bridge, to Orson Welles’ Citizen Kane and George Pal’s War of the Worlds. But it is astronomical art where Bonestell is best known and revered. Series: On This Day Art and Illustration Richard Powers Inducted into the Society of Illustrators Hall of Fame Irene Gallo Fri Nov 20, 2015 3:54pm 4 comments Art by Richard Powers Science fiction artist Richard Powers is among the Society of Illustrators’ newest Hall of Fame inductees, along with Beatrix Potter, Peter de Seve, Marshall Arisman, Guy Billout, Rolf Armstrong, and William Glackens. Since 1958, the Society of Illustrators has elected to its Hall of Fame artists recognized for their “distinguished achievement in the art of illustration.” Richard Powers was a hugely influential science fiction illustrator throughout the 1950s and ’60s. Vincent di Fate wrote, in his art survey book Infinite Worlds: When they first appeared on since fiction paperbacks in the 1950s, Richard Powers’s surreal and largely abstract images were usual to see in the field of commercial art. The stir they created launched him on the path to becoming one of the most successful and imitated illustrators in SF, placing him in the company of J. Allen St. John, Frank R. Paul, and Chelsey Bonestell as a prime mover of the field. [See why] Art and Illustration Twelve Tor.com Story Illustrations Make it Into Society of Illustrators Awards 1 comment We talk a lot of about writers and stories on Tor.com but we always strive to give equal attention to our visual presentation. We are indebted to the artists who work tirelessly to make us, and our stories, look good and connect to readers. With that in mind, I’m sure you can appreciate how delighted and honored I am that 12 illustrations for Tor.com Publishing have been selected for this year’s Society of Illustrators annual exhibition. A special congratulations to Sam Weber for having earned a Gold Medal for his illustration for Haralambi Markov’s story “The Language of Knives”. The Society of Illustrators Annual Awards are one the premiere showcases for outstanding work created worldwide throughout the year. Thousands of entries are received and juried by a team of illustrators and art directors. It is truly an honor to be selected for the annual, and a great honor to be one of the few chosen for a medal. These will be on display at the Museum of American Illustration in February and March 2016 and will be included in Society’s annual, Illustrators, coming out in winter 2017. I hope you can take a moment to enjoy these works outside of the context of illustration and appreciate them as artworks in themselves. Below, the twelve pieces unadorned. Art and Illustration Announcing the Spectrum 22: The Best In Contemporary Fantastic Art Award Recipients Irene Gallo Sat May 23, 2015 10:34pm 1 comment The Spectrum 22 awards were presented May 23 at a gala celebration at the Folly Theater in Kansas City, MO as part of Spectrum Fantastic Art Live. This year’s jury consisted of Justin Gerard, Virginie Ropars, Greg Ruth, Annie Stegg Gerard, and Dice Tsutsumi, and determined Silver and Gold recipients in eight categories. The Spectrum Advisory Board also selected the 2015 Grand Master Honoree. Please join us in congratulating all of the finalists and recipients! More Dinosaur Lords Art from Richard Anderson Irene Gallo Fri May 8, 2015 12:30pm 6 comments We released the Richard Anderson cover for Victor Milán’s The Dinosaur Lords last year with a bit of fanfare….Mostly of the “Holy Sh*t!” variety. The book roughly mirrors 14th century Europe with its dynastic rivalries, religious wars, and byzantine politics…but the weapons of choice are dinosaurs. As I said then, a painting of knights riding dinosaurs was either going to be a cheesy disaster or pure awesome. Thankfully (if not surprisingly) Richard Anderson delivered the awesome. The subject matter was just too rich not to indulge a little, so we commissioned Anderson to create a few interior drawings for the chapter heads. While Anderson is busy on the cover art for the sequel, The Dinosaur Knights, I thought I’d show off a couple of these drawings. [Dinosaurs!] cover reveals Cover Reveal for Cixin Liu’s Death’s End Irene Gallo Tue Apr 28, 2015 10:30am 6 comments Tor Books is proud to present the cover for Death’s End, the concluding book in the tour de force near-future adventure trilogy from China’s best-selling and most beloved science fiction writer, with yet another beautiful image from Stephan Martinière! Cixin Liu’s first book in the series, The Three-Body Problem, came out last year and is currently on the Hugo and Nebula Awards ballot. Book two, The Dark Forest, will be out this summer. Death’s End, the exciting concluding volume, will be out January 2016. Series: Cixin Liu’s The Three-Body Trilogy cover reveals Joint US and UK Cover Reveal for V. E. Schwab’s A Gathering of Shadows 3 comments Launching V. E. Schwab’s A Darker Shade of Magic was, in a word, a blast. We had a popular and energetic writer who was getting a great response for her previous standalone book (Vicious), plus an intriguing premise for the new novel with an awesome cover by Will Staehle. Titan Books, the UK publisher of A Darker Shade of Magic, has an equally great cover by Julia Lloyd. (The two publishing houses even created double-sided posters so fans could switch back and forth.) So, when it came time to work on the the follow-up, A Gathering of Shadows, we were excited and primed to have a good time with it and see what both deisgners had in store. [Check out both the US and UK covers!] cover reveals Cover Reveal for Charlie Jane Anders’ All the Birds in the Sky Irene Gallo Wed Apr 15, 2015 11:00am 8 comments We are particularly proud to share Will Staehle’s amazing cover for Charlie Jane Anders’ All the Birds in the Sky. For one thing, there is the usual excitement over any cover Will Staehle creates (and the wonderful torture of having to pick only one), but also because it’s Charlie Jane Anders’ first novel. Not only is she the beloved editor of io9, but she has long been a favorite contributor to Tor.com’s orginal fiction. When All the Birds in the Sky came up for auction, everyone at Tor was delighted that editor Patrick Nielsen Hayden was able to land it for us. The book is described as blending literary fantasy and science fiction, telling the story of the decades-long, on-and-off romance between a sorceress and a computer genius, beginning in childhood and proceeding against a background of increasingly catastrophic climate change. [Check out the full cover and alternate designs below!] Announcing the 2014 James Tiptree Jr. Award Honors Irene Gallo Sat Apr 4, 2015 2:34pm 8 comments The James Tiptree, Jr. Literary Award Council has just announced the 2014 winners and honor list. The Tiptree Award “is presented annually to a work of science fiction or fantasy that explores and expands gender roles. The award seeks out work that is thought-provoking, imaginative, and perhaps even infuriating. It is intended to reward those writers who are bold enough to contemplate shifts and changes in gender roles, a fundamental aspect of any society.” The 2014 James Tiptree Award goes to My Real Children by Jo Walton and The Girl in the Road by Monica Byrne. More on this year’s winners, and the complete honor list, below the fold… Sam Weber’s Stunning Artwork for the Illustrated Edition of Dune Irene Gallo Thu Apr 2, 2015 9:00am 24 comments Paul summoning The Great Maker. The Folio Society has been publishing premium illustrated editions of classic works since 1947, including many iconic science fiction and fantasy titles. They’ve just released a beautiful edition of Frank Herbert’s Dune with art by Sam Weber, and that’s a reason for both fans of Dune and fans of great art to rejoice. This 50th anniversary edition contains eleven full color illustrations, black and white spot illustrations, as well as a gorgeous slipcase featuring the desert landscape of Arrakis. [Check out the art below!] Jonathan Strahan Reveals the ToC of The Best Science Fiction and Fantasy of the Year Vol 9 Irene Gallo Wed Jan 14, 2015 8:04pm Post a comment Jonathan Strahan has released the table of contents for The Best Science Fiction and Fantasy of the Year Vol 9. Congratulations to all the authors selected! We are extremely proud to have three stories included—“The Devil in America” by Kai Ashante Wilson, “The Insects of Love” by Genevieve Valentine, and “Cold Wind” by Nicola Griffith. cover reveals Cover Reveal for Adam Christopher’s Made to Kill Irene Gallo Thu Jan 8, 2015 10:30am 3 comments Behold, the Will Staehle cover for Adam Christopher’s scifi noir thriller Made to Kill! We are particularly excited about this title here at Tor.com, as Adam Christopher came up with the idea for the novel while taking one of our “Pop Quiz” author interviews. What started as a passing notion—what would a science fiction story written by Raymond Chandler look like—became a novelette, and now a series of novels. [Read more, and check out some alternate cover designs!] Announcing the Firefight Brandon Sanderson Book Tour Irene Gallo Sat Jan 3, 2015 10:45pm 5 comments Random House has announced the dates and locations for Brandon Sanderson’s Firefight book tour! Take a look at the itinerary below for details. 2015 Firefight Tour January 5th 6:00 PM / Barnes & Noble (West Jordan), Salt Lake City, UT January 6th at 7:00 PM / University Bookstore, Seattle, WA January 8th at 8:00 PM /Books & Books, Coral Gables, FL January 16th at 7:00 PM / Powell’s Books (Cedar Hills Crossing), Seattle, WA January 17th at 4:00 PM / Barnes & Noble, El Cerrito, CA Picturing… Picturing Dragons Irene Gallo Wed Dec 17, 2014 10:00am Post a comment This gallery was originally posted July 16, 2014 on Tor.com Dragons are arguably the most ubiquitous and most beloved fantastical creature. Initially I shied away from dragons as a theme—they’re everywhere, where do you even start!? But they are everywhere because they are cool, and seeking out dragon images meant going down a delightful rabbit-hole through all ages, cultures, styles, and dispositions. So without further ado, welcome to Picturing Dragons, at 170 drawings and paintings, it is perhaps the largest installment of the Picturing series yet! We start off (above) with one of the most beautiful renditions of one of the most famous dragons of them all, Alan Lee’s Smaug.

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Poems, Publications, Travels, Walks February 8, 2015 Ken Cockburn Leave a comment I spent much of summer 2014 driving the motorways and country lanes of England and Wales with Luke Allan for there were our own there were the others, a project by Alec Finlay for the National Trust to mark the centenary of the outbreak of the First World War. Luke & I visited 23 properties, all of which had some connection to the war – a family member who served and was perhaps killed; a house used as a hospital, grounds used as a training camp; gardens planted as memorials to the carnage. At each I led a silent memorial walk, bookended by a pair of poems from the past century on the theme of conflict. At most properties we set up a pair of lecterns, on which the poems were presented, and at some the lecterns were placed either end of a sandbag wall, reminiscent of the trenches. At a few we flew a red flag featuring a circular version of project’s title. That phrase is taken from Hamish Henderson’s Elegies for the Dead in Cyrenaica, about his experiences in the North African desert in the Second World War, but it seemed an apt way of memorialising all the victims of conflict, rather than just those ‘on our side’, as did the large-scale ceramic poppies installation at the Tower of London. Osterley House Killerton Chapel Stourhead Liverpool Burwash Memorial Penrhyn Stourhead, Temple of Apollo This gallery above shows some photos from the tour (all are by me, except Killerton Chapel by Hannah Devereux, and Liverpool, by Luke Allan). The full itinerary is on the website. After the English and Welsh tours I was able to visit Belgium at the end of September to visit some of the First World War sites near Ypres: graveyards, battlefields, memorials. I also saw the excellent exhibition In Flanders Fields in the Lakenhalle in the centre of Ypres itself, which shows the war from the perspective of the four armies who were fighting there: Belgian, French, British and German. We stayed at Talbot House in Poperinge, a small town which, for most of the war was just far enough behind the front line for it to be fairly safe. Talbot House became a social club for off-duty soldiers, and retains many features of that time. There are some new ones as well, including this film which recreates an evening’s entertainment in ‘Pops’. A book of the same title documents and reflects on the project. It includes poems and prose by myself about the walks and the poems, as well as the poem ‘Cloqueliclot’ about my experiences in Belgium. It also features fine photos by Luke and Hannah. Alec FinlayBelgiumFirst World WarHamish HendersonHannah DevereuxIn Flanders FieldsLuke AllanNational TrustTalbot Housethere were our own there were the otherswalkingYpres Previous PostThe Road North – published by ShearsmanNext PostECLIPSE: Enlightenment Leave a Reply Cancel reply Enter your comment here...

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That One Thing: Tim Walker, Story Teller Sometimes we all need a break from reality, and to be sure, that break can be found in the whimsical departure which results from immersing oneself in a story. Tim Walker’s ethereal Story Teller, where the acclaimed British photographer shares his visions of eccentrically modern fairy tales, is the perfect antidote to everyday life. While it’s been out for a few years, like any good tale, this book is worth coming back to again and again. I love this collection of fashion photography because although there are no words, no verbal cues to directly convey what exactly is supposed to be understood and felt through looking through its pages, Walker’s artistic mastery ensures that onlookers can effortlessly see the story behind it all. It’s really wonderful when a creator can convey universal messages in this way, and his work here definitely speaks to the value of subtle expertise. There’s a dreaminess to every shot in Story Teller, and from the UFOs to the unicorns that find themselves situated in the midst of otherwise normal — if not strikingly beautiful — backgrounds, there’s no shortage of things to be intrigued by. Walker’s use of both models and designers in these scenes brings the notion of the maker and the muse under the same roof in a way that reinforces how interdependent the two really are, and I appreciate that he did this because I think it’s something important to remember. A consummate example of a work that is paradoxically able to make a grounded impression as it lifts away from reality, Story Teller is a stunningly beautiful escape that reminds us not to take life too seriously. Contact

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The Pain Eater Nominated for 3 Saskatchewan Book Awards! The Pain Eater by Beth Goobie has been shortlisted for the Fiction Award, the Regina Public Library Book of the Year Award, and the Young Adult Literature Award for the 2017 Saskatchewan Book Awards! The winners will be revealed at the 24th Awards Ceremony on April 29, 2017.Learn more about the Saskatchewan Book Awards and see the list of all nominees here.Beth Goobie grew up in Guelph, Ontario, where the appearance of a normal childhood hid many secrets. Beth moved to Winnipeg to attend university, became a youth residential treatment worker, and studied creative writing at the University of Alberta. She is the award-winning author of 23 novels, mainly for young adults, including The Lottery and the CLA award-winning Before Wings. Also a published poet, Beth makes her home in Saskatoon. Digital InternFebruary 10, 2017 The Ship to Nowhere: A Sydney Taylor Award Notable Book! AwardsAllie ChenowethJanuary 11, 2017Rona Arato, The Ship to Nowhere

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Christopher Hunter Langston Hughes was born on February 1, 1902 and died on May 22, 1967. Langston Hughes Attended a high School in Cleveland, Ohio. While in Grammar school in Lincoln, Hughes was elected class poet. Langston Hughes wrote different types of literature. He had wrote novels, Short stories, and poems. Langston Hughes wrote many different types of poems. Some of his poems that he have written are 50-50, Ardella, Catch, and Cross. Langston Hughes was an American poet, social activist, novelist, play wright and columnist. He was one of the earliest innovators of the the-new literary art form called jazz poetry. Here is one of Langston Hughes poem: Gather quickly All the songs you know And throw them at the sun Before they melt like snow This poem is a lyric poem. It expresses the thoughts and feelings of Langston hughes. The simile in the poem is "Before they melt like snow", and the metaphor is "All the songs you know and throw them at the sun". I think what langston hughes meant in this poem is that people bring flowers in respect for the family of the deceased and the deceased himself. I had chose this poem because i liked the way it sounds, rhymes the meaning of the poem, and the metaphor and simile. What I like the most about the poem is the rhyme and rhythm. The elements of poetry I see in the poem are Sound devices such as rhyme and rhythm, figurative language such as metaphors and similes. The sound devices for rhyme were know and snow. The sound devices for Rhythm is "Gat-her quick-ly out of dark-ness all the songs you know." The figurative language for metaphors are "all the songs you know and throw them at the sun." The figurative language for simile is "before they melt like snow." The sensory language appeals to touch because they had to touch or grab their songs out of the darkness and throw them into the sun. @amaripyatt Emily Elizabeth Dickinson William Shakespheare

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A Definitive Guide to Leonardo da Vinci's Paintings and Drawings An ambitious book chronicles the cross-disciplinary genius of the Renaissance painter/inventor/architect/engineer Leonardo da Vinci possessed a rare kind of cross-disciplinary genius. It's safe to say the Italian painter, engineer, architect, sculptor, scientist, and futurist was one of the greatest minds that ever lived, a kind of intellectual and creative powerhouse that influenced centuries of thinkers to come. Now, his life and legacy live on in the simply titled but wildly ambitious Leonardo da Vinci: The Complete Paintings and Drawings—a remarkable two-volume tome from Taschen (♥) that surveys da Vinci's life and work in unprecedented detail, from in-depth interpretations of all 34 of his famous paintings to breathtaking full-bleed details of his masterworks to an extensive catalog of 663 of his drawings. This being a Taschen production, it's as lavish as they come, at 700 pages, 6.5 pounds, and nearly the size of the Mona Lisa, and features appropriately supersized blowups of Leonardo's paintings balanced with insightful contextualizations by Renaissance theorist Frank Zöllner and art historian Johannes Nathan for the perfect blend of scholarly and stunning."If Leonardo's thirst for knowledge and discovery was still held in check in this vision by his fear of the threatening unknown, by the end of the 1480s at the latest he had thrown himself with unbridled enthusiasm into the study of a wide range of fields. While working on the preparations for the Sforza monument, he also embarked on more in-depth studies into the proportions of the human body, anatomy and physiology. These studies, which Leonardo's contemporaries frequently dismissed as the artistically unproductive whims of a restless mind, have been acknowledged since the 19th century as the forerunners of an empirical science based on the accurate observation of natural phenomena. In his studies of the human body, for example, and above all in his direct visual translation of his findings and insights, the artist was undoubtedly many generations ahead of his contemporaries."From how the Vitruvian Man revolutionized the anatomical understanding of human proportions to Leonardo's fascination with the brain to what his flying machine sketches taught the designers and engineers of the then-future, Leonardo da Vinci: The Complete Paintings and Drawings presents a remarkable reminder of the cross-disciplinary curiosity and rigorous dedication that fueled one of humanity's most prolific, profound, and masterful creators.This post also appears on Brain Pickings. Image: Taschen Maria Popova is the editor of Brain Pickings. She writes for Wired UK and GOOD, and is an MIT Futures of Entertainment Fellow.

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Amnesia - review On tour in France Prophetic ... the Tunisian play Amnesia tells the story of a dictator's fall. Photograph: Mohamed Frini Fabienne Darge Tuesday 15 February 2011 08.59 EST First published on Tuesday 15 February 2011 08.59 EST The curtain call on Friday 28 January was an emotional moment, with 11 Tunisian actors and their director all raising their arms for a victory wave. Leading figures in Tunisia's independent theatre scene, the playwright and actor Jalila Baccar and the director Fadhel Jaïbi, had just given their first performance of Amnesia at the Théâtre National in Bordeaux. First staged in April 2010 at Le Mondial, their own theatre in Tunis, this premonitory play tells the story of a dictator's fall and the nightmare indictment that follows. "Fadhel wanted to make it the trial of [former president] Ben Ali, and I wanted to try the whole population for their amnesia and apathy," Baccar explains. "In the end we made it a mixture of both. But we had great difficulty finding the right words for what we wanted to say: it took us a long time to shrug off the unconscious self-censorship, despite having fought against it from the very beginning." Amnesia played to a full house in Tunis for two months, miraculously untouched by the censors, unlike their previous play Corps Otages [hostage bodies], which was staged in Paris in 2006. "For the last 30 years we have been making the same point with combative, civic theatre, rooted in the here and now, and we've had endless problems with censorship," Jaïbi adds. "But the art minister had just changed when we started on Amnesia. He was a former dramatist and reluctant to bother us too much." The play, which details all the ills of Tunisia under the now defunct regime, with its nepotism and corruption, economic hardships and police surveillance, was ignored by the official media. But it turned into a genuine forum for debate, despite the 30 or 40 police officers who attended every evening in a theatre seating only 450 people. "It was a typical situation in this schizoid country," Jaïbi says. "We were tolerated by the state, largely because we performed a lot abroad and because, along with a few others, we served as a showcase for the regime, always very good at producing pretty postcard souvenirs. We were even subsidised. But at the same time we have been banished from the official media for the last 10 years." Baccar and Jaïbi are eager to get back to Tunis to take part in a revolution they have been watching from a distance since 15 January, due to their French tour. They admit to having misjudged Tunisian youth: "We thought they had no political awareness, no motivation. We ended up realising they have other dreams from the ones we had at that age." In common with many Tunisian artists and writers Baccar and Jaïbi are torn between optimism and fear of an attempt to take over the revolution, not so much by the Islamists – "not in Tunisia"– as by the "global economic government". The best way, for them, to have a say in future events is to carry on doing theatre and remaining fully independent. Baccar turned down an offer to become arts minister, before the same post was proposed to the director Moufida Tlatli. Jaïbi has no intention of heading the Théâtre National [in Tunis], a body he thinks is "rotten to the core". "We will be more use in our current position," they say with a smile. "Aged 65 we are going to vote for the first time in our lives. We want to put on a new play with the young people who made the revolution, so they can have their say. As for Amnesia, the show will go on, leaving soon for Morocco, Lebanon, Syria, Jordan and only going to Egypt later, unfortunately." We shall watch their progress with interest. A This article originally appeared in Le Monde

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NYPD Red (NYPD Red 1) By: James Patterson (author)Paperback Every cop wants to be part of NYPD Red. It is the elite team in New York's police department, handling the cases involving the most important and high-profile individuals in the city. It's Detective Zach Jordan's dream job, but he's about to step into a nightmare. In the middle of a New York film festival, a maniac begins a very public and very brutal killing spree targeting Hollywood's biggest stars. Zach is assigned a new partner, Detective Kylie MacDonald, who is also his ex-girlfriend. But they'll need to put their history aside to have a chance of stopping this homicidal psychopath before he brings New York City to its knees. JAMES PATTERSON is one of the best-known and biggest-selling writers of all time. His books have sold in excess of 325 million copies worldwide and he has been the most borrowed author in UK libraries for the past nine years in a row. He is the author of some of the most popular series of the past two decades - the Alex Cross, Women's Murder Club, Detective Michael Bennett and Private novels - and he has written many other number one bestsellers including romance novels and stand-alone thrillers. James is passionate about encouraging children to read. Inspired by his own son who was a reluctant reader, he also writes a range of books for young readers including the Middle School, I Funny, Treasure Hunters, House of Robots, Confessions, and Maximum Ride series. James is the proud sponsor of the World Book Day Award and has donated millions in grants to independent bookshops. He lives in Florida with his wife and son. Category: Thriller» series: NYPD Red» publisher: Cornerstone» imprint: Arrow Books Ltd»

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30th November, Lincoln's Inn Fields... Shakespeare and the Folio Hunters: A Detective Story 750 copies of the first folio edition of Mr. William Shakespeares Comedies, Histories, & Tragedies were published after the playwright's death in 1623 on the initiative of two of the actors in Shakespeare's acting company, The King's Men. John Heminges and Henry Condell were fed up with the fact that so many bootleg editions of the individual plays were circulating. Today 232 of these First Folios have been located and (almost) each one has been seen by scholar Eric Rasmussen who has written a surprisingly fascinating book, The Shakespeare Thefts (Palgrave Macmillan) about his team's search for the missing First Folios and their painstaking examination of the ones we do know about. Some will have perished in fires, some will have been torn up to wrap vegetables in, and some will exist in private collections, probably stolen, and thus secreted away. This is a book full of stories, of obsessive collectors, of careless owners, of thieves, of fantasists (like the man who lived with his old Mum on a weekly carer's allowance and funded a lavish lifestyle on stolen credit cards used to purchase a stolen First Folio), of rich men looking for the ultimate status symbol, of Japanese universities owning no fewer than twelve of the things from the days when the yen would get you whatever you wanted. In 2002 Sir Paul Getty paid $7 million for his entry to this very special millionaire's club. In 1623 it cost £1 which for the time was a staggering amount so it has never been an object for the ordinary person. Rasmussen calls this a "literary detective story" and it has all the appeal of a page-turning chase after the elusive Folios, many of which must still be out there. But beware: a worryingly large number of people have died shortly after acquiring their copy. For an academic book this is a pacy read, written in a lively popular style and highly recommended. My only suggestion is that Rasmussen and the team should reach down their copy of the Oxford English Dictionary and look up the meaning of "disinterest" (p23). What would one do if one had the dosh to acquire a First Folio? Probably look at it lovingly then replace it in the fireproof vault and pull down the RSC complete Shakespeare edited by Jonathan Bate. And Eric Rasmussen. In Praise of the North: Jeanette Winterson Jeanette Winterson's new memoir, Why Be Happy When You Could Be Normal? appears to have been highly praised, rightly it seems to me, for its zest and candour and noted for a quality that some reviewers have seen as haste or even carelessness but which I see as her characteristic lively, pugnacious inventiveness. She describes herself as "a bare-knuckle fighter" who is her own worst enemy in love, lashing out at those she wants to love, all of which may proceed not just from the oddity of her beginnings in a crazy Evangelical household dominated by the unloved and unloving adoptive mother she calls Mrs Winterson, but in that sense of being unwanted, though the social workers and adoption agencies of course repeat to her the mantra that she was wanted, the birth mother when eventually located singing the same song. There are harrowing descriptions of her bout of madness after a long relationship ended and her attempted suicide, as well as some rollicking humour from that mad religious household. But what stuck in my mind was something else: her repeatedly stated affection for the North of England (like me she is a Lancastrian) and her regret at what has happened to it. The emptying of the libraries (she read the literature section right through in A to Z order) by infotainment librarians, the triumph of Utility over inspiration in education, are all vigorously condemned but some of the most moving passages (aside from the personal ones of course) are where she observes contemporary England, the urban fringes of Manchester, for example, where the terraces have been demolished to be replaced by a waste land of "tower blocks and cul-de-sacs, shopping compounds, and gaming arcades...most of the small shops... boarded up, lost on fast, hostile roads". She asks why decent people cannot live in decent environments: "Now and again, forlorn and marooned, there's a four-square stone building that says Mechanics' Institute or Co-operative Society. There's a viaduct, a cluster of birch trees, a blackened stone wall; the remains of the remains. A tyre warehouse, a giant supermarket, a minicab sign, a betting shop, kids on skateboards who have never known life any other way. Old men with bewildered faces. How did we get here?...I love the industrial north of England and I hate what has happened to it." And this was the case before the current recession. Shakespeare and the Folio Hunters: A Detective Sto...

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Creeping Coffins What have these three books got in common (apart from being battered mass-market paperbacks dating from the early 60s?). There’s a murder mystery by John Dickson Carr called The Sleeping Sphinx, a science fiction novel by Lionel Fanthorpe (using the pseudonym “Bron Fane”) called U.F.O. 517, and a non-fiction compendium called Great World Mysteries by Eric Frank Russell. No prizes for guessing the answer is going to be Fortean in some way. Eric Frank Russell, although he was best known as a science fiction author, was one of the earliest British disciples of Charles Fort. There have been several articles about him in the last few issues of Fortean Times, as part of Bob Rickard’s series on “The First Forteans”. The other two authors have also featured in fairly recent FT articles – I know because I was responsible for both of them! I wrote about “Fanthorpe’s Fortean Fiction” in FT297, and about the Fortean aspects of John Dickson Carr’s “Locked Room Mysteries” in FT 288. The cover of the Carr novel depicts an old coffin, and the strapline mentions “restless coffins”. And that’s the connection between the three books – coffins that move of their own accord! The relevant chapter in Russell’s book – the only non-fiction one of the three – is called “The Creeping Coffins of Barbados”. This seemingly poltergeist-like case will probably already be familiar to readers who, like me, can remember a time when there was more to Forteana than Bigfoot videos and leaked government UFO documents. The events occurred in the early 19th century, in a churchyard on the south coast of Barbados. Over a period of several years, every time the Chase family’s private vault was unsealed to add a newly deceased relative, the coffins were found to be in wild disarray – often standing on end. The coffins were always carefully put back in their correct places, only to be found scattered about at random the next time the vault was opened. Increasingly elaborate precautions were taken to prevent unauthorised entry to the vault, but all to no avail. Eventually they gave up and abandoned the vault. Exactly the same story is recounted in the Fanthorpe novel, where it’s given a characteristically Fanthorpian explanation involving a time-travelling flying saucer. A number of more conventional explanations are discussed in Russell’s book, ranging from malicious damage and natural phenomena to supernatural activity. The Barbados case wasn’t unique – Russell also mentions a similar case that occurred on the island of Oesel in the Baltic, as well as two in England. For himself, Russell says he “refuses to credit that any coffins have been moved around anywhere by ghosties or eerie beasties or things that go bump in the night. Whatever shifted the coffins at Barbados and elsewhere was, I believe, a force natural enough though not within our knowledge even at the present date.” Others who investigated the case came to very different conclusions. Sir Arthur Conan Doyle, the creator of Sherlock Holmes, favoured a supernatural explanation, referring (as quoted by Russell) to “bodily emanations, and the residual life-force supposedly remaining in the bodies of suicides and others who have died before their time.” Talk of Conan Doyle and Sherlock Holmes brings us neatly to John Dickson Carr and his own fictional detective, Gideon Fell. Carr is best known for his “locked room murders”... and the creeping coffins case is a classic example of a locked room puzzle. Strangely, however, this particular novel – The Sleeping Sphinx – isn’t a locked room murder at all. It’s a very clever mystery, as you’d expect from Carr, but it’s one of the few Dr Fell stories in which the murder itself doesn’t have any “physically impossible” aspects to it. My guess is that either Carr’s publisher or his agent told him the novel had to include an “impossible mystery” in order to please his readership (the book dates from 1947, by which time Carr’s name was virtually synonymous with the locked room genre). So the scene with the coffins was tacked on as an afterthought. That’s not a spoiler, by the way – there’s no suggestion in the novel that the “restless coffins” have any direct connection to the murder, except for the tenuous link that one of the coffins involved is that of the murder victim. In the novel, the solution to the coffin mystery comes at the very end of the book, even after the solution to the murder itself. So I won’t say what it is – except that it’s not supernatural! Carr doesn’t mention the Barbados case explicitly, although he refers briefly to the Oesel case and the two English ones. However, he does borrow a detail from the Barbados case, where fine sand is sprinkled on the floor of the vault in a vain attempt to detect the footprints of any intruders. In a footnote Carr mentions a book called Oddities, dating from 1928, by Rupert T. Gould. Russell’s book also refers to Gould’s Oddities. I’m not sure if this is the same book, under a different title, as one I saw for sale a few years ago – “A Book of Marvels”, also by Rupert T. Gould. I would have bought it, except that the copy in question was thoroughly saturated with stale cigarette smoke – one of the few things that can totally ruin the pleasure of reading an old book, as far as I’m concerned. So I had to settle for photographing the cover and contents page... which as you can see includes a chapter entitled “The Vault at Barbados”: Eric Frank Russell, Fortean Times, John Dickson Carr, Lionel Fanthorpe, strange but true, Peni R. Griffin Since I own a relatively recent edition of *Oddities* (1965, I think; the date's in Roman numerals) I can tell you, quoting the Bibliography of Gould's works included in it, that *A Book of Marvels* "contains seven of the twenty essays in *Oddities* and *Enigmas* with some corrections and additions, but is superseded by the second edition of each book."The Dancing Coffins case in notable for including some of the most casually racist discussion of plausible and implausible causes I've ever read. I have always rather hoped that the plantation slaves had some motive for accessing the vault periodically, and deliberately disturbed the coffins when they knew it was to be opened, in order to frighten the white folks away from it and account for any activity they did spot going on around it between interments. Pretending to be abjectly afraid of it themselves would go hand-in-hand with this use; and the coffins that remained undisturbed would be those of more humble members of the family, who behaved better toward the slaves than the inhabitants of the disturbed ones.This explanation has the merit of looking straight at the people most easily dismissed by the people first confronted with the mystery; which as any good mystery reader can tell you is the key to solving a case. 10 May 2014 at 19:31 Thanks very much for the clarification about the Gould books. It's strange they're not better known - I will have to try to get hold of a non-smelly copy!I like your theory. When it comes to making mischief, there are distinct advantages to being viewed as "intellectually inferior" - especially if you're intellectually superior! Peter Hornsby This may be of interest: http://skeptoid.com/mobile/4399 Thanks for the link Peter theo paijmans I did some research on the Baltic case, but I doubt if the original research files if they were, will ever come to light. Thanks Theo, that's interesting. Is your research written up anywhere?When I responded to Peter Hornsby's comment I'd only had a quick glance at the link, because I was standing outside in the rain at the time. Having read it properly, it seems these stories may not stand up to close scrutiny as well as one might hope!

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HomeAn Arts Space Rises by the Banks of Brooklyn’s Eerie Canal CultureAn Arts Space Rises by the Banks of Brooklyn’s Eerie Canal Jessica George FirgerMay 18, 2007 From the outside, the structure resembles a fancy feed-storage bin: two converted oil silos overlooking Brooklyn’s Gowanus Canal. Inside, the space recalls a rustic lodge. But while the unique edifice may be what draws people to Issue Project Room, it’s what’s produced inside that gets people to stay — and return. Besides, as Suzanne Fiol, the space’s executive and artistic director, is quick to remind those who stop by to hear some of the best experimental and avant-garde music around, the space is “only temporary.” This is Fiol’s second location. In collaboration with the cutting-edge arts and culture magazine Issue, Fiol first set up shop in Manhattan’s East Village. The neighborhood had become a stomping ground for such performers as Marc Ribot, Elliott Sharp and Anthony Coleman, musicians who may identify as Jewish but whose experimental styles put them on the Jewish fringe. “Some of my chief advisers for Issue have been several of the musicians who were part of Radical Jewish Culture,” Fiol said, referring to the movement connected with impresario John Zorn’s Tzadik label. Issue Project stayed in the East Village for four years, at which point Fiol knew it would lose its lease. “But you have to have faith,” she said with a grin. “One day, a friend called me up and said, ‘How would you like to have your space in a silo?’” And in June 2005, the project did just that. Still, even with impressive weekly lineups, Issue Project, an acting not-for-profit under the New York Foundation for the Arts, remains dependent on donors, contributors and supporters of the arts to fund the space, which costs between $6,000 and $15,000 a month depending on the programming. Fiol’s all-volunteer staff is passionate and committed to the organization, but no one, including Fiol herself, gets paid. What has motivated Fiol has been a hunger for community as well as a unique sense of mission. “The artistic community has always been a place where I felt proud to be Jewish,” said Fiol, who worked as a gallery director and art dealer for 13 years before starting Issue Project. She is also an accomplished photographer, printer and sculptor in her own right. “I didn’t like the attitude of the [visual] art world, so I created a new art world where I could fit in.” Composer-keyboardist Coleman, who has performed at Issue Project on numerous occasions, spoke of its ambitiousness. “There’s an attempt to create a sort of community at Issue. It has elements of a European performance space and often dinner for the artists.” Coleman, who celebrated his 50th birthday there, thinks that the palpable enthusiasm and unusual physical space — “It’s ad hoc in such an intense way” — are some of Issue Project’s greatest assets. But while Coleman is signed with Tzadik, he questions whether Issue is a hub for the world the label represents. “The only thing ‘radical Jewish’ about Issue is that someone brings a big pot of soup and makes you sit down and eat,” he said with a laugh. Whether it’s because of her Jewishness or not, Fiol stressed that she has always been driven by her sense of self. “I guess I am a proud Jewish woman,” she said. “I didn’t necessarily think I would have to work this hard when I first began Issue. I think that maybe if we look around, we would find that there are many Jewish American citizens at the forefront of keeping culture alive in this country.” Jessica George Firger is a freelance writer living in Brooklyn. Jessica George Firger An Arts Space Rises by the Banks of Brooklyn’s Eerie Canal

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« Was Tennessee Williams’ First Published Work in the Pages of Weird Tales? Did a TV Series Once Not Even Stop Production When One of Its Two Leads Killed Himself? » Did Star Trek: The Next Generation Use Sherlock Holmes Characters in an Episode Not Knowing That the Characters Were Not Yet in the Public Domain? Tweet Here is the latest in a series of examinations into urban legends about TV and whether they are true or false. Click here to view an archive of the TV urban legends featured so far. TV URBAN LEGEND: Star Trek: The Next Generation used Sherlock Holmes characters in an episode not knowing that the characters were not yet in the public domain. Late last month, there was a notable court ruling determining that Sherlock Holmes and the other characters introduced in Arthur Conan Doyle’s Sherlock Holmes stories before 1923 were now officially public domain (although Doyle’s post-1923 stories still have copyright protection). It is a complicated quagmire of intellectual property rights (just today, there seems to be more confusion developing regarding the rights) and the complicated nature of the rights seemed to be an issue way back in the late 1980s when Star Trek: The Next Generation pitted the crew of the Enterprise against Sherlock Holmes’ main nemesis, Professor Moriarty. Did the creators of Star Trek: The Next Generation seriously not know that Sherlock Holmes was not yet in the public domain when they wrote the characters into the 1988 second season episode “Elementary, Dear Data”? As it turns out, it appears to be a good deal more complicated than that. It appears that rather than Star Trek: The Next Generation believing that the characters were already in the public domain (as US representative of the Arthur Conan Doyle estate Jon Lellenberg pointed out a few years back, since Paramount had just recently licensed the characters in the film Young Sherlock Holmes in 1985, it seems highly unlikely that Paramount’s lawyers forgot that the characters were not in the public domain three years later), they instead believed that the use of the characters in the episode were protected as parodies of the characters and therefore did not need to actually be licensed from the Doyle estate. After all, in the episode, Data and Geordi dress up as Sherlock Holmes and Dr. Watson for a holodeck adventure and run afoul of the holodeck version of Professor Moriarty, who has gained sentience. So the idea would be that they were not actually adapting the characters, but just doing a parody of them. It is worthwhile to note that it seems clear that they did not pay a licensing fee, as there is no credit to the Doyle estate in the episode. The Doyle estate naturally disputed that the characters’ use was a parodic use, especially Professor Moriarty, and they made it clear that any future usage in this manner would require a usage fee. This, then, led to a bit of a game of telephone, as people who weren’t with the show in the second season began to perpetuate rumors about why they were not allowed to use Sherlock Holmes characters. For instance, producer Jeri Taylor, who joined in Season 4, ultimately was the one who got the rights to use the characters in Season 6’s “Ship in a Bottle,” explained the situation to Captains’ Logs: The Unauthorized Complete Trek Voyages) as “Apparently the Arthur Conan Doyle estate was irritated with Paramount because of the movie Young Sherlock Holmes and they said no, more, ever. Well, as in many walks of life it was never say never again; to my amazement they were willing to give us the characters for a very reasonable licensing fee.” There did not seem to be any issue over Young Sherlock Holmes (again, Taylor would just be repeating what others had told her, since she wasn’t working on the show at the time). It just seems like the Doyle estate called them on the lack of licensing fee and the producers debated whether they wanted to pay said fee (not for nothing, the episode was very expensive to produce and the production was reduced from eight to seven days of filming to save on costs) and then, of course, rumors swept in over why they couldn’t use the characters until Taylor actually contacted the Doyle estate (there IS a credit in “Ship in a Bottle,” of course). So while it is true that there was SOME dispute over the episode (one issue might have been that the producers might have contacted the Doyle estate before filming the episode and then came up with the parody defense after hearing what the usage fee would be), it was not a matter of Star Trek: The Next Generation not knowing that the Sherlock Holmes characters were not in the public domain. The legend is… Tags: Star Trek This entry was posted on Wednesday, January 29th, 2014 at 10:41 pm and is filed under TV Urban Legends Revealed. One Response to “Did Star Trek: The Next Generation Use Sherlock Holmes Characters in an Episode Not Knowing That the Characters Were Not Yet in the Public Domain?” ParanoidObsessive on February 5th, 2014 at 9:58 pm Odd – I’ve always been under the impression that Sherlock Holmes and related characters have been public domain for years now. I think what makes it more complicated is the fact that different copyright restrictions apply in different localities – UK copyright is different from US copyright, for instance (and I would assume that UK copyright would supersede US copyright in any case involving characters written by an English writer first published in England). By a strict interpretation of UK copyright (from what I’ve manged to dredge up on the subject), it almost seems as if the everything Doyle wrote should have officially been public domain as of 1980. The problem there is that later revisions to copyright law (in 1995) apparently altered the period of protection – AND did so retroactively even on properties which HAD expired in the meantime (which would have renewed said copyright on Doyle for an extra 20 years, expiring in 2000). All that being said, it means that the ST:TNG references SHOULD have been public domain in 1988, when they were filmed, but would have retroactively been in violation 7 years later, when the revised law was passed. At least by UK standards.

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Little Visits With Great Americans -- Part III Continuing with our excerpts, here is an article about the great editorial cartoonist Homer Davenport. The subject of our sample Davenport cartoon is Teddy Roosevelt (who was an avid big game hunter).Rebuffs and Disappointments Fail to Repress a Great Cartoonist's Genius.To-day Homer C. Davenport is the "first cartoonist" of America, and yet he is but thirty-five years old. Mr. Davenport has a small place in Roseville, on the outskirts of Newark, New Jersey. He is a tall, handsome man, with large, humorous eyes, beneath heavy eyelids, that give him an expression of perpetual thought."I suppose you want to see my studio?" Mr. Davenport said. We went upstairs."This is it," he said, with a chuckle.It was merely a small, square room, with a few framed pictures on the papered walls, and a desk in the corner. There was no easel in the room, but I saw a drawing-board under the desk.DAVENPORT'S UNIQUE STUDIO"You work on that board, when on the desk?" "Yes.""You are disappointed," said his sister, with a smile, “It is not what you expected."It wasn't. I had expected to see a typical studio, with unfinished cartoons, and the usual artistic surroundings.Mr. Davenport laid an unfinished cartoon on the desk, representing a chariot race, and laughed when he explained what it would be and mean; and this told me that he enters heartily in whatever he draws, which is requisite to success in art as well as in other things. Then we adjourned to another room and sat about a wood fire."Tell me of your beginning," I said."Well, I was born in Oregon, thirty-five years ago, on my father's farm. As a child, I was perpetually drawing, and to my father I owe much, for it was he who encouraged me, my mother dying when I was very young. I would lie flat on my stomach, and draw on the floor, if I had no paper. As I spent hours this way, the habit became injurious to my digestive organs, so a flat cushion was made for me. I was a hopelessly poor student, doing more drawing on my slate and on the margins of my books than studying. To sit in school for any length of time made me sick and nervous, so my father called on the schoolmaster and gave instructions that, whenever I got tired, I should be allowed to draw, or to go home."HE DREW CARTOONS IN SCHOOL"This was rather demoralizing to the school, for even then I drew cartoons. Finally, I was taken away, and my father painted a blackboard, .four feet high by fifteen feet long, on the side of a room in the farmhouse, where, with plenty of chalk, I drew to my heart's content. I would draw all day.""And you received no instructions in drawing?" "I never had a lesson in my life. It was my father's ambition for me to become a cartoonist. When, in later years, I did anything that he considered particularly good, he would carry me off to Portland, and I would submit it to the Portland 'Oregonian,' where my attempts were always laughed at. Then, much crestfallen, I would return to the farm.""Now, my boy,” my father would say, “that is good. enough to be printed,” and off I would go again."At length, the news spread that I had a job on the Portland 'Oregonian.' The whole town became interested, and when the day arrived for my departure, the band of which I was a member, and many of the townspeople, escorted me with due honor to the railroad station."HIS FIRST DISAPPOINTMENT." 'Well,' I heard some say, 'I guess we will never see him again. He's too big for this place.'"I was on the Portland 'Oregonian' just one day. " 'What's the sense of this?' I was asked. 'You can't draw,' and back I went."I had before me the mortification of meeting the righteous disgust of my friends. On my way back to Silverton, I heard that they were short of a brakeman at the Portland end, so I beat my way back to Portland, and, walking into the office, offered myself. "'What!" said the man. 'What do you know about braking? I would like to know who sent you on such a fool's errand?' and he raved and stamped, and swore he would discharge everyone on the train. But on the next train, I went out as head brakeman. All the elements got together, -- it rained and snowed and froze, and when I got to Silverton, almost frozen, I slipped from the train and tramped home, a much disheartened young man."But just to show my father I had something in me, and wanted to make my way in life, I asked to be sent to an institution of learning, where I stayed just one week. Then I got a place attending to the ink roller in the local printing office, where the town paper was published, which, to this day, I do not think can be beaten," and Mr. Davenport laughed in his hearty way.AT TEN DOLLARS A WEEK"Finally, my star rose on the horizon. I went to San Francisco, and was taken on trial on the 'Examiner.' I remember the day well, February 8,1892. For one mortal week, I simply hung around the office. Then I was put to work at ten dollars a week. But I proved unsatisfactory. I drew the man over me aside." 'Look here,' I said, 'I can't draw. I want you to write to my father and tell him what a failure I am, and that his belief that I am an artist is the delusive mistake of a fond parent. He sat down to write, and, as he was doing so, my fingers, always itching to draw, were at work with a pencil in sketching horses, on a piece of paper on the table." 'When did you do that?' he asked, picking up the paper."I did it just now," I replied, sheepishly." 'What? Do it again.'"I did so. He looked at me curiously." 'Wait a bit,' he said. He took the paper into tlie office. 'Come in here,' he said, 'the boys won't believe it. Do some more.'" 'Davenport,' said the manager, 'you are too old to strike a path for yourself. You must put yourself in my hands. Do nothing original, not one line.' If the manager caught me doing so, he tore it up."I remember one time, Ned Hamilton, a star writer on the 'Examiner,' some others, and myself, were sent to a Sacramento convention. I drew what I considered very good likenesses, and that night, when I retired, with a fire burning brightly in the room where we all bunked, I fairly kicked my heels in delight, in anticipation of the compliments of the 'Examiner.' I was awakened by the tearing of a paper, that sent the cold shivers up and down my back. Ned Hamilton was grumbling, and throwing my labor into the fire." 'If you can't do better than that,' he said, 'you ought to give up.'"I almost wept, but it took any conceit I might have had out of me, and the next day I did some work that was up to the mark."HE WAS DISCHARGED IN CHICAGO"But my walking papers came in due time, and I went to the 'Chronicle.' It almost took my breath away when they offered me twenty dollars a week. Before I was discharged from there, I had risen to a higher salary. I went to Chicago, and got on the Chicago 'Herald,' at thirty-five dollars a week. I was there during the World's Fair. It seemed to me the principal thing I did was to draw horses. But the greatest blow of all was when the Chicago 'Herald' discharged me. It seemed as if everything were slipping from beneath my feet. I went back to San Francisco and got on the 'Chronicle' again. It was then, and not till then,-1894:,-that I was allowed any freedom. All that I had been asking an outlet for found vent, and my cartoons began to attract attention."William R. Hearst, of the 'Examiner,' asked, in one of his editorial rooms: 'Who is that Davenport, on the 'Chronicle,' who is doing us up all the time?'" 'Oh, we bounced him; he's no good,' was the reply." 'Send for him!' said Mr. Hearst. "No attention was paid to the order. Mr. Hearst finally sent for me himself. I was engaged at forty-five dollars a week. Then a thing happened that I will never forget, for no raise before or since ever affected me to such a degree."I drew a cartoon of Senator 'Steve' White and his whiskers. The whiskers so pleased Mr. Hearst, that he called me in and said that my pay would be raised five dollars a week. I went home that night, and woke up my wife to tell her the glad news. She fairly wept for joy, and tears trickled down my own cheeks, for that increase meant appreciation that I had been starving for, and I felt almost secure,-and all on account of Senator 'Steve' White's whiskers."Here Mrs. Davenport, who had brought us two large books, in which she had fondly pasted all of her husband's work, said:-"Yes, no subsequent increase, no matter how large, has ever equaled that five-dollar advance."IN CLOVER AT LASTMr. Hearst, as soon as he bought the New York "Journal," telegraphed to the "Examiner:" "Send Davenport." He is now receiving a very large salary, and his work is known throughout the world.Two years ago, Mr. Davenport went abroad and drew sketches of the members of the houses of parliament, and Mr. Phil. May, the English artist, became his fast friend.In Washington, Senator Hanna insisted upon meeting Mr. Davenport, and shaking him by the hand. He was the first to immortalize Mr. Hanna, with that checkered suit of dollar marks.Such is the man and artist, Homer C. Davenport, who, in 1894, had not drawn a public cartoon, and who, to-day, has a world-wide reputation, and the esteem of even those whom he has caricatured, and who cannot help enjoying their own exaggerated portraits. Davenport's success has come rapidly, but not until he had sustained reverses that would have discouraged any man of a less resolute character. # posted by Allan Holtz @ 7:50 PM 1 comments Comments: This is a great interview. Davenport of course is at his self-depreciating best here. For example, he actually worked for the Oregonian for about four months!Gus FrederickThe Davenport Project # posted by Unknown : 2/24/2013 5:39 PM Post a Comment Little Visits With Great Americans -- Part II Continuing our excerpts (see previous post). Sample above is a typical T.S. Allen Just Kids cartoon.T.S. AllenOne of the artists whose purpose in life seems to be smile-breeding is T. S. Allen. Well known in connection with his work in the columns of the New York American, his studies of and contingent jokes on "tough" youngsters under the caption of "Just Kids" are full of genuine humor. Mr. Allen was born in 1869, in Lexington, Kentucky, and was educated at Transylvania university, of that state. After some years spent in writing jokes, jingles, etc., for local and New York newspapers, he began to illustrate the same in a manner which quickly caught the attention of editors. To-day he has an established reputation as a graphic humorist, and his work finds a ready and remunerative market.R. F. OutcaultIn the world of illustrators, the man who can originate an idea which excites the laughter and holds the attention of the public is indeed fortunate. Such an individual is R. F. Outcault, the artistic father of the "Buster Brown" series which appear in the Sunday New York Herald. He is also the author of the "Yellow Kid" and "Hogan's Alley" pictures of the Sunday New York World, and of equally laughable creations in the New York American and other publications. Born in Lancaster, Ohio, January 14, 1853, he was educated in that town. In 1888 he secured a position with Edison, and went to Paris in the inventor's employ. Returning to this country, he illustrated for some time with a fair degree of success, but it was not until 1894 that he made his first distinctive hit as a comic artist. Mr. Outcault's personal description of his daily life is interesting. He says: "I have flowers, a garden, a dog and a cat, good music, good books, light stories, draw pictures, smoke a pipe, talk single tax theories, am a member of a couple of clubs, lead the Simple Life."Carl E. SchultzeHumor, strenuous and wholesome, marks the work of Carl E. Schultze. His name is literally a household word in this country by reason of that quaint conceit, "Foxy Grandpa," of which he is the creator. He was born on May 25, 1866, Lexington, New York, and was educated in the public schools of that town and at Cassel, Germany. On his return to America he studied art under Walter Satterlee, of New York. For some time later he seems to have been undecided as to how to apply his gifts, but an accidental sketch submitted to a Chicago paper, resulted in his being forthwith engaged by that publication. After remaining in Chicago on several newspapers for some years, he took a trip to California, doing further artistic work in San Francisco. At length he determined to beard the metropolitan journalist lions in their dens. After a struggle, during which he did work on Judge and other New York publications, he became a member of the staff of the Herald, where, thanks to an accidental inspiration, "Foxy Grandpa" came into existence. Later he became connected with the New York American. Mr. Schultze is a man of magnificent physique, and is held in high esteem by those who know him. He is the author of several works of comic drawings, and "Foxy Grandpa" has been dramatized.Eugene ZimmermanEugene Zimmerman's cartoons in Judge are characterized by an insight into the political questions of the hour which is assisted rather than hindered by the sheer humor of his work. He was born at Basel, Switzerland, May 25, 1862. While yet a baby his parents came to the United States and settled at Paterson, New Jersey, where he received his education in the public schools. After leaving school, he was in turn a farmer's boy, an errand boy in a store, a fish peddler, a baker and a sign painter, but sketched and drew continuously. In 1882 he secured a position in the art rooms of Puck, and after doing considerable work for that publication left it in order to join Judge. He has also illustrated books and articles by Bill Nye and James Whitcomb Riley. As a caricaturist pure and proper he is almost without a rival in this country. # posted by Allan Holtz @ 9:06 AM 0 comments Comments: Little Visits With Great Americans -- Part I A short while ago I saw a book advertised on eBay that contained some capsule biographies of great cartoonists. I procured a copy, which turned out to be two book set, and thought I'd pass along the relevant bits (only about fifteen pages of material). The cartoonist photos, though small, are a great find because I've never seen a few of these guys photographed before (T.S. Allen, for instance). Most of the bios are quite terse, but in parts 3 through 5 of this series we will get extended articles on Charles Dana Gibson, Homer Davenport and Frederick Burr Opper that offer some real insights.So here is part I of excerpts from Little Visits With Great Americans, or Success Ideals and How to Attain Them, edited by Orison Swett Marden and published by The Success Company in 1905.Charles G. BushCharles G. Bush, the cartoonist of the New York World, is an example of success achieved comparatively late in life. His early work consisted for the most part of magazine illustrations of a serious nature. After studying in Paris, under Bonnat, he, on his return to America, endeavored to follow a career of painting, but fate willed it otherwise. In 1895 Mr. Bush drew a cartoon in which David B. Hill was the principal figure. The New York Herald accepted the picture, and the next morning Mr. Bush woke up to find himself famous as a cartoonist. From thence on his career has been one of more or less constant successes.Louis DalrympleLouis Dalrymple, the illustrator and cartoonist, was born at Cambridge, Illinois, January 19, 1861. After receiving a common school education, he entered the Pennsylvania academy of fine arts, graduated from it with credit and later studied at the art students' league of New York. Subsequently he branched out for himself and began to submit drawings to the metropolitan comic publications and newspapers. Work of this kind secures immediate recognition for an artist who can comply with the public demands of the moment. Mr. Dalrymple being not only clever but shrewd, it came about that within a very short time he was kept busy in executing commissions. His work is characterized by a delicacy and acumen that prove that he thinks as well as he draws.Sydney B. GriffinWhen the modern daily newspaper began to add to its news columns the so-called supplement, there was a coincident demand for artists who had the gift of humor. Sydney B. Griffin was one of such, and for some years past his supply of unique ideas seems to have been inexhaustible. He was born October 15, 1854, of English and Scotch parents, attended public schools at Detroit, Michigan, and, in 1888, came to New York. When his first ideas were presented to Puck they were declined, but upon his taking them to Judge they were accepted forthwith. Mr. Griffin took the trouble to inform the Puck people of his success with their rivals, whereupon he was told that his work had been refused for the simple reason that it was so excellent that it was feared that it was not original. However, Puck made the amende honorable by engaging him forthwith. Mr. Griffin's style is bold and slashing and his drawings are full of point and power. Obscure and Obscurer Bronc Saddler, The Rodeo King by Del and Herb Rayburn, writer and cartoonist respectively, ran just one year (1/14/51 - 1/6/52) from the New York Post Syndicate. The Post had a pretty good line-up of strips, but they just couldn't seem to sell them to many papers. This feature, entering a market that was already glutted with cowboy strips, didn't have much of a chance even though both the art and the writing were quite good. I don't know much about the Rayburns, but Del had written some western fiction for the pulps and produced a booklet titled The Rodeo Kings just before starting this strip. Herb Rayburn, whose art style on the strip was strongly pulp-influenced, went on to do some art for kid's books.Far more rare than the Post Syndicate run of the strip is a second run that ran in the ultra-rare Arrow Comic Weekly comic section. This preprint section, apparently marketed mainly to small weekly papers, is so rare that a complete run of it has not yet been found. Jeffrey Lindenblatt has indexed the only partial run we've ever found, in the Manhasset Press. I have a total of just one incomplete section in my own collection. Bronc Saddler ran in this section from 10/29/53 or earlier until 12/17/53, this time credited to William Allison. My guess is that the name is a pseudonym for the Rayburns, but not having seen with my own orbs a single example of this strip in the second run I can't even make a guess on that count.Labels: Obscurities # posted by Allan Holtz @ 9:03 AM 12 comments Comments: My guess as to the identity of WilliamAllison was going to be the Harry "A"Chesler shop artist and writer who didsome comic books in 1936/37, and wasgood enough to be assigned covers (afew of them are shown in Ron Goulart'sComic Book Culture book).William Merle Allison according to Jerry Bail's Who's Who and the askart.com site was born in 1880.Unfortunately one has him dying in1934 and the other in 1946.So whether it is an alias on the 1953 Bronc Saddler is still a guess.D.D.Degg # posted by D.D.Degg : 12/21/2005 4:56 PM Hi DD. I think there's a much better chance that it is a pseudonym for the Raybuurns. First, they had the copyright on the strip in the first run, and it certainly wasn't such a hot property that someone would be likely to buy the rights. Second, the name William Allison could very well be a combination of two old West gunslinger names - William Bonney (Billy the Kid) and Clay Allison, making it an excellent pseudonym for a western strip. # posted by Allan Holtz : 12/22/2005 10:53 AM Hi,I have one and and came here to find some more info. I picked it out of my pile of stuff because it has a 1953 Bruce Gentry strip on the front, signed by Scap (?) in a faux Ray Bailey style. Possibly a restart of the strip because of the succes of the movie serial? I will scan the whole thing in and give it some attention next week. Where can I acces the index by Jeffrey? # posted by Ger Apeldoorn : 5/15/2010 3:42 AM Hi Ger --I am slated to write an article for the next Hogan's Alley about the Arrow Comic Weekly. I'm anxious to see your section since they are really, really rare!--Allan # posted by Allan Holtz : 5/15/2010 6:49 AM Mine's from a differet paper than the one you mentioned. Possibly one more route to find copies or microfiche rolls? Eh... the name escapes me now. I'd have to go upstairs and have a look. # posted by Ger Apeldoorn : 5/16/2010 2:58 AM I looked up mine. It's a Walden paper from 1953-11-26. I can't make out the date on your sample, but it seems one year earlier with it's 11-18 date. On my Stright Arrow page is a number 5 in one of the first panels. Other strips are Debbie Dean, Gulliver's Travels, Bronc Saddler, Bruce Gentry and Son of the Buccaneer. # posted by Ger Apeldoorn : 5/17/2010 12:43 PM The paper is The Walden Citizen Herald, which seems to be still in business. at least the Library of Congress mentions some libraries holding the relevant years... so they may still be out there! # posted by Ger Apeldoorn : 5/17/2010 12:48 PM I am almost ready to put my scans up. With Bronc Saddler, Bruce Gentry, Straight Arrow and Debbie Dean we have for strips that were discontinued earlier, but restarted for this paper insert. Son of the Buccaneer seems like foreign strip and Guliver's Travels is by Funnies Inc, so it could be the Classics Illustrated version. And then there's the sf strip Galaxywhich I am still looking for. # posted by Ger Apeldoorn : 5/21/2010 3:46 PM just a note that William M. Allison was a regular on westerns for Jacquet. And certainly the style is similar - someone could compare more examples than i did to determine if it is the same Allison. # posted by Steven : 6/28/2010 7:38 AM Hi,I have found what seems to be all eight Arrow sections on fultonhistory.co, a site that speecializes in in New York State papers. They start on October 29 1953 and run to December 17, with no new section on December 24 or 31 (even though in the last one a Scroogle adaptation is started that is supposed to be continued in the next issue). # posted by Ger Apeldoorn : 1/05/2014 10:04 AM Hi I have artwork that was drawn by herb and wanted to know how to contact his family. Would u have that info or know how I can get it? # posted by goldkatg : 8/27/2014 12:33 AM Hi,I have finally come around to using the Arrow scans I have on my blog. I am putting them up starting from tomorrow, all eight of them. Interesting that my dates are the same as the ones you mention, which makes me wonder what the reason is for mention uncertain dates. As far as I can se it, it just ran for eight weeks. # posted by Ger Apeldoorn : 12/24/2014 2:09 PM Post a Comment Obscurity of the Day: Wiley of West Point Lieutenant Richard Rick (yup, that's really the name) wasn't any great shakes as an artist, but his art is head and shoulders above his writing ability. Rick's comic strip, Wiley of West Point, is the low point of the boy cadet genre that was popular in the first half of the 20th century. Sitting here looking through samples of the strip, I was searching for one to scan for this post. I had to look through dozens before I found one that had intelligible dialogue and conveyed some bit of a plot. The more typical strips are written in what I suppose Rick thought was snappy patter, but comes out as complete gobbledegook. The plot plays out in fits and starts, often hurtling ahead at warp speed with no regard for exposition - the reader is often left having no idea what's going on.I'll not belabor the point much further, but one must wonder why Bell Syndicate would try to sell this material to newspapers. Practically the only paper I know of that ran it was the Brooklyn Citizen, and they only did so because they were at the low end of the New York City comic strip totem pole (exclusive contracts made it very hard for smaller New York City papers to get comics). That paper, indexed by Jeffrey Lindenblatt, provides us with the only known run, which is 3/4/1935 through 1/4/1936. Have you seen this strip anywhere else?PS: forgot to mention that Rick valued his brainchild to the point where he retained copyright of the strips. Amazingly enough, he was able to resell the old strips to All-American Comics in 1940 -- they ran the strips in their comic book in issues #1-21. At least I assume these are reprints and not new material...Labels: Obscurities # posted by Allan Holtz @ 10:05 AM 0 comments Comments: Obscurity of the Day: Local Oddities Although locally produced features are few and far between, one niche for local cartoons has long been popular. The phenomenon of Ripley's Believe It or Not spawned not only dozens of syndicate-produced competitors (Strange As It Seems, This Curious World, According To Guinness, Our Fascinating Earth, etc.) but also many locally produced versions detailing the history and curiosities of the area served by the newspaper.Local Oddities, produced for the Cleveland News, is fairly representative of the genre. It began in April 1935 and lasted at least though 1937 and perhaps much longer (I have not indexed the Cleveland News as yet - the dates are based on my scattered samples). One interesting aspect of Local Oddities is that it was produced in tag-team fashion. Two cartoonists, Lad Cerny and John McGaw, would switch off on the art duties from day to day. Also notable is that the panels were numbered, but our two cartoonists apparently didn't communicate too well because they continually mess up the numbering system.Local features are an Achilles heel for Stripper's Guide since they are so hard to find and track. If you have information on local strips and panels I'd love to hear from you with any information you can pass on.Labels: Obscurities Superman You Ain't Jerry Siegel and Joe Shuster, the team that created Superman, took a stab at creating a second phenomenon in 1948 when they unveiled Funnyman to a public that let out a collective yawn. The character, who started life in comic books, was a goofy comedian who dressed up as sort of a superhero and fought crime with lots of yocks along the way. The concept of a humorous superhero had already been done before and done better (Jack Cole's Plastic Man coming to mind). The comic book version of Funnyman lasted just six issues, but inexplicably the concept, now a proven loser, was picked up by Bell Syndicate to run as a newspaper comic. I guess Bell believed that Funnyman would appeal more to adult newspaper readers than the comic book reading kids.Turns out that Bell Syndicate was wrong. The strip, which started on October 11, 1948 (just as the many unsold copies of the comic book's last issue were being yanked off newsstands) intially had few clients and things went straight downhill from there. The strip was both a daily and Sunday -- the Sunday ran in very few papers and the daily was practically nonexistent. In June 1949 some genius apparently decided that the whole problem with the strip was that goofy Funnyman guy, so the character was dropped from the strip (at least from the Sunday - I haven't found any dailies that late in the run).The strip limped along awhile longer, now completely and utterly directionless with no title character in evidence. My last example of the Sunday is dated October 9 1949, and I'm guessing that was the last installment. Has anyone seen any later, and does anyone know when the daily ended?

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Alternate timelines vs. parallel worlds This Forum has been archived Visit the new Forums Forums: → Archive index → Panopticon archives → Alternate timelines vs. parallel worlds This thread has been archived. Please create a new thread on the active forums if you want to talk about this topic some more.Please DO NOT add to this discussion. In the thread Alternative timeline individuals, the issue came up of whether alternate timelines and parallel universes are distinct things in the Whoniverse. The article Alternate timeline starts with: An alternate timeline is a reality which is different from a parallel universe in that historical events have been altered by a time traveller or other temporal phenomena. These alterations can be prevented from having ever come to pass, although memories of them are usually retained. Meanwhile, Parallel universe starts with: A parallel universe was a reality created when historical events diverged from the main timeline. Unlike alternate timelines, these occurred naturally. Travel to parallel universes became impossible after the Last Great Time War. I brought up the fact that there are "other realms that aren't alternate timelines, but also aren't part of the main Whoniverse" as a minor side argument against tossing individuals from non-canonical stories into an "alternative timeline individuals" category. CzechOut pointed out that the only evidence for any such distinction is some vague comment by Sarah Jane in one SJA episode. There are definitely other places where a distinction has been made in-universe. Sometimes it's just as simple as the Doctor saying "It's not an alternate timeline, or a parallel universe, or…", implying they're two different things; sometimes it actually explains some difference. And maybe in general there's more of a sense of "wrongness" when the Doctor talks about alternate timelines than when he talks about parallel universes. But I sincerely doubt there's anything like the clear, solid distinction that we're making on this wiki. And there are probably a lot of contradictions. On top of that, these aren't the only two terms that are ever distinguished; there are also alternate histories, strands of the multiverse, and so on, which are all similar and related ideas but with different connotations. And that's not even counting things like the bottle universe from Interference, the bubble universe from The Doctor's Wife, E-space, the universes before and after this one, the universe next door, etc., all of which sometimes serve similar narrative purposes. Even though we have in-universe evidence that the Doctor can clearly distinguish them all, if he never gives us enough information to make that distinction, we shouldn't be trying to make one up on our own. --70.36.140.19 08:24, September 18, 2011 (UTC) By the way, I believe the distinction between "alternate" and "parallel" in SF/AH fiction in general comes from Poul Anderson (or at least Niven credits him with it). In his tradition, an alternate world is a parallel world where there is a clear single point of divergence. But I don't think that's relevant to the Whoniverse. (Or, rather, it's probably true in some sources, but not others.) --70.36.140.19 08:36, September 18, 2011 (UTC) The definition that you gave about a clear single point of divergence is basically correct, at least if you go by the majority of science fiction. I'm not sure if they've ever defined in Doctor Who, but a parallel universe would be what the Doctor encountered in Inferno and Rise of the Cybermen, while an alternate timeline would be what he encountered in Turn Left and The Big Bang. Even though with all the time travel in Doctor Who, each episode would probably take place in a slightly alternate timeline, there are still some alternate timelines that are more radically different from the "main" one. Basically, if somebody travels back in time and changes something, then it's an alternate timeline, but if somebody travels through the void to another universe than it's a parallel universe. E-space, the bubble universe, and the universes before and after this one are not parallel universes, but just different universes. The non canon stuff isn't anywhere in the multiverse. Its the same reason that we really know that Shapiro isn't Q in diguise.Icecreamdif 18:24, September 18, 2011 (UTC) What we can gather about alternate timelines, at least from the episodes and novels that are springing to mind, is that they aren't normally created by time travel into the past, but can be; they're usually caused by a single POD; they're usually unstable; they at least sometimes requires a great deal of energy to sustain; they "feels wrong" to the Doctor and often to the TARDIS; and they can be—and usually should be, and usually are, by the end of the story—"collapsed" by either undoing the POD itself or by introducing some change that counteracts it. In some cases, collapsing it tragically means that billions or quadrillions of sentient beings will never have existed, but usually this apparently isn't a concern for some reason. There clearly is some distinction between alternate timeline and parallel universes, and the Doctor can tell them apart from in-universe, but he never tells us how. It's actually pretty easy to tell the difference from out-of-universe: An alternate timeline is something the Doctor is trying to collapse, while a parallel universe is something he's trying to get out of. The question is, do we actually have a good in-universe distinction that we can use on this wiki? I don't think we do. The single-POD distinction used by the AH community does work, at least reasonably well, but there are plenty of exceptions—the cracks caused many separate points of divergence in The Big Bang, and so did the Council of Eight in Sometime Never…, for just two examples. Also, why is Just War explicitly not an alternate timeline, when it was caused by the Doctor accidentally changing history, and collapsed when he and his companions countered that change? For that matter, do we actually know that there were multiple PODs in Inferno and Pete's World? More importantly, I don't know of any in-universe or behind-the-scenes source that corroborates this distinction. The POD-caused-by-a-time-traveler vs. POD-caused-naturally distinction that the wiki currently uses is much less common in AH/SF in general, no better supported in-universe, and no more workable—again, the divergences in The Big Bang were caused by cracks in the skin of the universe, and those in Sometime Never… were caused by the Council sitting in their Vortex Palace. Even separating multiverse-y things like alternate timelines and parallel universes from big-universe-y things like E-space and the universe next door isn't always easy. For example, before the new series, the Void was always the space between the separate universes (e.g., The Taking of Planet 5, and a string of NAs), while in the new series, it's usually the space between parallel universes in the multiverse (Army of Ghosts)—although even that isn't always consistent; often travel between parallel universes is described in terms of breaking through the walls between them, rather than traveling through the Void between them. On top of that, the multiverse/parallel worlds/etc. thing isn't always kept separate from the second dimension of time. If we don't have an in-universe-supportable distinction, I don't think we should try to invent one. We should have a single article describing all of the "multiverse-y" things, which states only what we know about each (possibly including an out-of-universe section describing stuff like the fact that the Doctor is always trying to collapse alternate timelines but not parallel worlds), and doesn't try to categorize any stories, especially not ones where the Doctor didn't explicitly tell us which one they were. But I have no idea how to reorganize the existing pages to do that. --70.36.140.19 00:15, September 19, 2011 (UTC) Retrieved from "http://tardis.wikia.com/wiki/Forum:Alternate_timelines_vs._parallel_worlds?oldid=1076336" Wikia is a free-to-use site that makes money from advertising. We have a modified experience for viewers using ad blockers Wikia is not accessible if you’ve made further modifications. Remove the custom ad blocker rule(s) and the page will load as expected. Categories: Panopticon archivesDiscussions without clear resolution Games

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In an effort to harness markets of astounding size, though, perhaps, limited buying power, a new comic book company has been created to tap an otherwise unexploited store of myths and mysteries. Virgin Comics, as reported in a recent Los Angeles Times story written by Rachel Abramowitz, is a partnership entered into by theBritish billionaire Richard Branson, best-selling New Age author Deepak Chopra, film director Shekhar Kapur… and India’s leading licenser of comic books, Gotham Entertainment Group (LA Times, 1/11/06, E3).Virgin Comics titles will use the stories and traditions of Indian folklore to present fresh and exiting entertainment to the youth of the United States, Japan, and, of course, the Indian subcontinent. Some potential storylines explored by the LA Times article include the story of a British soldier trained by a sadhu to become a spiritual warrior, to a young women who is an incarnation of Devi and will be “Asia’s first super woman (LA Times, 1/11/06, E7).”If you have ever watched a Bollywood film, you know that the mores and traditions that govern what is appropriate in entertainment differs in that genre from what even conservative middle America may be used to. We can only hope that the productions of Virgin Comics will be exciting, innovative, and artistically complex while remaining appropriate for young readers, allowing the development of a reading audience that American producers of comic entertainment have allowed to remain fallow.[Editor's Note: Virgin Comics is not the first foray of the medium into the exciting new marketplace. In 2004, Marvel Comics partnered with Gotham Comics (one of the Virgin Comics partners) to bring audiences Spider-Man: India. The Spider-Man: India comic was an attempt to take advantage of the huge success of Marvel's Spider-Man film. The first Spider-Man film had the most successful opening weekend of any Hollywood film in India. The first weekend take was, according to the BBC, £ 940,000 (or approximately $1.7 million). It appears that the Spider-Man: India title is no longer for sale by Gotham, but you can still purchase the adventures of Peter Parker.It could be argued that Branson's attempts to reach into the Indian market are more sophisticated than Marvel's. Marvel, as can be seen by the above Gotham link, is already selling the American versions of its characters and "converting" an existing property may not have been well received. But Branson's tactic is to use the readily available, and rich, mythic traditions already extant in India as the basis for his enterprise. This seems an easier transition than trying to force the "square peg" of Spider-Man into the "round hole" of India's mythic narratives.Besides...the cartoons look cool. So I think we may be looking, in the future, at an influx of Indian animation into the American marketplace. If I can become a Samurai Champloo addict, why not a Vishnu cartoon?For more insight we might want to ask David Chute of The Hungry Ghost.]

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Get James Joyce from Amazon.com Part I: Dublin Part II: Pola, Rome, Trieste Part Three: Zurich Part Four: Paris Part Five: Return to Zurich James Joyce - Part Five: Return to Zurich Summary & Analysis everything you need to sharpen your knowledge of James Joyce. Part Five: Return to Zurich Summary and AnalysisTired and impatient, Joyce watches the war coming with dread. Nora still has not read any of his books. Joyce's biography is in its final stages; Léon helps to "clarify" a few things, allowing Joyce to work in his own version of events and settle some scores with old enemies. Lucia is supposed to be moved from Paris to the countryside for the war, but this does not happen when the institution tells Joyce it will. She is finally settled outside Paris at the same time that Helen, George's wife, begins to have more breakdowns. Many people are leaving Paris at this time and the Joyces go to Saint-Gérand. Joyce is having bad stomach pains, at times crippling, which are diagnosed as "nerves" but which are actually a duodenal ulcer. He goes to stay at Vichy for a time, but comes back when Paris falls and many friends come to visit him. He spends his time correcting misprints in Finnegan's wake and thinks about moving to Zurich, especially for Lucia's sake. He applies for visas, but is refused on the grounds that he is Jewish (which he is not). He reapplies and the authorities relent, though they want a financial guarantee. By the time he gets it, he needs permission from unoccupied France to leave, which he gets for everyone except for George. Nora's mother dies at this time. George accompanies them to the border and finally, though James and Nora's passports have expired, everyone gets through and finally settles in Zurich. There, Joyce spends time playing with his grandson Stephen. However, on January 7th, he is diagnosed with a perforated ulcer and is operated on at once. He has a huge fear of being unconscious, but George convinces him to have the surgery. He signs over his bank accounts to his family and makes it through the surgery well, though later weakens. He falls into a coma and dies on January 13th, 1941. He is buried in Switzerland. Lucia is notified, but refuses to believe that her father has died. Nora lives in Zurich for the rest of her life, dying in 1951. Stanislaus dies in 1955, as do many others related to the Joyces. Stephen Joyce marries and moves to Paris. More summaries and resources for teaching or studying James Joyce. James Joyce from BookRags. (c)2017 BookRags, Inc. All rights reserved.

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FERLINGHETTI About Us • Events and Readings • Podcast • Blog • Map and Directions • FAQ • Contact Us << Readings at City Lights Bookstore An evening with Ed Piskor Thursday, November 20, 2014, 7:00 P.M., City Lights Booksellers, 261 Columbus Avenue, San Francisco Ed Piskor celebrates the release of Hip Hop Family Tree Vol. 1-2: 1975-1983 Gift Box Set from Fantagraphics To celebrate the resounding critical and commercial success of the first two volumes of Ed Piskor's unprecedented history of Hip Hop, the fabulous folks at Fantagraphics are offering the two books in a mind-blowingly colorful slipcase, drawn and designed by the artist, featuring exclusive all-new cover art on each volume. As if that's not enough, in addition to the two books and the slipcase itself, Piskor has drawn a 24-page comic book — Hip Hop Family Tree #300 — specifically for this boxed set that elegantly reflects the confluence of hip hop and comics, which was never more apparent in the early 1990s than with the famous Spike Lee-directed Levi Jeans commercial starring Rob Liefeld, who went on to create Youngblood and co-found Image Comics, not to mention ending up on the radar of gangster rapper Eazy E. Piskor tells this story as a perfect parody/pastiche/homage to '90s Image comics. about the Hip Hop Family Tree: The lore of the early days of hip hop has become the stuff of myth, so what better way to document this fascinating, epic true story than in another great American mythological medium — the comic book? From exciting young talent and self-proclaimed hip hop nerd Ed Piskor, acclaimed for his hacker graphic novel Wizzywig, comes this explosively entertaining, encyclopedic history of the formative years of the music genre that changed global culture. Originally serialized on the hugely popular website Boing Boing, Hip Hop Family Tree is now collected in a single volume cleverly presented and packaged in a style mimicking the Marvel comics of the same era. Piskor's exuberant yet controlled cartooning takes you from the parks and rec rooms of the South Bronx to the night clubs, recording studios, and radio stations where the scene started to boom, capturing the flavor of late-1970s New York City in panels bursting with obsessively authentic detail. With a painstaking, vigorous and engaging Ken Burns-meets-Stan Lee approach, the battles and rivalries, the technical innovations, the triumphs and failures are all thoroughly researched and lovingly depicted. Piskor captures the vivid personalities and magnetic performances of old-school pioneers and early stars like DJ Kool Herc, Grandmaster Flash and the Furious Five, the Funky 4 + 1, Afrika Bambaataa, Kurtis Blow, The Sugarhill Gang, and three kids who would later become RUN-DMC, plus the charismatic players behind the scenes like Russell Simmons, Sylvia Robinson and then-punker Rick Rubin. Piskor also traces graffiti master Fab 5 Freddy's rise in the art world, and Debbie Harry, Keith Haring, The Clash, and other luminaries make cameos as the music and culture begin to penetrate downtown Manhattan and the mainstream at large. Like the acclaimed hip hop documentaries Style Wars and Scratch, Hip Hop Family Tree is an exciting and essential cultural chronicle and a must for hip hop fans, pop-culture addicts, and anyone who wants to know how it went down back in the day. Ed Piskor is an alternative cartoonist living and drawing out of Pittsburgh, Pennsylvania. He is a former student of The Kubert School and is best known for his artistic collaboration with underground comics pioneers Harvey Pekar, his graphic novel Wizzywig, and his blockbuster series Hip Hop Family Tree. Piskor is revered for his combination of golden age drawing style and smart storytelling. The Washington Post once said that "Piskor is able to render a world that resonates as truth." Currently, he is knee deep in drawing the next book in the Hip Hop Family Tree five-volume series.

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World Book Night 2016: What is the annual celebration of reading all about? The titles to be given away for World Book Night 2016WBNBook-loving volunteers will give out hundreds of thousands of free books around the UK and Ireland for World Book Night, to share their love of reading with people who don't read regularly or own books. Events will be taking place across Britain on Saturday 23 April, with a flagship event at the British Library in London.What is World Book Night?World Book Night, now run by the charity The Reading Agency, is an annual celebration of books and reading. Volunteers hand out thousands of free books in their communities to share their love of reading with people, who for whatever reason, do not own books or read for pleasure. Individuals and institutions can apply to receive a set of books to give away.Since it began in 2011, World Book Night has created an extraordinary group of 56,000 volunteers, giving books away to over 2.25 million people. The day falls on 23 April, Shakespeare's birthday and this year, the 400th anniversary of his death.A mix of books are selected to include different genres and fiction and non-fiction.Jonathan Coe, author of World Book Night 2016 title The Rotters' Club, said: "I'm delighted to be part of World Book Night 2016. Reading is the best possible way to foster imagination, empathy and mutual understanding, and never have those qualities been more needed than at the present time." Which books will be handed out this year?There are 15 titles to be handed out this year which include a variety of genres, such as crime, contemporary and historical fiction, non-fiction and poetry. The titles are:Am I Normal Yet? by Holly BourneBand of Brothers by Stephen E AmbroseI Can't Begin to Tell You by Elizabeth BuchanLast Bus to Coffeeville by J. Paul HendersonLove Poems by Carol Ann DuffyNow You See Me by Sharon BoltonPerfect Daughter by Amanda ProwseReasons to Stay Alive by Matt HaigShadow and Bone by Leigh BardugoSomeone Else's Skin by Sarah HilaryThe Baby at the Beach Café by Lucy DiamondThe Rotters' Club by Jonathan CoeToo Good to be True by Ann CleavesTreachery by S. J. ParrisWhispering Shadows by Jan-Philipp SendkerWhat events are taking place?The flagship World Book Night 2016 event will take place at the British Library with appearances from authors and actors. You can book your ticket here. This year, the event will celebrate Shakespeare's themes and language by linking the titles on the 2016 list with the Bard of Avon's plays. You can find an event in your local area using this link.More from IBTimes UK Charlotte Bronte bicentenary: The authors and books she inspired Shakespeare 400th anniversary: Best new books celebrating England's greatest playwright British spy agency GCHQ helped protect Harry Potter books from leaking early

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Let the Devil Sleep By John Verdon; Robert Fass (Narrated by) Dreamscape Media, Compact Disc, 9781611208993 Publication Date: July 31, 2012 The most decorated homicide detective in NYPD history, Dave Gurney is still trying to adjust to his life of quasi-retirement in upstate New York when a young woman who is producing a documentary on a notorious murder spree seeks his counsel. Soon after, Gurney begins feeling threatened: a razor-sharp hunting arrow lands in his yard, and he narrowly escapes serious injury in a booby-trapped basement. As things grow more bizarre, he finds himself reexamining the case of The Good Shepherd. Mocked even by some who'd been his supporters, Dave realizes the killer is too clever to ever be found. The only gambit that may make sense is also the most dangerous - to make himself a target and get the killer to come to him. John Verdon is a former Manhattan advertising executive who lives with his wife in the mountains of upstate New York. His first two Dave Gurney novels, Think of a Number and Shut Your Eyes Tight, are both international bestsellers. READERBIOWinner of the prestigious Audie Award, veteran actor Robert Fass is equally at home in a wide variety of styles, genres, characters, and dialects. Robert also earned an Earphones Award for his narration of Say Her Name, named one of the Best Audiobooks of 2011 by AudioFile. He has given voice to modern and classic fiction writers alike, including Ray Bradbury, Isaac Asimov, and John Steinbeck, plus nonfiction works in history, health, journalism, and business."

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Book Review By Marty Demarest by Marty Demarest A good encyclopedia should do two things: feed our needs for both information and imagination. We should be able to lose ourselves in something that we didn't know before we picked up that book. And we should start to connect what we know with what we've read. William Vollmann, the contemporary novelist, has decided to give us an encyclopedia of violence. He's called the seven-volume work -- decades in the making -- Rising Up and Rising Down. It's been published, against probability, by McSweeney's Press, in a hardcover boxed set that is torn apart by the weight of the books. Clearly, we're dealing with an obsessive project. His first volume begins with "Three Meditations on Death." Here, Vollmann details his own confrontation with violence, and the light that illuminates it: mortality. He then goes on to offer a frank personal introduction to the work. "Putting aside any notion that the world is becoming a better place was neither easy nor pleasant for me," he writes. The world, as he goes on to detail it, is pretty bad. Vollmann has assembled a good record of our crimes. The seven volumes use sources as diverse as Jesus Christ, the Marquis de Sade, and Animal Liberation Front member "Virginia" to give us stories that Vollmann examines for the clues and qualities of violence. From this, Vollmann derives his "Moral Calculus," which is the part of the book that may go on to have lasting impact. The topics of this guide include things like "What Factors Need To Be Considered in Judging Any Violent Act?" and "Maxims for Murderers." That last category contains this piece of wisdom: "The Klansman's Maxim: If I believe your race or culture threatens mine, I have the right first to threaten you back, then to remove your threat by violence." Contemporary American politicians couldn't have said it better. Yet despite indulging in the temptation to judge his subjects, Vollmann remains a reliable guide. We certainly can't ask for an encyclopedist of a topic as dark as violence to be absolutely objective. But most of his editorializing comes from evocative and compelling descriptions of what historical events must have been like, because, as he writes, "I figured that if my theorizing were wrong or unpalatable, the reader might at least have some moments of pleasure." Pleasure, certainly, in reading something this audacious and chilling. Publication date: 02/19/04 « Soup's On! | Letters to the Editor » More by Marty Demarest The Cowboy's Cowboy A Canadian sings about the life — not just the lifestyle — of the new West by Marty Demarest Completing the Trilogy Mass Effect has finally arrived Adventure and survival too often give way to mindless crafts in this building-block simulator. The city of Spokane may be on the cusp of solving homelessness — and for those who are still homeless, the solution can't come fast enough by Daniel Walters, Wilson Criscione, Mitch Ryals and Raven Haynes Patrolling While Black Gordon Grant's nearly 30 years as a Spokane cop have been affected by race, but that's not the whole story

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Brandon Avenue Near 84th Street, Chicago, from Changing Chicago Thall, Bob mat: 20 in x 24 in; paper: 16 in x 20 in American, b. 1948 Evanston, IL Bob Thall is known for formally rigorous and deadpan portrayals of the urban and suburban landscape in Chicago, photographing in black and white and using a view camera. Chicago (Near O'Hare) is part of a series he produced in the 1990s focusing on the "edge cities" of Chicago — the quickly constructed suburban communities near O’Hare International Airport surrounding both Chicago and its older ring of suburbs on the northwest side. Capturing the sleek artificiality of these recent developments, the image conveys the power, pervasiveness and emptiness of suburban corporate architecture. This work was featured in a solo exhibition at the Museum of Contemporary Photography in 1999 and published in the monograph The New American Village (The Johns Hopkins University Press, 1999).In the mid-1980s, Thall participated in the Changing Chicago Project, one of the largest documentary photography projects ever organized in an American city. The project was sponsored by the Focus/Infinity Fund of Chicago, founded by photographer and philanthropist Jack Jaffe, and launched in honor of the fiftieth anniversary of the Farm Security Administration documentary project. Thirty-three photographers of various styles were employed to create a multifaceted record of the city's diverse urban and suburban neighborhoods and inhabitants, culminating in concurrent exhibitions across Chicago’s major museums and a book entitled Changing Chicago: A Photodocumentary (University of Illinois Press, 1989). Many of Thall’s photographs documenting infrastructure and architecure on the south side of Chicago are in the permanent collection of the Museum of Contemporary Photography and formed part of the Changing Chicago Project.Bob Thall was born in Chicago in 1948. He completed a BA and MFA in photography from the University of Illinois at Chicago. He has been on faculty at Columbia College Chicago since 1976 and is currently chair of the photography department. Thall is a recipient of a John F. Simon Guggenheim Memorial Foundation Fellowship (1998). His work is held in many collections, including the Bibliothèque Nationale, Paris; Canadian Centre for Architecture, Montreal; J. Paul Getty Center for the History of Art and the Humanities, Los Angeles; Library of Congress, Washington, DC; Museum of Modern Art, New York; and The Victoria and Albert Museum, London. In addition to The New American Village, monographs include The Perfect City (The Johns Hopkins University Press, 1994), City Spaces: Photographs of Chicago Alleys (Center for American Places, 2002), and At City's Edge: Photographs of Chicago's Lakefront (Center for American Places, 2005). (Moonrise Over) Fox Valley Mall, Aurora, ILThall, Bob1992106th and Torrence, Chicago, from Changing ChicagoThall, Bob1986More by this artist Home

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Books|Europa Editions Finds Success Translating Literary Novels Books Europa Editions Finds Success Translating Literary Novels By MOTOKO RICHFEB. 25, 2009 It does not sound like a recipe for publishing success: a roster of translated literary novels written mainly by Europeans, relying heavily on independent-bookstore sales, without an e-book or vampire in sight.But that is the formula that has fueled Europa Editions, a small publisher founded by a husband-and-wife team from Italy five years ago. As large New York publishing houses have laid off staff, suffered drastically reduced book sales and struggled to adjust to a digital future, Europa turned its first profit last year and is enjoying a modest but growing following.The company, which operates out of a pair of tiny offices near Union Square in Manhattan, also has its first best seller with “The Elegance of the Hedgehog,” a French novel by Muriel Barbery narrated by a secretly intellectual concierge in a fashionable Parisian apartment building and a precocious preteen girl who lives there with her wealthy family. Filled with philosophical ruminations and copious references to literature, art, film and music, the book is in many ways as much of a surprise hit as its publisher.The novel, released in the United States in September, has spent six weeks on the New York Times trade paperback fiction best-seller list, as of last Sunday. According to Nielsen BookScan, which tracks about 70 percent of sales, it has sold 71,000 copies. Continue reading the main story That might seem minor, compared with the blockbuster sales of a single title from the “Twilight” series by Stephenie Meyer, but for Europa, it is proof that the company can do more than fulfill an earnest cultural mission. “We don’t want to be in that small-press translation ghetto,” said Kent Carroll, Europa’s publisher and a veteran of independent publishing who worked at Grove Press for 11 years. He was a co-founder of Carroll & Graf, the publisher, now defunct, that rereleased out-of-print gems and introduced writers like Beryl Bainbridge to American readers. “Our ambitions are large,” he said.Europa Editions was the brainchild of Sandro Ferri and Sandra Ozzola Ferri, the founders of Edizioni E/O, a Rome-based publisher that releases many works in translation in Italy. “I have a universal, global feeling that everywhere people should read and could read books from different countries,” Mr. Ferri said in a telephone interview. “Even if up to now, only 3 percent of the American books are books in translation, I think that this is not a reason that it should always be like that.” Kent Carroll is the publisher of Europa Editions. Suzanne DeChillo/The New York Times Emulating many European publishers, the company releases books only in the trade paperback format. It developed a distinctive look for all its titles, with French flaps, a consistent font on the book spines and a logo of a stork that appears with the publisher’s name on the front of each volume.Europa’s first title, “The Days of Abandonment,” an Italian novel by Elena Ferrante, was published in 2005. The book garnered positive reviews and immediately took off at independent booksellers. Other titles — including “Old Filth” by Jane Gardam, an English writer; “Dog Day,” a mystery by the Spanish writer Alicia Giménez-Bartlett; and “Cooking With Fernet Branca” by James Hamilton-Paterson, an English writer living in Austria — helped earn Europa a loyal following among booksellers and readers. Some books sell only a few thousand copies, but book buyers like the brand identity.“We have a lot of faith in their editorial sensibility,” said Sarah McNally, owner of the McNally Jackson bookstore in Manhattan. Mr. Carroll said the company rarely spent more than $10,000 on advances. He is the only full-time staff member in New York, with a part-time freelance assistant and two interns.“Hedgehog,” a novel that had been a sensation in France and that Edizioni had already translated into Italian, had also proved popular in Germany and South Korea. Mr. Carroll, in turn, was determined to make the novel an American best seller. He blitzed booksellers and reviewers with postcards, galleys, letters and phone calls months before the book was published, reminding them of the novel’s international track record. Sales representatives from Penguin Books USA, which distributed the book, also pushed it heavily.American booksellers were captivated by the voices of both Renée, the concierge, and Paloma, the girl, and recommended the book to customers. Readers began telling their friends.“Now everybody’s buying it because everybody’s buying it,” said Mark LaFramboise, a buyer at Politics and Prose in Washington. “Hedgehog,” he said, is “one of the hottest books in the store.”Some larger publishers are starting to envy Europa’s selection and its frankly retro publishing model. Mr. Carroll “finds things, picks things up for a little bit of money and makes a lot out of them,” said Jonathan Galassi, publisher of Farrar, Straus & Giroux. “Most of publishing was once that way. It wasn’t about big money so much. He’s sort of preserving the old values of it’s-all-about-the-book and connecting the book with readers.” A version of this article appears in print on , on Page C1 of the New York edition with the headline: Publisher Finds Success in Translations. Order Reprints| Today's Paper|Subscribe Book Review | 'The Elegance of the Hedgehog,' by Muriel Barbery. Translated by Alison Anderson

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CrushWine Minor Fallout By Matthew Lickona, Movies, the writing of them, brought Julian Davies across the Atlantic from England. It was 1987; he was fresh out of university and had just spent six months working as an assistant manager for a London wine shop. The wine business made for a good day job, and he hung his hat in a number of venues -- the Wine Merchant in Beverly Hills, the wine department at Irvine Ranch Farmers Market, the Wine House in West L.A. -- before landing at Epicurious in Santa Monica. The shop was "just around the corner," recalls Davies, from the home of wannabe writer Rex Pickett. "He would come in for an evening bottle, and we became chums. We used to talk literature and film a great deal. I used to close the store at nine, and we would just kick back and drink. Often, he would bring his friend Roy Gittens, who worked as an electrician in the film business." Gittens also made mix tapes. "At times, we would leave the back door open so people could still come and taste and buy. The store had a mezzanine, and Roy used to play his tapes up there. We always said, 'This would be a fine way to run a store -- have an in-house DJ and be tasting from the moment you open to the moment you close. '" Pickett learned a lot about wine from Davies, and around 1998, he and Gittens took a road trip up to the Santa Ynez Valley to taste some wine and play some golf. "He was a long time divorced," says Davies, "but he had learned that his ex-wife was about to remarry." (Gittens says that Davies was invited on the trip but had to work; Davies has no memory of this.) The trip started Pickett on a novel, and in '99, he showed Davies the manuscript, then entitled Two Guys on Wine, "which was a horrible title. He used it because they stopped at Fess Parker winery, and Fess actually signed a magnum to Two Guys on Wine. I think the magnum is still on Rex's shelf -- empty, of course." The manuscript went out to both the film and book-publishing worlds. The publishing people would have nothing to do with it, but director Alexander Payne found in it an embarrassment of riches and decided to make a movie out of it. Somewhere along the way, the title got changed to Sideways, and the book world came around, and the rest is wine history. The story of Miles and Jack and their romantic and vinous escapades was a sleeper hit and won an Oscar for best adapted screenplay. The novel is chugging along at #2404 on Amazon. According to the Global Language Monitor, says Davies, "Pinot" tops the list of showbiz-incubated words that influenced the English language in 2004. Why? Because Pinot Noir was the fetish of choice in Sideways. Accounts differ about just how much Santa Barbara wine country has benefited from the film, but times are good. There are not only Sideways maps available -- "Ooh, this is where Miles chugs the spit bucket!" -- there are Sideways bus tours. "It's going to be like Titanic," says Davies. "Nobody can really understand why Titanic got all the Oscar attention it did. I've got a keynote speech for a doctors' retreat at Bacara Resort in Santa Barbara, and the subject is going to be 'Sideways: The Cultural Phenomenon That Wasn't.'" But for now, whatever it signifies, there is plenty of sound and fury. Davies chuckles when he talks about visiting the forums at the Internet Movie Database and seeing people arguing about the meaning of the film's title. "In England, 'sideways' just means drunk. It's a term I use, being English, and it worked its way into the book. The kids on the boards were saying, 'No, it's because you age wine sideways,' or 'It refers to the lateral progression through wine country that they took, as indicated by the split screen.... '" Pickett dedicated the book to Gittens and Davies, but the celebrity fallout has been minor. "I was actually at the premiere of the film at a theater in Santa Barbara," says Davies, "and some handler from Fox Searchlight asked me, 'What's your association with the film?' I said, 'Well, I'm the wine component of the central character's brain, one-half of one percent' -- I was trying to be modest. She said, 'Yeah, you and a hundred other people.' Why on earth would I try to share in the glory of one aspect of a not-necessarily-likable character?" Gittens and Davies did, however, hold a Sideways Wine Tasting as part of their joint venture, the Irregular Wine Tastings held at the Echo, a Los Angeles nightclub. "The owner was getting into wine, as people sometimes do, and suggested to the talent buyer that maybe they should try having a wine tasting there." The agent turned to Davies, and he and Gittens decided to try something along the lines of what they had daydreamed about back at Epicurious. "It was a bit of a trainwreck the first couple of times, but it's evolved nicely. We wanted to get away from pairing wine with food. We started with wine and music pairings, and we just got silly. We paired them with haunted lighthouses of Maine. April 22 is built around the actress Lillie Langtree, who actually happened to own the property that became Guenoc. Normally we don't have that kind of hard tie-in." The Irregular tastings are irregular, in part, because of Davies' commentary on the wines -- often laced with sit-up-and-take-notice blue bits and a smattering of sociopolitical opinionmongering. "You get a lot of hard information, and a lot of messing around." He asks questions throughout and throws offbeat prizes -- cat food, boxer shorts, Seabiscuit bobbleheads -- to the lucky winners. "Mainly, people want to drink and win crap," he says. "For 18 bucks, you can start at eight and leave at two and get a fair amount of food and wine and information (if not knowledge)." Gittens does DJ work throughout, "and afterwards, you can stick around and hear a few good bands." More stories by Matthew Lickona A road trip goes Sideways at La Jolla Playhouse — July 31, 2013 In San Diego, I can plant almost any grape I think will work, and nobody's going to call me crazy — April 14, 2010 Score Emperor — Sept. 15, 2005 Mystery Dish — May 5, 2005 No major actor need stoop so little to impersonate a nerd. — Nov. 4, 2004

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http://www.seattlepi.com/lifestyle/blogcritics/article/Interview-Michael-Phillip-Cash-Author-of-4845750.php Interview: Michael Phillip Cash, Author of 'Stillwell: A Haunting on Long Island' By Tyler R. Tichelaar, BLOGCRITICS.ORG Published 10:00 pm, Wednesday, September 25, 2013 Born and raised on Long Island, Michael has always had a fascination with horror writing and found footage films. He wanted to incorporate both with his debut novel, "Brood X." Earning a degree in English and an MBA, he has worked various jobs before settling into being a full-time author. He currently resides on Long Island with his wife and children. Welcome, Michael. It's a pleasure to have the opportunity to interview you today. To begin, tell us a little about the title Stillwell - what does it refer to? Thank you so much for the opportunity, Tyler! I'm thrilled to be here. Stillwell is a street on the North Shore of Long Island. I liked the sound of it, and made up Stillwell Manor and the wishing well found in the book. They are wholly a figment of my imagination. However, the north shore is dotted with creepy old mansions dating back to the 1600s. The story does have quite a history element to it, even though it's a product of your imagination, so does it have any real or historical basis? There is a famous home in the town of Oyster Bay called Raynham House. During the Revolutionary War, it served as headquarters of the British army, even though the family was ardent rebels. There is a rumor that one of the officers fell madly in love with the daughter of the house, Sally Townsend. I took some of this lore, switched it up, and incorporated it into my story. Since the book does have a Revolutionary War connection, did you have to do much research for that part of it? Long Island is known for being a hotspot for the Revolutionary War. Throughout my childhood, I spent many days visiting historical sites. Additionally, my mother is a huge history buff and she was very instrumental in providing me with the historical backstory of Long Island. Tell us about the main character, Paul, and about his wife's death. What happened to her? Paul's wife, Allison, died of brain cancer swiftly and suddenly. From diagnosis to death, they have only six months to prepare for the idea that they will not be together for the rest of their lives. However, most of this is not in the novel. The novel deals mostly with Paul and his children coping with the loss of an important member of their household. How does the "haunting" in the novel first begin? There are several small ominous signs Paul experiences in the beginning of the book, and the reader is not sure if the hauntings are real or in Paul's head. It's not until we get to the sequence where he comes face to face with the demon that the real hauntings begin. Can you explain, without giving too much away, what the connection is between Paul's wife's death and the Stillwell mansion? This is a story about trapped souls. Paul is surrounded by them and only he has the key to unlocking their freedom. Stillwell mansion is the catalyst that connects the "hauntings." I understand Paul is a real estate agent who becomes involved with "Stillwell" by trying to sell it. Can you tell us a little about how or why it is haunted without giving away too much, or how he first realizes it is haunted? The mansion was owned by an old school friend whose father inexplicably killed his elderly wife and then himself. Paul sees a horrible vision where the crime took place and begins to question his own sanity. He is a logical person and cannot believe his eyes. Only when more things begin to happen, he realizes this may be something more than his imagination. Michael, I'm curious about the well in the book. I've visited Fort Niagara where there's a haunted well, so did you have any inspiration for making the well at Stillwell haunted, and just how is it haunted? There is something special about a wishing well. It is the recipient of people's hopes and dreams. It seemed a perfect foil for the culmination of the desires of many of the characters in the book. What first made you interested in writing this book? I have always had a fascination with the afterlife and have had many great readings from world renowned psychics. I believe there is an afterlife. Hypothetically, if someone is kidnapped in this world, we can find clues on their disappearance and I thought it would be interesting what would happen if someone was kidnapped in the afterlife? How could we find the clues to set their soul free? You mentioned that Paul isn't at first sure whether he's imagining things or really experiencing the supernatural. Does grief open a door for supernatural experiences to happen for him or for people in general? I think everybody has the capacity to "see" or "hear" things, but society often makes us reject these abilities. Paul, like many of us, is a modern man who is both logical and grounded. Perhaps his heart wrenching grief has enabled him to open his mind and the love for his missing wife has enabled him to reach for anything to be able to communicate with her. In the movie "Field of Dreams," the theme was "If you build, it will come." If you want something badly enough, perhaps if you think it hard enough, it may come as well. Michael, what do you think makes Stillwell stand out, say from The Amityville Horror or the many other books and films about hauntings that are out there today? Stillwell is not a gory book. I don't find gratuitous violence necessary to tell a story. I have been influenced by many great writers like M. Night Shamalyan and inspiring stories like Ghost. Sometimes when dealing with the afterlife, it doesn't have to be about blood and guts, but about love and healing. Well said, Michael. I agree with you there, but most of the horror books and films I see are quite gory and violent. Would you say in some ways you are writing in reaction to those or do you think you're writing within a horror subgenre, or a paranormal subgenre with a different intent than just to scare? I want to make people think. I want people to take away from my books that they are realistic enough, for them to wonder if it really could happen. The best books stay with readers, long after they've finished them. Michael, will you tell us about your first book Brood X? I understand it's about a cicada invasion-is it also scary, sort of like a version of Hitchcock's The Birds where nature turns against man? That is exactly what my basis for writing Brood X was. There is nothing scarier than the believability of nature attacking mankind. Clearly, we don't stand a chance. While Zombies, Vampires, and Werewolves can scare the living daylights out of you, you can close the book knowing it's not real. My books are based on the notion that it could be real, and to me, that is definitely scarier. I agree with that. I find it scarier to read crime books or books about real hauntings than books about zombies for that reason. Do you have plans for a third book, Michael, and if so, can you tell us a little about it? Oddly enough, I'm writing a new novel called The Book Was Better. It's about a down on his luck writer who hits the big time writing a trendy zombie book that gets turned into a blockbuster movie. Well, he's kidnapped by an obsessed fan who is angry that the studio changed the ending. Sounds great, Michael, and I love the title! Well, thank you again for the privilege of interviewing you today. Before we go, will you tell us about your website and what additional information we can find there about Stillwell: A Haunting on Long Island? It was a pleasure Tyler. Again, thank you for this interview. I'm humbled. You can learn more about Stillwell and my other books at www.michaelphillipcash.com. They are also available now on Amazon, Barnes & Noble, and Kindle. Tyler: Thanks, Michael. I wish you much luck with your books and look forward to reading more of them. View the original article on blogcritics.org

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Acclaimed Stonington author Jim Henry dies at 99 Jim Henry, the Stonington man who gained international acclaim when he learned to read at 91 and published his first book at 98, died Sunday at The William W. Backus Hospital in Norwich. By Joe Wojtas Stonington — It seemed only appropriate that Jim Henry died peacefully early Sunday morning at The William W. Backus Hospital surrounded by the two things that meant the most to him — his family and a good book.Henry, the Stonington man who gained international acclaim when he learned to read at 91 and published his first book at 98, died shortly after his family had gathered around his hospital bed to read the book “Jonathan Livingston Seagull” to him. He was three months short of his 100th birthday.“He’s been such a wonderful example of strength, dignity, pride, faith and good old fashioned hard work,” said his granddaughter, Marlisa McLaughlin, who said Henry had been suffering from pneumonia for the past week. “We realize how blessed we were to be his grandchildren.”Henry, a former fisherman, taught himself to read and write after being inspired by the story of the grandson of a slave who also learned to read and write in his 90s.“It changed him so much and made his life come together,” McLaughlin said. “He just loved books and loved literature.”With the help of Mark Hogan of Literacy Volunteers of Eastern Connecticut, Henry wrote and published a collection of short stories about his life called “In a Fisherman’s Language” in 2011.Henry received many accolades includes a congratulatory letter from President Barack Obama. His book was accepted into the collection of the Library of Congress, stories about him appeared in People magazine and on CNN and a New York independent film company was signed to make a movie about his life. But most of all he received letters from people around the world who said they had been inspired by him to learn to read and write. He became friends with a class at Ledyard Center School.“He really wanted people to improve themselves, overcome their weaknesses and make changes,” McLaughlin said.Hogan, a retired East Lyme teacher who lives in Mystic, said Sunday that the man he was assigned to tutor turned out to not only become his favorite client but a good friend.“We had special kinship,” he said. “I can’t say enough about my friend. He will be missed. I’m just sorry he couldn’t make it to 100.”Hogan called Henry an “amazingly brilliant man” even though he didn’t think so.Hogan said he was surprised by the acclaim Henry received because he never thought the word would get out about him.“But man did it ever take off. I was just along for the ride,” he said.When Henry’s book was published in 2011, he said that becoming an author made him feel like he was just born.“Here I am, nothing but a fisherman before and now everyone is looking up to me. It makes me feel so happy,” he said. “I have tears in my eyes when I go to bed at night and think about all the nice things that have happened to me lately.”When Henry was a third-grade student, his father made him and his brother quit school so they could work odd jobs.When he was 18 he moved to Stonington Borough, and he went on to not only captain a lobster boat, but also work at Electric Boat and serve in the National Guard. He became a skilled carpenter and plumber and even designed and built his own home in Stonington. He helped found the annual Blessing of the Fleet ceremony and ran it for years.Over the years, he hid his illiteracy from friends and relatives by employing a variety of tricks, such as ordering what he heard someone else ask for when he went to a restaurant. He could write his name just well enough get by. He felt ashamed he never learned how to read.Then, seven years ago, at 91, Henry was inspired after learning about the story of George Dawson, the grandson of a slave who wanted to earn his high school diploma by learning how to read and write at 98. Dawson went on to write the book “Life is So Good.”“He had the same problem I did. It was identical. I figured if he could do it, I could do it. So I said, ‘I’ll try it,’” Henry told The Day in 2011.He began by reading books designed for first-graders and spent countless hours practicing how to write, first the alphabet and his name, then small words.He was also inspired by grand-nephew Bobby Henry, who when he learned about Henry’s desire to read and write told him he would no longer take phone calls from him. He wanted a letter. Henry finally wrote that letter.Henry’s family is finalizing his arrangements and plans to start a literacy fund in his honor.McLaughlin said Henry had been working on a second book right up until he died.“One of the last thing he said to us, was a book gives you life,” she said.j.wojtas@theday.com Next Article Loading comment count... Stonington author, 98, to receive letter from Obama Mystic author, 98, hits the big time Retired Stonington lobsterman, 98, pens best-seller Mystic man's book was 98 years in the making At age 98, a new chapter begins

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Compassion Versus Guilt and Other Essays Narrated by Michael Kevin Sociologist-economist Sowell, a noted conservative, draws this collection of essays from his Scripps-Howard syndicated column and his contributions to the Wall Street Journal, the New York Times, and the Washington Post. Sowell offers opinions on social and foreign policy, law, education, and race, criticizing the trend of American politics since Reagan and reserving his sharpest criticism for special-interest groups, such as homosexual lobbies, welfare and pay-equity beneficiaries, and political "victims" of all kinds. His essays are tied together by an analysis of the costs and benefits of various concepts, proposals, and actions, and an emphasis on common sense. More Less What the Critics Say "Known as an expert in the economics and politics of race, [Sowell] is also a thinker of wide-ranging interests, as attested by these provocative writings." (Library Journal) More by Thomas Sowell More Narrated by Michael Kevin A Great Mind Thomas Sowell is one of the greatest free-thinkers of today. A wonderful guy too, check out his other titles on Audible! Read full review Less - Jon still relevant today many of these articles are still relevant today, and the others are an interesting view of history. however, I prefer most of sowells other books to this collection of articles

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Analysis A Jury of Her Peers > A Jury of Her Peers A Jury of Her Peers Analysis Elaine Cottler A Jury of Her Peers print Print The daunting nature of Elaine Showalter’s task in A Jury of Her Peers is made apparent by simply noting that the book is the first comprehensive history and assessment of American women writers ever to be published. Even though feminist literary criticism and history have produced an impressive body of work, including several anthologies meant to recover neglected masterpieces and other significant work out of print and forgotten, no scholar has essayed a book-length overview of the achievements of women writers in the United States. To do so invites controversyas Showalter acknowledges in observing that feminist critics have hesitated to make qualitative judgments, wishing to be inclusive of the many women writers who for centuries have not received their due. She believes, however, that the first phase of fully acknowledging women writersthe discovery period begun in the 1970’sis over and that it is time to write a selective history and assessment of those women writers who belong in the American literary canon. If Showalter had been content only to produce a work of literary history, she could have avoided some of the judgments that reviewers of her book have made concerning her choices. Some reviewers have questioned, for example, the decision to write about Pearl Buck but not Eleanor Clark when they see the latter as manifestly the superior writer. The answer to this question is perhaps that, because Buck was the first woman writer to win the Nobel Prize and because her work has had such an impact on American culture, she deserves a place more than Clark, who appeals to a much smaller audience. This seems like a weak argument, howeverone that Showalter would not have to entertain if she had written a two-volume work. Such a work could have comprised one volume of more objective history followed by a second putting forward a more programmatic argument about which authors covered in the first volume ought to be included in the American literary canon. The writers that Showalter does discussand there are over 250 of themare, for the most part, presented with considerable flair and concision. Especially noteworthy are Showalter’s discussions of Anne Bradstreet, Harriet Beecher Stowe, and Annie Proulx. The examinations of these three authors stand out, in part, because they exemplify Showalter at her bestmelding historical context with literary achievement. Bradstreet, a dutiful Puritan daughter and wife, nevertheless faced the daunting prospect of life in a new world and was able to write poetry that remains profound and affecting. Stowe, in Showalter’s narrative, is a towering figure not only because of the pervasive influence of her great novel, Uncle Tom’s Cabin: Or, Life Among the Lowly (serial, 1851-1852; book, 1852) but also because of Stowe’s literary experimentation, especially in Dred: A Tale of the Great Dismal Swamp (1856), a work that deserves to be set against the finest achievements in the American novel. Proulx emerges as a true groundbreaker, a woman competing with male authors on their own territory by refashioning the view of the American West in stories such as “Brokeback Mountain” (1997, revised 1999). For the most part, Showalter eschews sociological explanations as to why very few American women created great literature before the twentieth century, but she does offer the following explanations: Many women believed that their families came first; others had to put up with and were obstructed by husbands who resented their wives’ dedication to literary labors; and middle-class American women writers, unlike their British counterparts, did not usually have servants and were far more directly involved in the day-to-day details of housework and homemaking. The British class system, in other words, actually worked in favor of certain women writers who could assign menial tasks to their servants. Then, too, only a few of the men in charge of the literary establishment were disposed to publish work by women. In this context, those women who did become best-selling novelists seem all the more impressive for their initiative and determination.... Next:Bibliography A Literature of Their Own Faculty Towers Inventing Herself Hystories

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A visit from the goon squad (Heftet) A visit from the goon squad NATIONAL BESTSELLER National Book Critics Circle Award Winner PEN/Faulkner Award Finalist A New York Times Book Review Best BookOne of the Best Books of the Year: Boston Globe, Chicago Tribune, The Daily Beast, The Miami Herald, The Minneapolis Star-Tribune, Newsday, NPR's On Point, O, the Oprah Magazine, People, Publishers Weekly, Salon, San Francisco Chronicle, Seattle Times, Slate, Time, The Washington Post, and Village VoiceBennie is an aging former punk rocker and record executive. Sasha is the passionate, troubled young woman he employs. Here Jennifer Egan brilliantly reveals their pasts, along with the inner lives of a host of other characters whose paths intersect with theirs. With music pulsing on every page, A Visit from the Goon Squad is a startling, exhilarating novel of self-destruction and redemption. Winner of the 2011 Pulitzer Prize for fiction Bølle på døra Flere bøker av Jennifer Egan: The Invisible Circus The Blackmailer Isabel Colegate Schopenhauerkuren

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Promotions Home Free Stuff Newsletters & Texts Flyerboard Bella Tuscany, If You Can Afford It Frances Mayes gives the good life a bad name. It is easy—far too easy—to take aim at Frances Mayes. More friends than I would care to admit were nonplussed when I told them I was planning to review her books—sentimental memoirs that masquerade as travel writing. "They're lite books," one friend insisted. Well, so they are. And yet I walked away from them feeling that I had to hold Mayes accountable for all the lacunae in them, the failure to paint a full picture, the greed-for-the-good-life narrative, the arm's length at which she holds these treasures from her readers. Bella Tuscany: The Sweet Life in Italy by Frances Mayes (Broadway, $25) Under the Tuscan Sun: At Home in Italy by Frances Mayes (Broadway, $15) It's a literary formula that Peter Mayle perfected in his "Provence" books: American goes to romantic European countryside, is hamstrung by the language and baffled by the natives, is won over by the beauty of the land and gradually comes to feel the good life is an essential part of his or her bilingual soul. Thus far, I have no problem with Mayle or Mayes. It's what happens next: Feeling compelled to write a book about it, to dangle the experience in front of others in the guise of travel writing, when actually they're only boasting of their good fortune and comfort in the world. Mayes' best-selling Under the Tuscan Sun traces the story of the purchase and restoration of a Tuscan farmhouse where she and her husband spend their summers. The book is lyrical above all—endless evocations of the countryside, the food, their quaint neighbors (those wacky Italians!), their transformation of the run-down farmhouse into a paradise with extensive gardens. Description alone, no matter how beautiful, is not enough to carry any book, however, and the narrative thrust of Under the Tuscan Sun is provided by the renovation projects undertaken by Mayes and her husband and the problems they run into—loafing Italians, ferragosto (the monthlong summer holiday when all Italians disappear), the strain, oh the strain, of endless guests. I wondered what Mayes could have possibly put into Bella Tuscany, her second volume of the same stripe. It is (gasp!) the story of their first spring there. Of the two books, Bella Tuscany is clearly the better book. Perhaps having exhausted the topic of restoration as well as some of her descriptive muscles, Mayes turns inward. She ruminates on the meaning of travel, and in a brief and stunning chapter called "Cold," she returns with her husband to the United States to see his dying mother. Once away from Italy's lyric stranglehold, Mayes writes deftly and cleanly; this clear, unsentimental chapter made my jaw unclench. Briefly. That said, I objected strenuously to Mayes and her Brunello-tinted Italy. What Mayes utterly ignores in both of her books is that the simple life in Italy comes at a price—a price that is not extracted from her as an American. Although there is certainly a traditional Italian love for family and food, many Italians live simply, simply because they must. And simple is not always Zen. Sometimes it has to do with lack of money and opportunity. As a half-Italian friend of mine recently pointed out, "There are things that just can't be done in Italy. Like start a company. Like make good money. When Italians want good jobs, they come here." He should know; he lives with two hardworking Microsoft Italians. And the mandate to live simply and enjoy the tide of the countryside is something Mayes clearly has the means to do. In the preface to Under the Tuscan Sun, she immediately reveals herself: "Outside my window, three men with weed machines sound like giant bees. Domenico will be arriving tomorrow to disc the terraces, returning the chopped grasses to the soil." As in E.B. White's "Death of a Pig," a rumination is unintentionally interrupted by the reader's realization of the writer's privilege (in White's case, a set of hired gravediggers to dispose of the pig). What I mean is money. Both Mayes and White, to their credit, participate in the landscaping and the burial, but one feels it to be more of a bit of pastoral playacting than the sheer grinding necessity to work. This perspective is gained, obviously by such privilege. It's easy to romanticize the slow life when you come from a culture in which the amenities are readily available. Mayes freely admits that part of the charm of Tuscany lies in the contrast between the two halves of her lives. (From autumn through spring she and her husband work like fiends in California universities.) Nothing wrong with that. But there is also a sense in which Mayes offers her books as primers for living well, and the means to—and time for—such a life are, to say the least, available to few. There are other reasons to decline Mayes' splendid Tuscan tour. She is fond of borrowing imagery from world religion to describe the "spiritual" value of Italy, a country of deeply Catholic people. From Under the Tuscan Sun: "I think there's a microbe in Italian painters' bloodstreams that infects them with the compulsion to paint Jesus and Mary." A woman as soused with art as Mayes claims to be should have her license revoked for confusing the modern artistic impulse with the Renaissance mandate: to paint religious subjects. Mayes can render the most unsentimental scenes in sepia tones. From Bella Tuscany: "A girl shouts up to a man in the most picturesque jail." My criticisms reveal me as a bitter and cynical person, and I may fairly be accused of failing to accept these books in the spirit in which they are written. However, Mayes is so possessive of her Italy that it's hard not to resist her. In both books there is the frequently implied suggestion of her insider status, her grip on the "real" Italy that few tourists approach. Her opinion of tourists, moreover, registers barely above contempt. In Under the Tuscan Sun, she describes the hours of siesta, during which Italian towns shut down completely, except for "thousands of tourists, many of whom made the mistake of eating two wedges of great sausage pizza at eleven and now have no inclination to eat anything. Instead, they wander under the unbearable sun, peeking through metal grates covering shop windows, pushing at the massive doors of locked churches, sitting on the sides of fountains while squinting into miniscule guidebooks." Though she is quick to add, "I've done the same thing," the tone is unmistakable. Since most of us only manage to experience a foreign country as tourists, this is disheartening. Bang, she closes the door. In Mayes' lazily written world, the valleys are always sweeping, the light is always angling, and the hills are always undulating. But this Italy, she seems to say, is not available to the likes of you. Emily Hall is a Seattle writer.

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Newly acquired W.H. Auden Journal Image © Peter Mitchell/Faber Archive The English and Drama Department made an exciting new addition to the British Library’s literary collections last week. At the Christie’s auction on 12th June, we acquired a fascinating journal of W.H. Auden’s, which was kept by the poet during August to November 1939. The unpublished journal, one of only three he is known to have kept, has been in private hands since his death in 1973. Auden, whose influence on a generation of later poets is incalculable, has been described by his editor, Edward Mendelson, as “the first poet writing in English who felt at home in the twentieth century”. In the January before the journal opens, Auden, along with Christopher Isherwood, had left England for the United States. This act - portrayed in the British media as shamefully unpatriotic as the outbreak of war threatened national life - for a time made the writers deeply unpopular public figures. It caused a decline in both the critical reception and the sales of their books and even occasioned adverse comment in Parliament. Auden began the journal in August 1939, on his return from from California to New York in August 1939, after what he described as ‘the eleven happiest weeks of my life’ after the beginning of his relationship with the American poet Chester Kallman. Auden had met Kallman at a public poetry reading. The meeting proved to be instrumental in Auden’s subsequent decision to remain in the US and become an American citizen. A fascinating juxtaposition of personal and political preoccupations, the early pages of the journal are written in the light of the joyful intensity of his new relationship and in the shadow of the impending outbreak of war in Europe. The entry for 1st September 1939 comprises an extended narration on his activities and preoccupations on this date, which sheds light on his famous poem of the same name. As well as diary entries, Auden used the journal to record his reflections and observations, along with snippets of overheard conversations. In its latter pages the journal becomes a commonplace book of poetry. He also notes his reading and his opinions on other writers (with John Steinbeck coming in for particular criticism). The manuscript also includes drafts of Auden’s own poems, the word-play and metrical games worked out in these pages offering interesting insights into his compositional methods. The acquisition builds on the British Library’s existing Auden collections. Two Auden poetry notebooks were acquired by the Library in the 1960s under the auspices of the Arts Council’s National Manuscripts Collection of Contemporary Poets. The Library also holds further manuscript drafts of Auden’s poetry and prose, including from his long poem The Orators (1931) and from his late sequence About the House (1966), along with correspondence, including letters to John Betjeman. Rare live and studio recordings of Auden reading his own work are also held in the Library’s collection of drama and literature recordings. We are going to display the journal in the Sir John Ritblat Treasures Gallery at the British Library from August 2013. You can read a good piece on the acquisition on the Guardian newspaper website. Auden’s collaborations with the composer Benjamin Britten feature in the Library’s new Folio Society Gallery exhibition, Poetry in Sound: The Music of Benjamin Britten. Among the items featured are a film extract from Night Mail (1936), a documentary for the General Post Office made in 1936, and a brochure relating to The Group Theatre, which produced the plays The Ascent of F6 and On the Frontier (written by Auden and Christopher Isherwood, with music by Britten, between 1935 and 1938). Sandra Tuppen, one of the exhibition curators, has written a blog post about the Auden-Britten collaboration, which you can read at http://britishlibrary.typepad.co.uk/music/2013/06/poetry-in-sound-exhibition-britten-and-auden-in-the-spotlight.html Posted by Rachel at 12:50 PM Biography, Manuscripts, New collection items, Poetry

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Fox Florence Theatre 1536 E. Florence Avenue, JerryP I went to the Fox Florence in the early 1950s and it was located a half block east of Compton Ave on the south side of Florence. There was shops around the courtyard as you went in, but by the 1950s they were closed. I remember they had raffles and I won a toy bow and arrow there. By the late 1950s it was looking run down and the neighborhood changed and TV came in and people stayed home. I don’t think it’s listed. Is that one also called the Florencita? There was another Florence Theatre, built in 1921 on Moneta Avenue (South Broadway) near 72nd Street. It was listed under that name in a 1924 city directory. I don’t know if it’s on CT under another name or not. Listed as the Fox West Coast in the 1938 city directory. Opening date was 4/8/32. There is a Rite Aid store on the site now. http://tinyurl.com/2775vu http://tinyurl.com/2yxuqn Two from the CA State Library on this page: http://tinyurl.com/2vztln Here is an interior photo: http://tinyurl.com/2e2cag Nean024 For some info about the Fox Florence and its architect, see Maggie Valentine’s book “The Show Starts on the Sidewalk: An Architectural History of the Movie Theatre Starring S. Charles Lee.” He did indeed work for a time for Rapp and Rapp. I am writing an architectural history Masters thesis on California theatres with courtyard entrances, using the Fox Florence, SB’s Arlington, and Palo Alto’s Varsity Theatre as examples. Right now the discussion rests upon the convergence of Spanish Revival style trends and exotic theatre design in CA in the later ‘20s and early '30s, local architectural context, and practical conditions for the use of courtyards (ie to place auditoriums farther back on the lot, works with climate, etc.). Any insights into this seemingly rare typology would be welcomed. From the LA Library: http://jpg1.lapl.org/pics46/00042593.jpg Here is a short bio from a Fresno website. Apparently the architect worked for Rapp and Rapp at an early age. I couldn’t tell you if they are correct. http://historicfresno.org/bio/lee.htm The Fox Florence Theater opened on 8th April 1932 with Leo Carrillo and Lupe Valez staring in “The Broken Wing”. Corrections required to the headers for this theater: I have never heard of Architect; S. Charles Lee working with the Firm; Rapp & Rapp. The Architectural Style should read; Spanish Colonial Revival. There was only one balcony in the theater. kd6dkc Seeing movies at the Fox Florence was a real treat for me as a youngster, mainly due to the impressive styling and the fish pond in the forecourt. My strongest memory of this theater is seeing 1947’s “The Red House,” starring Edward G. Robinson, and being very scared by that woodsy-noir thriller (I was eight or nine at the time). I also saw “Casablanca” there but it must have been a re-release, a popular distribution gimmick around the time of the Korean Conflict. The Fox Florence Theatre was located at 1536 E. Florence Ave. and it seated 1707 people. JustOldBob The theatre was located on the south side of Florence Avenue, about a half to three quarters of a block east of Hooper Avenue. While living within a couple blocks of Hooper Avenue and Florence Avenue, I went to the Fox Florence Theatre many times in the 1940’s. As stated above, it had a courtyard, and the doors to the showing part of the theatre were large, I would say at least four of them. There were pillars indoors just below the balcony. I don’t know how many balconies it had, but it was a grand theatre, and had some live acts come on stage at different times. One person told me that Milton Berle was there once in the late 1940’s. This theatre served a much diversified clientele. Saturday was kids day. Serials, give-aways and the like.

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World record for leading Indian artist at Bonhams sale of modern and contemporary South Asian art 7 Jun 2012, Modern and Contemporary South Asian Art Jehangir Sabavala (India, 1922-2011) Vespers I, A stunning image by one of India's foremost modern artists Jehangir Sabavala led a strong selection of works by major South Asian artists at Bonhams annual summer sale of Modern and Contemporary South Asian art on 7th June in New Bond Street, London.The highlight of the sale was a serene work by one of India's foremost modern artists Jehangir Sabavala, Vespers I which had been estimated to sell for £100,000-150,000, but after a saleroom tussle between two buyers in the room, was knocked down for £253,650. Illustrated on the cover of his monograph by Ranjit Hoskote, The Crucible of Painting: The Art of Jehangir Sabavala, Vespers I is one of Sabavala's most important works, representing a key period of transition in the artist's oeuvre. It was first exhibited at the Jehangir Art Gallery, Bombay and then at his solo exhibition at the Commonwealth Institute, London. 'Sabavala had a lifelong fascination with monastic life, and the figures of the monk and the hermit are central to his work. Indeed, he often compared his long, solitary and disciplined hours of work in the studio with a monk's routine of study, prayer, retreat and meditation,' says Ranjit Hoskote, an independent curator who was responsible for the Indian Pavilion at the Venice Biennale in 2011.Mehreeen Rizvi, Head of Modern and Contemporary South Asian Art at Bonhams commenting after the sale, said: "We are delighted with this result for Sabavala. It is about time this artist achieved commercial success in the art market to mirror his artistic reputation."The sale also included works by well-known Indian, Pakistani and Sri Lankan artists such as M.F. Husain, Jamini Roy, B. Prabha, Sadequain, Jamil Naqsh and A. R. Chughtai and Gulgee sourced from private collections in Europe and the USA. The second highest price achieved in the sale was a work by the renowned Indian artist M.F. Husain titled The Blue Lady which made £97,250 against a pre-sale estimate of £70,000-90,000. It was from the private UK collection of Mr. John Hay, having been presented to Hay's mother Elizabeth Partridge by her sister as a wedding present in India. Having seen how beautiful Husain's paintings were, Hay's aunt resolved to purchase one of them as a wedding present for her much-loved sister. The gallery owner told her that Husain called the work "The Blue Lady" and that is forever how it was known within the family. The auction also presented the largest group of works by Pakistani masters to ever come under the hammer at an international auction. Gulgee's 1965 work titled Buzkashi (£15,000-25,000), which depicts Afghanistan's national sport, was one of the highlights of this section, more than doubling its upper estimate to make £61,250. Although better known for his calligraphic compositions, during the 1950s and 60's Gulgee was the national portrait painter of Pakistan and was commissioned to paint the portraits of many figures of the Islamic world, including the Saudi Royal family. NOTES FOR EDITORSBonhams, founded in 1793, is one of the world's largest auctioneers of fine art and antiques. The present company was formed by the merger in November 2001 of Bonhams & Brooks and Phillips Son & Neale. In August 2002, the company acquired Butterfields, the principal firm of auctioneers on the West Coast of America. Today, Bonhams offers more sales than any of its rivals, through two major salerooms in London: New Bond Street and Knightsbridge; and a further three in the UK regions and Scotland. Sales are also held in San Francisco, Los Angeles, Carmel, New York and Connecticut in the USA; and Germany, France, Monaco, Hong Kong and Australia. Bonhams has a worldwide network of offices and regional representatives in 25 countries offering sales advice and appraisal services in 60 specialist areas. For a full listing of upcoming sales, plus details of Bonhams specialist departments go to www.bonhams.com Julian Roup julian.roup@bonhams.com Modern and Contemporary South Asian Art

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Johnston to give fiction reading March 18, 2008Share This StoryFacebookTwitterLEWISBURG, Pa. — Bret Anthony Johnston will give a fiction reading on Tuesday, March 25, at 7 p.m. in Bucknell Hall at Bucknell University.The talk, which is free to the public, is sponsored by the Stadler Center for Poetry.Internationally acclaimedJohnston is the author of the internationally acclaimed Corpus Christi: Stories, which was named a Best Book of the Year by The Independent of London and The Irish Times. The collection also received the Southern Review's Annual Short Fiction Award, the Glasgow Prize for Emerging Writers, the Texas Institute of Letters' Debut Fiction Award, the Christopher Isherwood Prize, the James Michener Fellowship, and was shortlisted for Ireland's Frank O'Connor International Short Story Award, "the richest short story prize in the world."Creative writing directorDirector of creative writing at Harvard University, Johnston also is the editor of Naming the World, an interactive writing book with contributions from acclaimed authors and teachers including Richard Bausch, Elizabeth McCracken, Ann Packer, Tom Robbins, Dorothy Allison, Joyce Carol Oates, and Margot Livesey.His work appears in magazines such as The Paris Review, Oxford American, and Tin House, and in anthologies such as New Stories from the South: The Year's Best 2003, 2004, and 2005, Best American Short Stories, and Prize Stories: the O. Henry Awards. A graduate of Miami University and the Iowa Writers' Workshop, he is the recipient of a National Endowment for the Arts Literature Fellowship. In 2006, the National Book Foundation honored him with a new National Book Award for writers under 35. He has written essays for Slate.com and NPR's All Things Considered, and he’s been a skateboarder for almost 20 years. Contact: Office of CommunicationsPosted March 18, 2008

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Fortune’s Bones: The Manumission Requiem There is a skeleton on display in the Mattatuck Museum in Waterbury, Connecticut. It has been in the town for over 200 years. Over time, the bones became the subject of stories and speculation in Waterbury. In 1996 a group of community-based volunteers, working in collaboration with the museum staff, discovered that the bones were those of a slave named Fortune who had been owned by a local doctor. After Fortune’s death, the doctor dissected the body, rendered the bones, and assembled the skeleton. A great deal is still not known about Fortune, but it is known that he was baptized, was married, and had four children. He died at about the age of 60, sometime after 1797. Marilyn Nelson was commissioned by the Mattatuck Museum and received a grant from the Connecticut Commission on the Arts to write a poem in commemoration of Fortune’s life. Fortune’s Bones: The Manumission Requiem is that poem. Detailed notes and archival materials provide contextual information to enhance the reader’s appreciation of the poem. Ages: 12 and up Grades: 6 - 12 The Bear Makers - DOWNLOADS The Bear Makers - epub The Bear Makers - mobi The Bear Makers - pdf How to Install Your e-Book 7This requiem honors a slave who died in Connecticut in 1798. His owner, a doctor, dissected his body, boiling down his bones to preserve them for anatomy studies. The skeleton was lost and rediscovered, then hung in a local museum until 1970, when it was removed from display. The museum began a project in the 1990s that uncovered the skeleton's provenance, created a new exhibit, and led to the commissioning of these six poems. The selections, which incorporate elements of a traditional requiem as well a New Orleans jazz funeral, arc from grief to triumph. A preface lays out the facts of Fortune's life, followed by "Dinah's Lament," in which his wife mourns the husband whose bones she is ordered to dust. Other pieces are in the voices of Fortune's owner, his descendants, workers, and museum visitors. The penultimate "Not My Bones," sung by Fortune, states, "What's essential about you/is what can't be owned." Each page of verse faces a green page containing text and full-color archival graphics that lay out the facts of Fortune's story. This volume sets history and poetry side by side and, combined with the author's personal note on inspirations, creates a unique amalgam. A series of six stirring poems to honor Fortune's life. Part funeral mass, part freedom celebration, her spare words are clear about the harshness of his servitude and what his remains tell about his backbreaking labor. In the climactic poem, "Not My Bones," Fortune himself speaks: "You can own someone's body, / the soul runs free." Nelson's small poems are framed by a wealth of facts as well as archival photos and images from the museum exhibit. Nelson's eulogy for a slave who lived in New England, [the poems] jolt us out of any feeling we might have that another person's misfortune is none of our business. —New York Times Book Review A glorious reclamation of a man whose identity had been assailed from the moment of his birth to beyond his death. —Voice of Youth Advocates Honors for Fortune’s Bones: The Manumission Requiem Coretta Scott King Honor Book The Lion and the Unicorn Award for Excellence in North American Poetry ALA Notable Children's Books Capitol Choices: Noteworthy Books for Children

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Fergus Reid Buckley q:How often should you check your roof for possible damage? a:We typically recommend having your roof inspected yearly for preventive maintenance, or of course after there has been a catastrophic weather event... Fergus Reid Buckley passed away in Camden, South Carolina on April 14, 2014. He was the younger brother of conservative figure William F. Buckley, Jr. and of the Honorable James L. Buckley, former U.S. Senator from New York and Judge of the U.S. Court of Appeals for the District of Columbia. "Reid" Buckley was born in Paris on 14 July 1930. "The French are very considerate," he would say. "They celebrate my birthday every year with fireworks, parades and speeches." He was educated in the United States, England, and Mexico. He attended Millbrook School and Yale University, from which he graduated in 1952. At Yale, he was elected to Skull and Bones, was admitted into the Fence Club, contributed his silvery voice, along with Peter Coley’s, to one of the Yale singing groups, "heeled" and became a reporter for the Yale Daily News, and was part of a notable debating team, alongside Edward Meese. He studied Tragedy under the brilliant Richard Sewall, on whose behalf he fought against the infamous publish or perish policy, Modern Poetry under the supreme New Critic scholar, Cleanth Brooks, Cosmology under Paul Weiss, and Philosophy under the Thomist, John Courtney Murray s.j., who quickly noted Reid’s disinterest in and inaptitude for the Scholastic predilection for splitting hairs. Following his graduation from Yale, he served as a second and then first lieutenant in the U.S. Air Force during the Korean War. In 1951, he married Elizabeth Huntting Howell of Islip, Long Island. They had four children: William Huntting Buckley, F. Reid Buckley, Jr, Elizabeth Buckley Riley, and Claude Langford Buckley. In the early 1956, Reid moved his family to Marbella, Spain, and subsequently, in 1959, to Madrid, Spain where in those days an American expatriate of means could live very well. There, he and his wife cut a glamorous figure in Madrid society. Reid, whose first language was Spanish, wrote fluently and knowledgeably about bullfighting, and got to know well the leading toreros of the day, including Dominguin and Ordoñez. Another friend was Ava Gardner, the actress. Reid’s memoir of that friendship was published in National Review and can be accessed on-line. In Spain he wrote a brilliant novel, Servants and Their Masters, which may ultimately become the book, among some 100-odd books written by his brothers, sisters and nephews, that will live on as Literature. In 1971, he and Betsy divorced and Reid moved back to his boyhood home, Kamschatka, in Camden, South Carolina, with his beautiful new Spanish wife, Rosario "Tasa" Olano, and her five children: Francisco Borja de Olano, Patricia Mata de Olano, Santiago Cristobal de Olano, Francisco Javier de Olano, and Francisco Paco de Olano. In 1975, Tasa gave birth to John Alois Buckley, the 50th Buckley grandchild of Reid’s parents, William Frank Buckley and Aloise Steiner Buckley. In the early 1960s, he became Contributing Editor to the conservative National Review and Triumph magazines as well as to the liberal New Times, a news weekly that folded shortly thereafter he says. In 1965, DOUBLEDAY published his first novel, Eye of the Hurricane, and the Colston Leigh Lecture Bureau of New York contracted him to give lecture tours, in the course of which he debated Sen. Eugene McCarthy, The Rolling Stones’s Nat Hentoff, firebrand (ill-fated) Weatherman Al Lowenstein, and socialist historian and polemicist Max Lerner with whom he became close friends. The debates with Max Lerner, extending through the 1970s, became major cultural events in colleges across the land. As a result of that career, Reid started the Buckley School of Thought, Reflection and Communications in Camden, which flourished. Over its three decades, some 6,000 people took week-long seminars there on public speaking, writing and communication. Its alumni include CEOs, academics, TV personalities, doctors, lawyers, professional writers, aspirants to US and foreign high political offices, including presidential and senatorial, and an astronaut, who, should he encounter aliens will no doubt impress them with his rhetorical skills. Reid was beloved by everyone and anyone who met him. He was a proverbial "fellow of infinite jest." He was also a person of gravitas and scholarly learning. A devoted and ardent Catholic, his love was unconditional. He had the gift of making you think you were the most important person in his life, despite the fact that there were many, many people in his life, including nine siblings, ten children, nearly 50 nieces and nephews, and numerous grandchildren. He cut a dashing figure in his plus-fours, Inverness cape and shooting jacket. His great passion, aside from God and his family and his writing and teaching, was his farm outside Camden, "Peor Es Nada." (The name comes from a town in Chile he stumbled across: hard to translate, but roughly: ‘Worse, There Is Nothing.") Over the years, he and Tasa and his children labored to transform a scrubby pine barren (and the adjoining farm, "Peor es Esto" – to underscore the condition of both farms, "This is Worse") into a wonderland of deer fields, fishing ponds, woodland paths, dog and rabbit runs and a splendid wine cellar. He had entire poems by Gerard Manley Hopkins engraved on tablets and placed around the property. Reid had the gift of life, and imparted it generously and infectiously. He will be greatly missed, for the love he so abundantly dispensed, for his brilliance as a raconteur, for his grilled quail with Yukon Jack liquer, for the twinkle in his eye. But most of all, he will be missed for the laughter, which will ring and echo on in the ears of all who heard it. Funeral service will be held at Our Lady of Perpetual Health, 1709 Lyttleton Street, Camden, SC at ten o’clock this Tuesday, April 22. Interment to follow at the Quaker Cemetery. In lieu of flowers, memorials may be made to Our Lady of Perpetual Help Catholic Church, 1709 Lyttleton Street, Camden, S.C. 29020. Reid is survived by 2 siblings, out of 9, 9 children, 22 grandchildren, and 3 great grandchildren. Sign the online register at www.powersfuneralhome.net.

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Celebrate Mardi Gras with The Cleveland Museum of ArtFebruary 2, 2010 by ClevelandArt Break out the beads! It’s Mardi Gras time! African-American art at the CMAFebruary 1, 2010 by ClevelandArt Reflect on the great contributions to art by or about African-Americans during Black History Month with a visit to CMA where you can see the works of three such notable artists: Augusta Savage’s Gamin Celebrate Gartner Auditorium's ReopeningJanuary 21, 2010 by ClevelandArt The Cleveland Museum of Art is now just a little more than a month away from reaching another exciting milestone in our building expansion and renovation project. In February, we’ll celebrate the reopening of Gartner Auditorium, ushering in a new era for our VIVA! Art and music festival honors Rev. Dr. Martin Luther King Jr.January 14, 2010 by ClevelandArt On Monday, January 18, the Cleveland Museum of Art will open its doors for a daylong, free festival of art and music in celebration of Rev. Dr. Martin Luther King Jr. Family-friendly activities, storytelling and song will fill the galleries to promote Dr. Special offer for Gauguin final week visitorsJanuary 11, 2010 by ClevelandArt Did you get to know Gauguin at the Cleveland Museum of Art this fall? 50,000 and counting ...January 10, 2010 by ClevelandArt It's official: More than 50,000 people have visited the Cleveland Museum of Art to see Paul Gauguin: Paris, 1889. Introducing our new associate curatorJanuary 6, 2010 by ClevelandArt Meet the newest member of our curatorial staff. The museum announced today the appointment of Seunghye Sun as associate curator of Japanese and Korean art. She’ll be joining our team in Cleveland in July, upon completion of her doctorate in Japanese art at Tokyo University. Meet this year's 300,000th visitors!December 31, 2009 by ClevelandArt On the morning of December 31, the museum reached another exciting milestone: We welcomed our 300,000th visitor this year. Experience a whole new world on Jan. 8 with Evan Ziporyn and Gamelan Galak TikaDecember 30, 2009 by ClevelandArt Imagine an orchestra of pitched percussion instruments. The exotic rhythms are created with a mix of gongs, metallophones, zithers, xylophones and drums. The sound evokes the rich culture of Indonesia, where this type of ensemble is integral to the court and sacred music of the nation. Gauguin hits the silver screenDecember 26, 2009 by ClevelandArt You’ve seen the exhibition, and now you can see the man … well, versions of the man played by various actors. We’re holding a Gauguin film festival during the week between Christmas and New Year’s Day with three films based on Gauguin’s life. Pages« first

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Ostrander Uses the Force in “Vector” Updated: November 28th, 2008 at 11:26am Comic Books Launched in January, “Star Wars: Vector” shipped its penultimate issue this week. Dark Horse’s year-long crossover event marks the first time the multiple ongoing “Star Wars” titles have a single story crossing over the entire line. But unlike traditional crossovers like “Final Crisis” or “Secret Invasion,” there was no “Star Wars: Vector” limited series. The 12-issue story arc, which spans 4,100 years of Star Wars mythos, is told each month in Dark Horse’s four existing ‘Star Wars’ titles: “Knights of the Old Republic” #25-28, “Dark Times” #11-12, “Rebellion” #15-16 and “Legacy” #28-31. We spoke with two of the series architects, “Knights of the Old Republic” writer John Jackson Miller and Senior Editor and Vice-President Publishing Randy Stradley, back in January as Dark Horse unleashed the story of Jedi Master Celeste Morne and Sith Lord Karness Muur on the Star Wars Extended Universe. A Dark Jedi during the Hundred-Year Darkness, Muur became a Sith Lord and created the Muur Talisman to turn his foes into mindless minions. When Muur discovered the Talisman was powerless against those with the Force and certain other alien species, he further orchestrated the Rakghoul Plague, an infection which could be spread by those already under his power. When Muur died, his spirit was kept alive in the Talisman. After trying to connect with Zayne Carrick – the lead character of “Knights of the Old Republic” – the Talisman merged with Morne giving Muur a suitable and, more importantly, long-lasting host. Currently in “Legacy,” Morne is teaming up with Cade Skywalker – Luke’s descendant (believed to be his great-great grandson) – in an attempt to stop Muur. But Muur may have other plans. With Part 11 of “Vector” in stores this week, CBR News spoke with industry veteran John Ostrander about the events of “Legacy” #30, illustrated by long-time collaborator Jan Duursema, and what’s to come in the series finale next month in “Legacy” #31. Story continues below CBR News: How far back did you, Jan, John Jackson Miller and Randy start planning out “Vector?” Are we talking a long time ago in a galaxy far, far away? John Ostrander: Sometimes it seems like forever [laughs]. Some of my oldest notes go back to fall of 2006 and there may be some missing. Summer into fall 2006 seems to be about right. What was your original concept/pitch? Was the Muur Talisman always the planned MacGuffin? As I recall, our editor Randy Stradley started the ball rolling so I don’t think it was simply my pitch. I’d had experience working on crossovers before, having plotted “Legends” for DC and participated in any number of others for both Marvel and DC. There had to be something that united all the eras; the big difficulty would be having one that spanned 4,000 years that had never been mentioned before in the Star Wars universe. The rakghoul plague emerged fairly early. When you were plotting “Vector,” did you have Celeste Morne already in your head, or was her creation a result of an epic storyline that needed a heroine? She came later but not too much. You really need a single character in crossovers like this to unify the whole thing. It’s not just the “epic feel,” but narrative necessity. There has to be someone with whom the readers will identify in each part of the story – something that will make each chapter a real part of “Vector.” The Muur Talisman could create a new vessel in each era but then you have to account for what happens to the vessel and how the Talisman is lost again. Male or female was not the issue; having a single person was. Why a new character and not an established one as the central figure in “Vector?” Same reason we’ve created so many new characters over all; you don’t want to be tripping over continuity. Also, an established character would have certain character traits already established. By creating a new character, we were better able to explore that character – and decide their ultimate fate. Will we see more of Celeste Morne coming out of “Vector?” There certainly are readers who have said they would like that. To hint one way or another, however, spoils the suspense and I’d just as soon not do that. Sorry. What do you like about her as a character and specifically in your title, what did you like about writing her opposite Cade Skywalker? By the time she’s reached us, Celeste has been in contact with Karness Muur a long time – no one to talk with except him. At this point, she’s finding it hard to tell where she leaves off and he begins. Cade also has a lot of darkness in him. He just doesn’t like being controlled by anyone. They strike interesting sparks off one another. Celeste – and Muur – have interesting insights into Cade’s character. Same goes for Karness Muur, what makes him a great Star Wars villain? To start with, he’s a Sith and he goes back to very early in the Sith Order. He’s very smart, very powerful, and very, very dangerous. He’s achieved immortality but at a price that makes him dependent on others. Celeste has resisted him all these millennia but what if he finds another mount, one he can dominate? Then he will truly live again. The real question readers should be asking is not whether Celeste survives the last issue of “Vector” but if Karness Muur does. If that happens, a very powerful Sith – perhaps stronger than any other we’ve seen thus far in “Legacy”– will be loose in the galaxy. That would not be a good thing. As a creator how do you generate names that sound like they belong in the Star Wars Universe? Depends. Sometimes we do as some of the movies have done and borrow for other languages and then maybe twist them a bit. Sometimes I work with syllables and from established names within a given species. When Quinlan Vos was named, I patterned it after Qui-Gon Jinn. I wanted the same number of syllables. Qui became ‘Quin,’ Gon became ‘lan,’ and then I joined them together without the hyphen. I’ll play around with syllables and vowels until the combination feels right and looks good. Jan also comes up with a lot of the names as she has her own method. What has the response been like to “Vector” on your end? Very good, which surprised a lot of people. A lot of readers have gotten burned with crossovers or are getting burned out. “Vector” happens in 12 issues of the regular books – no tie-ins, no specials. You buy the books, you get the story. There is an overall arc and a pay-off by the end. Very reader friendly, I think. What have you enjoyed most about the project? Would you like to do a crossover of this scale again in the “Star Wars” comics? Are you and the others involved pleased you were able to keep the book consistent over the year, both in terms of quality and hitting the expected sale dates? Let’s not jinx it! [laughs] I did enjoy the project. For me, the challenge was to make our part of “Vector” a satisfying conclusion to the crossover that, at the same time, would be a major story arc in our own book. That said, I’m not looking to do it again real soon. It’s a lot of extra work and, as I said above, I’m worried that the reading public is getting too many big crossovers and are getting burned out on them. Still, if Randy said he wanted to do it again and we could find a really good hook – yeah, I’d do it again. The plan is for us to talk again after Part 12, but what can you share with us about the conclusion to “Vector” and what the fallout will be for “Legacy?” One of the initial concepts of “Vector” is that it would have important and lasting results in the storyline of each book it touches. It will with “Legacy,” as well, but I can’t discuss those until after that issue hits the stands. When you read it, you’ll know why. That said – the reader should expect a payoff for investing in the 12 issues of the “Vector” crossover and we intend to see they get it. The ramifications of it will be deeply felt all next year in our book. “Legacy” #30 is in stores now. “Legacy” #31 arrives December 24. TAGS: star wars, star wars: vector, vector, john ostrander, dark horse comics

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Arnold Pander Talks "Tasty Bullet" Alex Dueben, Staff Writer "Tasty Bullet" graphic novel on sale in JulyArnold Pander is best known for the many comics projects he’s worked on with his brother Jacob collectively as The Pander Brothers. The two illustrated the classic Christine Spar story in Matt Wagner’s “Grendel” series, now collected by Dark Horse as “Grendel: Devil’s Legacy.” They also collaborated with novelist Richard Kadrey on the miniseries “Accelerate” from Vertigo, now available in a collection from Image. The Pander Brothers also have a long list of projects they’ve written and illustrated themselves, including “XXX” from Dark Horse (which should not be confused with the Vin Diesel movie); the experimental miniseries “Exquisite Corpse,” also from Dark Horse; “Secret Broadcast” from Oni Press; and “Batman: City of Light” from DC.In addition to a lengthy resume that includes visual art, multimedia projects, music videos, the Panders have also collaborated on the recent feature film “Selfless,” which they wrote together and Jacob directed.Next month, Arnold Pander has a new graphic novel from Image, “Tasty Bullet,” which he worked on with writer Jonathan Vankin and illustrated himself. Pander describes “Tasty Bullet” as “a high-velocity dramatic story of Energy Drink Icon, Tamar, the ‘Tasty Girl’. After her a near death experience from a publicity stunt for the energy drink Tasty Bullet, she decides to step off her roller coaster lifestyle and discover what led her to become the adrenaline driven Tasty Girl. The truth is a dark reality that she must face head on if she is to enact her revenge upon Bullet Corp.”‘Tasty Bullet” has its own distinctive look and style, but is very much a part of the body of work Arnold Pander’s already produced. The writer-artist took some time out to talk with CBR about the project.Story continues below CBR: Are you or is someone you know an energy drink addict? Is this where “Tasty Bullet” came from?ARNOLD PANDER: It’s based loosely on an energy drink that I came across while in Amsterdam in the ‘90s that had some kanji writing on it and cured my jet lag in a hurry. Jon [Vankin] and I compared stories and thought it may have been a drink that came out of Japan around that time that had a cute spokesmodel that did wacky publicity stunts for the ads. The supposed drink’s name translated to “Tasty.” We thought, hey, there’s a twisted story in there somewhere! We’ve packed the story full of conspiracies of what really happened to the Tasty Girl. It’s pure speculation and any resemblances are purely coincidental. [laughs]"Tasty Bullet" art by Arnold PanderA lot of your stories can be viewed as coming-of-age tales where a growing political awareness is key to that growth and “Tasty Bullet” seems to fall into that category as well. What is it that makes this such an effective storytelling tool and how do you think it plays to your strengths as a writer?I think the stories that Jacob and I explored as the Pander Bros. have always dealt with characters that go through some type of larger than life experience to address an inner conflict. In “XXX,” it was facing the fear of persecution. With “Secret Broadcast,” making a choice between the people in your life or your vision. This story has at its core the idea of finding out who you are in a world where there is no time for self analysis. Its just go, go, go. Better, stronger, faster, skinnier, prettier, etc! When Tamar makes up her mind to search for her true self, its sort of a personal liberation but as you may expect it comes at a price. In Tamar’s world, she is the property of Bullet Corp. It’s not as easy as she thinks to just walk away. In the process of her trying to escape the life she’s known, she ends up living out an adventure she could never had imagined. Art and life begin to blend. Hopefully that comes through in a way that leaves the reader wondering what’s real and what’s fantasy and in a way what’s the difference? As long as you’re determining your own destiny, live it all!Most people know you as one half of the Pander Bros. but unless I’m mistaken “Tasty Bullet” is the first major comics project you’ve done as a pro without your brother Jacob. Why and how do you think that affected how you worked on the book?It’s actually my second. The first being a Western called “Jack Zero” that appeared in “Dark Horse Presents.” However, it’s true that most of the published work has been under the Pander Bros. moniker. After the success of “Grendel,” we really saw it as an opportunity to showcase our abilities as a creative team. We’ve created quite a number of solo media projects outside of comics so I never really felt I needed to prove myself in any way. I recall a major comics company asking me once to submit art samples to see if I could do a book on my own. That was the first time I thought, wow! For real? It was very humbling and it seemed an absurd request to me. It’s easy for people to see you as one half of a whole but we have always pushed ourselves to be creative individuals not a co-dependant entity."Tasty Bullet" art by Arnold PanderWhen “Tasty Bullet” came about, I was living in LA and wanted to get a new project going. I felt it needed a carefree style that I could do in my own way. At the time, Jacob and I were already collaborating on “Batman: City of Light” so “Tasty Bullet” would be a chance for me to show my stuff as both artist and chief writer, having scripted the book well after the early co-plotting with Jon.“Tasty Bullet” looks different in some ways from your previous work and your style has changed over the years, but were you consciously trying to emulate manga layout and design for this book?Oh, yeah. It’s true that the art styles have always changed depending on the story. “Grendel” was truly of its time with the ‘80s fashions and its sleek pulp treatment. “Exquisite Corpse” explored German Expressionism for its dark effect. “XXX” was very post-punk with its political agitation theme. It too lead into an edgier style. By the time the new century was kicking in, with “Accelerate” we took a technocratic approach where the artwork almost looks like pure data to match the cyber storyline. With “Tasty Bullet,” the whole idea was to capture the over the top energy of manga with a lot of creative license. Obviously I am not a strict manga artist but I wanted to allow myself the ability to explore my own technique in the genre while paying homage to the things I love most about manga. It’s really just me having fun, to tell you the truth."Tasty Bullet" art by Arnold PanderHow do you know Jonathan Vankin and how did the two of you come to collaborate on the book?Jon and I met at a San Diego Comic-Con around 2000. We were both doing Vertigo books and thought it might be a good time to collaborate on something for that company. In the end they passed on the project but we pitched the story to a few other companies in its plot form. In the end, Jon became a fulltime editor at Vertigo and the project reverted to me. I decided to stop pitching it and do the heavy lifting of self-producing the entire book. It’s been four years of writing drawing and the final production this year. It’s the hardest I’ve ever worked on a book since “XXX.”Image/Shadowline put out a collection of the Vertigo series “Accelerate” you and Jacob drew a couple years back, and now they’re publishing “Tasty Bullet.” What has your relationship with them been like?So far so good. I’ve chosen to work with Image so we can maintain the rights to our intellectual properties. Since the beginning, we’ve been filmmakers as well as artist/writers, so our dream is to see our comics translated into cinema with as little resistance as possible.Do you prefer working in black and white or does it depend on the project?I guess it sort of depends. “XXX” was originally meant to be color. It still needs colors for us to feel that it’s truly complete. “Accelerate” was originally colored but we felt it was done poorly. When we went to do the reprint we were satisfied to just allow the line art to speak for itself. If there had been a real budget for “Tasty Bullet” there would be only one color throughout – pink. That is the branded color of the project. Since only the cover will be in color, as you can see, it’s very pink."Tasty Bullet" art by Arnold PanderA lot of people may not be aware but you co-wrote the recent film “Selfless” with your brother Jacob, who also directed it. What’s the film’s status right now and have you found a distributor yet?“Selfless” is our first feature-length movie. We have done a number of music videos and some shorts but it was really time to push ourselves further to make it happen. Selfless stars Mo Gallini (“2 Fast 2 Furious” “Mr. & Mrs. Smith,” “24”) as a brazen identity thief who meets a Dylan a somewhat self-absorbed architect. The two have a confrontation in an airport that leads to Dylan’s identity and pretty much his whole life being ripped out from under him. Dylan must confront his true self if he’s to have a chance at getting back his identity. The movie has been touring festivals around the country and won Best Feature, Best Screenplay and Best Supporting Actor (Mo Gallini) at the Bend Film Festival. “Selfless” plays on Sunday June 7 at the Seattle True Indie Film Festival. Come see it if you live in the area. As for a distribution deal, were working on it now with our sales agent so stay tuned. Hopefully “Selfless” will be available to purchase or download by the fall. You can keep posted on it and view the trailer at: www.selflessthemovie.comOne of my personal favorite projects of yours is “Secret Broadcast” that you did at Oni. Are there any plans to do more with it?Cool you would ask. We had an earlier screenplay adaptation that I have since done a rewrite on. We’re focused on another original screenplay at the moment but we’re hoping to position “Secret Broadcast” as our first movie based on one of our comics. Keep checking our website for info on our upcoming media projects in film, comics and more at: www.panderbros.com TAGS: tasty bullet, image comics, arnold pander, jonathan vankin, the pander bros.

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Larime Taylor Belts Out "A Voice in the Dark" TJ Dietsch, Staff Writer Like many comics before it, the behind the scenes tale of "A Voice in the Dark" is just as interesting and compelling as the story between the covers. Written and drawn by Larime Taylor, the comic started off as a Kickstarter project that wound up making 600% of its intended goal. That allowed Taylor to not only produce the first issue -- which was supposed to act as a kind of comic book calling card -- but two more. He took that book around to conventions and eventually struck up a relationship with Top Cow Productions President & COO Matt Hawkins at Top Cow. Now "A Voice in the Dark" is scheduled to debut from the Cow's Minotaur Press imprint in November. But that's not all. Taylor, who was born with a congenital disorder called Arthrogryposis, drew every panel of "A Voice in the Dark" with his mouth using a Wacom Cintiq tablet. A casual comics fan as a kid, Taylor turned his knowledge of the medium into a burgeoning career. The ongoing series through Minotaur follows the trials and tribulations of a young woman named Zoey who has always felt the urge to kill. She's given in to the lust for taking life and now finds herself dealing with that growing desire while also moving away from home for the first time to attend college. Taylor has infused "A Voice in the Dark" with a elements of satire and parody, including the fact that her new college is referred to as Slaughter University and Cutter Circle, the school's hometown, has the world's highest concentration of serial killers. CBR News spoke with Taylor about his history with the medium of comics, his process for creating "A Voice in the Dark" and the inner workings of a dark, complicated character like Zoey. Story continues below CBR News: Let's start off with a bit of your personal history. How and when did you first get into comics? Did you know at that time that you also wanted to draw them? Disabled artist Larime Taylor takes his Kickstarter success "A Voice in the Dark" to Top Cow's Minotaur Press imprint in November Larime Taylor: As a fan? When I was a kid. I grew up when spinner racks were still in 7-11, so comics were a pretty common part of life. I was never heavily into them, though, until I was an art major at Arizona State University, and then it was "The Crow," "Sandman," "Strangers in Paradise," things like that. I've actually dabbled with making comics off and on since childhood, but never seriously thought that this would be what I do for a living. It always seemed like a daydream. What made you switch from thinking of making comics as a daydream and actually doing it? It was mostly a childhood thing, dreaming of being a comic book artist. I probably wanted to be about 75 different things as a kid. Now, it's becoming my day job, but it doesn't feel like one. All I really have as far as useful skills are my art and my storytelling, so I may as well use them to make a living. I saw on your site that you use a tablet for drawing. How long have you been working with that rig? I've been drawing digitally for about four years now, and it's the reason that I can actually do this professionally. It's allowed me to draw sitting upright, with full range and control of my lines. Drawing with my mouth, flat on a table, I was all hunched over, cramped and restricted. Now I can draw in a more comfortable position. I can zoom in and out. I can spin the image so that my lines are being drawn at the best angles for me. It's completely freed me up. When you're working on something like "A Voice In The Dark" do you plot it out in a script form or lay things out in thumbnails? I plot out story arcs in outlines, then write the scripts. Being my own artist, my panel descriptions are very simple. I get more specific with things when I do my reference shoots. That's where I decide exactly what I want for each panel, and I shoot the photos the way I want the comic to be. Then I do page layouts with all the photos. I actually have an entire issue shot and laid out as photos before I start drawing. Sometimes I'll even letter the pages off of the photo versions, then drop the art in after it's drawn. Do you have a regular group of people who you use for photo reference models? I do. I have a group of about six to ten "regulars" I can count, friends who will show up and pose as various characters for me, and another 15 or so that swap in and out as they can. I've had four different women pose as Zoey, all roughly similar in height, in build, and I just tweak the figures as needed to keep them consistent. I add weight, or subtract weight, as necessary, make them taller or shorter, and so on. The characters' faces were all designed before I had any body models, so they always remain the same regardless of who shows up to pose that day. How was your experience with Kickstarter? Were you surprised by how much your goal was surpassed? I was quite happy and humbly surprised. The Kickstarter I used to fund the first issue as a submission package ended up raising over 600% of the goal, so I made it a 3-issue mini. I used the trade as a submission package to publishers, and it got me the deal. "A Voice in the Dark" follows freshmen college student Zoey as she deals with her dark desires What went through your mind when you first heard from Top Cow about publishing "A Voice In The Dark" through Minotaur? I was excited, obviously, and also pretty surprised. Top Cow doesn't really do creator-owned books, and that was Matt Hawkins' first answer when I pitched at WonderCon. He still let me give him the pitch, since I was there and he was curious, and as the conversation went on I could see him talking himself into saying yes. A few weeks later, he e-mailed me and said that he talked with Marc Silvestri, and they decided to do my book. The project was officially announced at Comic-Con International, which you attended. Did you get to meet many of the Image Comics folks? Not too many, really. I got to meet Erik Larsen, who was incredibly kind, and all of the Top Cow people, like Stjepan Sejic, Rahsan Ekedal, Marc, and the office crew. I also hung out a bit with my friend ["Bomb Queen" and "Five Weapons" writer/artist] Jimmie Robinson. It was fun. Turning to the book itself, you're dealing with a pretty dark character in Zoey, a young woman who has what sounds like an inborn desire to kill. How does her struggle play out in her daily life? Zoey can be dark, yeah, but at her core she's just a teenage girl trying to figure life out. She's not a psychopath or sociopath, she has friends, and her daily life is complicated by these compulsions she's had since her earliest childhood memories. They've always been there. Now that she's actually acted on them, though, she's losing her grip on them. She's daydreaming and fantasizing about killing people in the middle of class, or even a conversation. She snaps out of it and realizes it was just her imagination, but she's not sure how much longer it'll just be her imagination. Zoey's heading off to college, a time when people sometimes try to reinvent and explore themselves away from their families and longtime friends. Does that come into play for her in the series? It's really an opportunity for Zoey to try and figure out who she really is, what she wants in life and how to deal with her compulsions. She has a clean slate and can do pretty much anything. She's starting to realize that she's spent all these years getting top grades without ever knowing what she was going to do with them. She literally doesn't know what she wants to be when she grows up. Cutter's Circle sounds like a pretty crazy place to live considering it has so many serial killers. Does the town itself take on a life of its own? It's intentionally a bit campy and surreal. The best dark drama has a twist of humor, like "Breaking Bad" or early "Dexter." The quirkiness is a tension release. In that sense, yeah, the town will become a bigger part of the story, and it'll be revealed in layers. Can you tell us a little bit about some of the serial killers Zoey runs into? How does she react when faced with people in a somewhat similar headspace? Born with Arthrogryposis, Taylor uses his mouth and a Wacom Cintiq to draw "A Voice in the Dark" The first and most important one early on is hinted at in issue #1, but we don't really start to see him until the end of #3. He's her first encounter with another killer, and the story arc that #1-7 explores is the cat and mouse that goes on between them. Zoey has a college radio show that plays heavily into the first few issues. From a psychological standpoint, what does the show offer her that she can't get from regular human interactions? Does the separation from being around people help curb her urges? It's supposed to be cathartic, to let her hear other people talk about their own problems and struggles, so she might not feel so alone. She's hoping to find out that everyone's lives are messy, that good people sometimes do bad things. She desperately doesn't want to be a freak or a monster. With the anonymous nature of the show, she can let loose, and help others do the same. Will the radio show continue to play a part as the series continues? The show will be an ongoing part of her story, yes. There are so many things that I can use it to explore. "A Voice In The Dark" is an ongoing. How far ahead to you have plotted out at this point? Do you have specific arcs planned long term or are you keeping it a little looser? The first arc sets up the next arc, which is #8-13. Assuming I get to go that far. I've been given an ongoing, but if the sales aren't there, it won't go for long. I've written everything through#7, and will have finished all the production on #1-7 by around the time #1 comes out. I have #8-13 planned out, and I have rough ideas beyond that, but I won't get too far ahead until I know if there's interest in the book to keep doing it. I hope there is. Larime Taylor's "A Voice in the Dark" #1 from Top Cow's Minotaur Press imprint lands on Nov. 20. TAGS: top cow, minotaur press, a voice in the dark, larime taylor SDCC: Matt Hawkins Reveals Top Cow's Big Plans Saturday, July 20th, 2013 SDCC: Hawkins is in "Control" of Top Cow & His Own Writing Future Saturday, July 20th, 2013

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X-Force #26 - Second Coming, Chapter Five released by Marvel on June 1, 2010. jlat89's X-Force #26 - Second Coming, Chapter Five review jlat89 Score: jlat89 wrote this review on April 28, 2010. 13 out of 15 Comic Vine users found it helpful. jlat89 has written a total of 85 reviews. The last one was for Death of Spider-Man: Prologue "I assume it's bad." Second Coming comes to X-Force. In the effort to get Hope to Utopia, one will fall ensuring her safety. What You Need to Know. Hope and Cable are back. Bastion is the big Baddie (as of now). A member of the team is in critical condition and another has already died, not to mention Illyana, who has been transported somewhere the X-Men don't know. Scott and Emma are directing the team. Cerebra is out, but the enemy has it's own version. The team splits up to bring Hope to Utopia. The Good 5 Chapters in and this event has yet to miss a beat. The way each book flows one to another is something that perplexes me to no end. It's really brilliant. Craig Kyle and Chris Yost continue the trend of not losing focus, while still highlighting the characters of the book. In a lot of the panels the art was fantastic. The dying breaths of the character who died is pretty amazing, both written and drawn. One thing I want to highlight without giving too much away, when the character dies, we see a panel from their point of view, and it's really drawn beautifully. The team reaction to the death. The Bad There's really not a lot. At times the art feels weird, but at times it's brilliant. Kitty Pryde is still missing. The Death. I won't tell you who, but I just want to reflect on it for a moment. You have an idea who it's going to be halfway through. But, in my opinion, it's not really cliched at all. It fits the story well and the response from the team is going to be amazing. I don't want to be the bad guys when they set up another attack. The Verdict. I'm still amazed 5 issues into this event and it has yet to lose steam. It's been a wild ride, in the best way possible. If you're trying to understand this story and pick up here, you need to buy the back issues. This is really the end for new-reader friendly. Pick up the other 4 chapters before diving into chapter 5. Yost and Kyle deliver an awesome script here. Every issues has made me want to come back for more and this one is no different. 4.5/5 Log in or sign up to comment Other reviews for X-Force #26 - Second Coming, Chapter Five What the X-men Should Be at All Times X-Force #26 - Second Coming, Chapter Five by krakoa on May 22, 2010 In a world of overpriced comics constantly plunging into melodramatic story lines with thousands of one shots and cash cow mini-series, the average casual comic aficionado (I know that sounds like an oxymoron) becomes quite jaded at times. Now, X-Force is a fascinating book in that upon its launch it followed a black ops X-men team with Wolverine, X-23 and other assorted mutants. After a hiatus from the series I find it has become another stepping stone in the current Second Coming arc. I was ap... Second Coming, Chapter Five jamesewelch Aspenite Sol-rac

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Personal & Political I suppose that, sooner or later, I was bound to get a review of Democracy on Trial written by a critic who remains smitten with the 1960′s. Imagine my surprise that the reviewer, Adam Wolfson, is a conservative and that the review appeared in COMMENTARY [Books in Review, April], a journal to which I have subscribed for a number of years. Mr. Wolfson is rather like the U.S. State Department: the Soviet Union has fallen, oh dear, what are we to do? Thus, Mr. Wolfson: the 60′s are over, oh dear, what am I to do? And the answer, of course, is that Mr. Wolfson keeps the 60′s—or his version of them—alive and well by cataloguing with great care all their many “grotesqueries.” That unmistakable frisson at the mention of the word “Dylan.” That delicious adrenalin rush at the sound “Beatles.” Ah, what dangerous folks they were, and are, in Mr. Wolfson’s supercharged world. The odd thing, of course, is that no Kennedy or John Lennon or Bob Dylan or any other 60′s icon, save for Martin Luther King, appears in Democracy on Trial, although I yield to none in my undying affection for Dylan and the Beatles. Reading the book through paisley-colored lenses, Mr. Wolfson seems to have missed my references—and indebtedness—to Jefferson, Lincoln, Tocqueville, Arendt, Havel, Willa Cather, Richard Rodriguez, Daniel Patrick Moynihan, Reinhold Niebuhr, Thomas and Mary Edsall, Dietrich Bonhoeffer, John of Salisbury (that 12th-century hippie), and John Paul II (perhaps, unbeknownst to me, John Paul spent part of the 60′s in a commune). But, all in all, Mr. Wolfson is really a bit of a tease. Lest anyone rush out to buy the book panting for a megadose of 60′s counterculturalism, I should offer a few bits of truth in advertising. Frank Rich of the New York Times appears in the preface, where I use his rueful comments on the passing of Richard Nixon as an opening to bid farewell to one of my own hangovers, called “hating Nixon.” I decided it was time to bid adieu to a hate that came too easily—reserving room, of course, for a robust critique, but that is something else. How strange, therefore, that this should be taken by Mr. Wolfson as an act of nostalgia. Christopher Hitchens is drawn in by me in order to show there is disagreement on the Left about speech codes; Cornel West to remind us that we must not throw out the early democratic baby with the slavery bathwater; etc. But enough. Given that the entire focus of my work—from beginning to end—has been an argument against self-absorption; given that the use of journal material Mr. Wolfson finds offensive appears in another book entirely (Women and War) as part of a narrative play on first-person accounts by soldiers; given that the mention of “consciousness raising” appears in yet another book’s acknowledgments (Public Man, Private Woman, first published in 1981) and is accompanied by an account of the attack by some feminists on what other feminists had to say as part of the process—as if there were only one way to “raise consciousness”—and, moreover, that a single mention or two of consciousness-raising in a book of over 300 pages seems scarcely “ostentatious,” I am left with a real puzzler: who is this “Elshtain” about whom Mr. Wolfson writes? Whatever Mr. Wolfson may have been doing in the 1960′s, I was primarily engaged in raising babies and going to school. Self-absorption was never an option. I missed out on that one. And, since Mr. Wolfson suggests a passing familiarity with my oeuvre, he surely recollects my lament in Women and War that there was all too much war-likeness in the antiwar movement. But, above all, it is an act of massive bad faith (or egregious misreading) for him to saddle me with a position I have spent my entire adult life criticizing, whether propounded by giants in the canon of Western political thought or contemporary feminists, namely, the view that family relations are “purely instrumental” and are to be made “subservient to the ends of the polis”—or to a movement of any kind. This goes entirely against the grain of my published work—which runs to thousands of pages by now—and, I should add, my life and the way I live it. I would refer the interested reader to the discussion of the chastening of patriotism in Women and War and the sketch of an “ethical polity” in Public Man, Private Woman or, for that matter, the argument against pitiless revolutionaries in Democracy on Trial. Mr. Wolfson accuses me of “inadvertently” holding hands with writers in the “politics-of-difference” school. This is ludicrous and carried out through sleight-of-hand. On Mr. Wolfson’s view, if one disagrees—as do I—that Thomas Hobbes should be located as one of the “founders of modern liberal democracy,” one by definition joins hands with all who disdain “negative liberty” and individual rights. This is scarcely fair play or decent logic, to say the least, and it serves only one purpose: to perpetuate the dismal state of our political discourse by driving wedges where no insurmountable barriers to a culture of democratic argument need exist. Thus Mr. Wolfson’s suggestion that “Elshtain,” as youth and adult, remains “too alienated from the sources of American democracy to be a helpful guide to their rehabilitation” is a coup de grâce that follows from his own flawed logic rather than from my argument. Perhaps there is not much I, or anyone else, can do by way of rehabilitating our democracy. But “Elshtain” as a fifteen-year-old youth named Jean Bethke wrote an essay for a 4-H Club speech contest on “What America Means to Me.” Lincoln was in there, I recall, but mostly my speech was a paean of love and appreciation to a country to which I quite readily pledged civic allegiance as a faithful if, at times, critical citizen. Adam Wolfson Writes: In her book, Democracy on Trial, Jean Bethke Elshtain warns against a form of political discourse prevalent on the Left that would reduce the political to the personal. Further, she urges that we “reach out once more to our fellow citizens from a stance of good will and work to defuse our discontents.” I guess that does not include me. Her response to my review is nothing more than a hysterical attack, accusing me of being a “tease” and of loathing hippies and rock music, and demanding to know where I was in the 1960′s. (Incidentally, I never said that all the 60′s “icons” I named appeared in Democracy on Trial, only that they were sprinkled throughout Mrs. Elshtain’s work.) I will not respond to her accusations in kind, for, as I made clear in my review, I happen to agree with her that the politics of “rage” (as she has labeled it) is hardly conducive to a healthy exchange of ideas, or even bare civility. Were she to revisit my review, she would also notice that I commend her for “the many sharp and true things she has to say about our current troubles,” namely, her proper concern over the disintegration of America’s civil society and the antidemocratic nature of the politics of many feminists and multiculturalists. However, as I argue in my review, and as her letter amply illustrates, she remains deeply misguided on these important issues. Since she does not respond to the points I raised in my review, allow me to repeat why her book is so disappointing. The basic problem is that Mrs. Elshtain remains entranced by the left-wing ideological assault on liberal democracies. Thus, for example, her welcome critique of identity politics is crippled by her belief that the feminist move to politicize the private was “exciting and transformative,” as well as by her belief that liberal tolerance needs to be supplanted by a substantive recognition of difference. Mrs. Elshtain complains that I have saddled her with the view that family relations are to be made subservient to the ends of the polis, a view she claims she has spent her entire life criticizing. I wrote nothing of the kind. In fact, I praised her for “unrelentingly” criticizing the radical wing of the feminist movement, which tends to hold views hostile to the traditional family. What I did observe was that, in her search for solutions to the breakdown of civil society, she turns for the most part not to sources within the liberal tradition (of which, in many of her works, she is quite critical) but, oddly, to Pericles (no great defender of the bourgeois family). Further, she calls for a “new social covenant” and asks that “government . . . find a way to respond to people’s deepest concerns.” She does not seem to realize that this sort of mindset, which became prevalent in the 1960′s, is itself partly responsible for the decline of liberal-democratic civil society. Mrs. Elshtain concludes her diatribe by expressing pessimism as to the prospects of rehabilitating our democracy. This is, of course, the important question. Yet for her the salient political questions characteristically get tangled up with her life story, providing another example of how for her the personal is political after all. Thus, we learn that in the 1960′s she was busy “raising babies and going to school,” and that “a fifteen-year-old youth named Jean Bethke” wrote a speech that was a “paean of love and appreciation” to America. I commend her for these sentiments, but wish that she would heed the advice she so glibly offers in her book to others: “If there are no distinctions between public and private, personal and political, . . . genuine politics ceases to exist,” leaving only “pervasive force, coercion, and manipulation.” Words to live up to.

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The Cart and the Horse, by Louis Kronenberger 10.01.64 - 12:00 AM | Robert Langbaum The Liberal Target The Cart and the Horse. by Louis Kronenberger. Knopf. 212 pp. $4.95. Drama critic, critic of literature generally, and 18th-century scholar (he is the author, for example, of the fine biography, Marlborough's Duchess), Louis Kronenberger has long been known for a style and attitude reminiscent of the 18th century—for neatly balanced and elegantly epigrammatic sentences, for urbanity, and for a humorously tolerant worldliness. Now as he approaches sixty, he surveys with dismay the course of American culture since the 1920's—even giving vent to the personal crotchets appropriate, as he himself says, to a man of his years. Indeed, the whole of The Cart and the Horse might be called by the title of one of its chapters—“Reflections and Complaints of Late Middle Age.” For the book is more interesting for what it tells us about Mr. Kronenberger than what it tells us about the age. Not that Mr. Kronenberger's observations about the age are untrue. They are (or have until recently been) true enough. But they have also been the standard observations of literary intellectuals since World War II. It is a little late in the day to be reading still another diatribe against TV and Madison Avenue, justified though it may be. It is because I so thoroughly agreed with Mr. Kronenberger's observations that I found them boring. Mr. Kronenberger exploits the paradox which has been central to the criticism of American culture since World War II—the paradox that takes off from the simple division of the 1920's between, on the one hand, the Philistine, Coolidge-Republican, small-town businessmen, the Babbitts; and on the other, the arty, cosmopolitan, politically progressive elite who gravitated to Greenwich Village and the Left Bank of Paris. Since World War II, however, this simple division between Main Street and MacDougal Alley has been dissolved. Babbitt has now got a college education. He subscribes to book clubs, reads quality paperbacks, and buys the best hi-fi records. He is no longer dragged to Europe by his womenfolk, but goes willingly. For Babbitt is now governed by more sophisticated status symbols. He has become—to use a favorite stereotype of the last two decades—the man in the gray flannel suit. And even more miraculously, he has become a liberal who believes in American responsibility abroad, in the alliance at home of intelligence with government and business for the social welfare of all Americans. The paradox, then, is this—that the condition for which the liberals of the 20's and 30's fought has finally been realized and has only served to raise new problems. It was the postwar sense of this situation—the sense that the time had come, now that everyone was liberal, for liberalism to turn a critical eye upon itself—that gave us the very interesting and sophisticated critical literature of the 40's and 50's: a literature ranging from Peter Viereck's caricature of the new Babbitt shortly after the war to Jacques Barzun's recent House of Intellect, and which reached its climax with Lionel Trilling's The Liberal Imagination and David Riesman's The Lonely Crowd. Mr. Kronenberger follows this line of criticism when, in his first chapter, he puts the horse before the cart by blaming the faults of our mass culture not upon the Philistines and reactionaries but upon the enlightened elite, “the taste-makers and pace-setters,” who with all the right ideas have still gone wrong. Why then do I object? I object because Mr. Kronenberger, after starting with the promising statement that the trouble with American life “is its way of jumbling values,” proceeds to jumble them himself. He attacks the age because its enlightened elite follows the fashions in status symbols and in taste, and because its Madison Avenue Babbitts fight hard to get ahead in the world. But when have upper-class people not followed fashion, and when have people within sight of the top not struggled to get there? It is not always clear whether Mr. Kronenberger is writing against the age or against the eternal sinfulness of man. Thus, he makes the just observation that whereas the businessmen of yesteryear professed a conservative, dog-eat-dog philosophy appropriate to their pursuit of gain, today's careerists profess a liberal, altruistic philosophy at odds with their ruthless careerism, and too often use their commitment to the right political causes as a substitute for personal ethics. However, since Mr. Kronenberger sees that yesterday's Babbitt was an entrepreneur, whereas today's is likely to be a salaried executive, he ought also to have seen that liberalism is not at all inappropriate to employees of corporations so large as to be semi-public in nature and not very different in atmosphere from the universities, foundations, and even government itself. For the political philosophy we nowadays call liberalism is that which recognizes the inevitably semi-public, if not public, nature of the gigantic enterprises of modern times. As for the dog-eat-dog philosophy, that was openly professed for only a very short time; and in any case people have for the last thousand years managed to pursue their personal advantage against a quite antithetical background of Christianity and the chivalric code of honor. The intrigues of Madison Avenue are, I am sure, mild compared to the intrigues of the Christian courts of Europe. An age can nevertheless be judged by the quality of its ideals, even if practice must inevitably fall short of the ideal and the really good, like the really original, person must at any time be a rarity. This brings me back to my main objection to Mr. Kronenberger's book—that it comes at least five years too late. In its blithe assumption that all Americans are liberal, it belongs to the 50's rather than the 60's. For the civil rights issue has once again given liberalism a clear cause and visible enemies against which to define itself. And Goldwater's nomination has exposed as a dangerous illusion the idea that all Americans are liberal. When the chips are down, as they will be in November, one becomes grateful for everyone who subscribes, however superficially, to the right ideals. One would expect from Mr. Kronenberger the 18th-century hard-headedness to accept the world as inevitably complex and inadequate and go on from there. Instead, he is nostalgic. He is nostalgic for the literary world of the 20's, which had, indeed, more dash than the businesslike, institutionalized literary world of today. He is nostalgic for vanished simplicities—for the stultifying small-town life he and his friends fought against in the 20's but which was, as he now sees, at least different from city life; for the Babbitts who had not yet confused things by infiltrating the ranks of the cultivated; for the interesting clash in the lives of yesterday's writers between money and high standards—a conflict that has been replaced by a situation in which writers can make money out of quite first-rate work through paperbacks, grants, and visiting professorships. The nostalgia will appeal to those who share it. Others may feel that such paradoxical lamentations over the fine state of things have worn thin. And thinness is the word that finally describes the quality of this readable but unsatisfying book—of chapters like “Fashions in Vulgarity” and “Conformity's Cultured Sister,” which are right enough in their observations, yet vague and piddling in their range of reference and application.

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The Silence of Empire Published on Thursday, July 04, 2013 by Common DreamsThe Silence of Empire byJoseph NevinsOn the last Sunday of May, I was on the campus of Vassar College in Poughkeepsie, New York. I stood in the back of a crowd of a few thousand, one composed largely of graduating seniors, and family and friends there to support them. We were all listening to Senator Kirsten Gillibrand (D-NY) deliver the commencement address. As a member of the faculty, I could have been up on the stage positioned in a seat behind the senator, but, as I typically do for the event, instead opted to stand in the back - not least because I don’t like sitting under a hot sun in a heavy robe. Gillibrand’s speech included reflections on her entry into what she called grassroots politics - Hillary Clinton’s multi-million-dollar US senate campaign in 2000 - as well as platitudinous exhortations that the graduates challenge themselves and assertions that no goals are too big to achieve. While toward the end, she spoke briefly of the need to fight poverty in the United States and raise the country’s minimum wage, and voiced strong support for women’s and LGBT rights, there was little in the speech to which one could object - at least in the context of the politically liberal ethos that prevails at Vassar. Later that day, I felt irritated, but I wasn’t quite clear why - until I realised that I was angry with myself for quietly standing there, for not speaking out, for not indicating any protest during Gillibrand’s speech. Instead, I followed everyone around me and offered my polite applause for someone whose politics (much of which) are abhorrent - at least from a perspective that takes seriously matters of global justice, universal human rights and international law. New York’s junior US senator, Kirsten Gillibrand got her start in Congress when she was elected to the House of Representatives in 2006. Mirroring the relatively conse

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Search Cooking Up Change: How Food Helped Fuel The Civil Rights Movement By editor In February 1960, college students (from left) Joseph McNeil, Franklin McCain, Billy Smith and Clarence Henderson began a sit in protest at the whites-only lunch counter at a Woolworth's in Greensboro, N.C. Jack Moebes/CORBIS A white youth sprays insect repellent above the heads of nearly 100 African-Americans demonstrating at a lunch counter in Atlanta. Photo by Horace Cort Originally published on May 23, 2012 10:07 am They looked so young, the four college students who sat down and ordered coffee at the Woolworth's lunch counter in Greensboro, N.C., on Feb. 1, 1960. Legal challenges and demonstrations were cracking the foundations of segregation, but a black person still couldn't sit down and eat a hamburger or a piece of pie in a store that was all too willing to take his money for a tube of toothpaste. Those four freshmen at North Carolina A&T College — Joseph McNeil, Franklin McCain, Ezell Blair Jr. and David Richmond — sat until the store closed, but they still didn't get their coffee. But that day helped spark other sit-in protests — led by young people like themselves — that spread throughout the South in 1960, energizing the civil rights movement. And the Greensboro Woolworth desegregated its lunch counter later that year. It wasn't the first time that food, or the lack thereof, figured large in the movement. Civil rights leaders ate so often at Paschal's, a restaurant in Atlanta, that it was dubbed the unofficial headquarters of the movement. That was a choice born of necessity: black-owned Paschal's was one of the few white-tablecloth restaurants in the South where black people would be seated. Martin Luther King Jr., John Lewis, Andrew Young, Hosea Williams, Ralph David Abernathy and Joseph Lowery would strategize over Paschal's abundant plates of Southern cooking: fried chicken, catfish, fried green tomatoes, collards and mac 'n' cheese. Co-owners and brothers Robert and James Paschal would provide free food and meeting space. "Some of the decisions that affected the direction of the country were made in that restaurant," Lewis, now a congressman from Georgia, told The New York Times in 1997. When in Alabama, leaders would meet at the impromptu restaurant in Georgia Gilmore's house in Montgomery. King knew Gilmore well; she had been involved in the 1955 Montgomery bus boycott from the beginning. Gilmore lost her job as a cafeteria cook after testifying in court in support of the 1955 bus boycott. So King asked her: Why not go into business for yourself? Her back-door restaurant became so popular that people waited in line to be fed. The crowds served as cover for King and other movement leaders, who held clandestine meetings there. "Pork chops, stuffed bell peppers. She would have chitlins with slaw and then take the hog maw and cut it up in them," Pastor Thomas Jordan of Montgomery's Lilly Baptist Church told NPR in 2005. "She could cook it, man." Gilmore also was a key player in the Club from Nowhere, a group of women who would sell baked goods. The proceeds went for gasoline and station wagons that ferried people around Montgomery, making it possible for them to boycott the segregated bus system. "It was a covert operation," says Frederick Douglass Opie, a professor of history and foodways at Babson College in Boston. Black women in the South had traditionally made extra money by selling coconut layer cakes and other fancy "church cakes," Opie says. The Club from Nowhere's customers included whites in Montgomery who opposed the boycott — with every cake they bought, they made the movement they opposed stronger. Opie's blog, Food as a Lens, covers many aspects of how food fueled the civil rights movement. And it has recipes! For more on Georgia Gilmore and the Club from Nowhere, check out this lovely reminiscence produced by the Kitchen Sisters.Copyright 2012 National Public Radio. To see more, visit http://www.npr.org/. TweetShareGoogle+Email © 2017 KCUR

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Music review: Marc-Andre Hamelin revives Alkan in San Francisco The 19th century French composer and pianist Charles-Valentin Alkan wasn’t always obscure. Liszt and Chopin were impressed by his incredible keyboard virtuosity. Musically far ahead of his time, Alkan, who anticipated Mahler, influenced Debussy. Someday evolution or cyber-engineering will catch up with this strange man whose imagination ran wild and whose fingers were superhuman. Then, perhaps, Alkan will finally take his rightful place in the concert hall as one of the greats. But for now, we have Marc-André Hamelin, who ended his recital at Herbst Theatre in San Francisco Tuesday night with a brilliant performance of Alkan’s Symphonie for solo piano. He will repeat the flabbergasting feat Friday in La Jolla, when he appears at the Museum of Contemporary Art San Diego. There are reasons why Alkan hasn’t caught on. He was dotty. He had a nervous disposition and spent much of his life a recluse who seldom set foot from his Parisian apartment. There he devoted himself to Talmudic study and wrote music too difficult for anyone else to play. For decades Alkan’s music was passed along in a kind of underground network. Ravel knew and loved it; so did Busoni. The legendary Dutch/German pianist Egon Petri was an Alkan enthusiast who turned young American avant-garde composers on to it when he taught across the Bay at Mills College in Oakland in the ‘40s and ‘50s, but he played pieces such as the Symphonie only in private. A full-scale Alkan revival was picked up in the late ‘60s by record companies hoping to cash in on a psychedelic forerunner. But the pianists who championed Alkan, notably Raymond Lewenthal and Ronald Smith, remained cult figures themselves, and their reputations for flashiness prevented the serious reconsideration of the music that it deserved. Hamelin is a cult figure too. He has what could be the highest-powered technique of our time, but he is a reserved Canadian. On Tuesday, he came on stage in fashionable dark suit, white shirt unbuttoned at the collar and black T-shirt, looking more like a successful concert agent than a one-of-a-kind concert artist. He sat without undo expression at the keyboard, even as his fingers flew. His recital began with commonplace Haydn (Andante and Variations in F minor) and Mozart (Sonata in A minor, K. 310), and his performances were airy. He just played the notes, but his rhythms were so exacting and his touch so subtle that each note seemed to have a life of its own. The same could be said of Liszt’s “Venezia e Napoli,” which concluded the first half. But this is virtuosic music, and there are many times more notes per square inch of score, which also meant Hamelin’s pianism was taken to another dimension. In the first piece, for instance, a gondolier’s melody floated over the waves and these waves were projected in the kind of high definition that allows you to make out individual droplets of water. The pianist remained cool as a cucumber. Alkan’s Symphonie, however, tested even Hamelin’s unflappability. The four movements are actually four etudes from the composer’s Opus 39, a set of 12 written in 1847 with each in different minor key. Another grouping constitutes a concerto for solo piano. The 11th etude is a concert overture. The 12th is a set of variations that set new standards for loopiness. The Symphonie is classic over-the-top Alkan, and Hamelin’s performance was jaw-dropping – all 23 transcendentally eccentric minutes of it. Still, the playing never appeared about the player. Instead, it illuminated a composer’s pungently personal harmonies and enchantingly odd melodies not unlike those of Berlioz (who didn’t appreciate a more macabre competitor). Hamelin stormed and thundered in the first and last movements, and he caught the peculiarly percussive character of a funeral march perfectly. And Hamelin’s bewitching way with Alkan’s mystically calm respites was downright revelatory. Every so often, though, Hamelin can make too much fuss, which I thought he did with Fauré’s Sixth Nocturne, which preceded Alkan’s Symphonie. In this one occasion, the pianist’s transcendental technique tempted him to excess rather than freed him from it, causing him to create more contrasts than needed. But that was a small price to pay for the kind of illumination Hamelin brought to the Symphonie. Alkan has finally found his man. -- Mark Swed Marc-André Hamelin, MCASD Sherwood Auditorium, 700 Prospect St., La Jolla. 8 p.m. (a pre-concert conversation with Hamelin is at 7 p.m.) Friday. $25 to $75. (858) 459-3728 or www.lljms.org.Photo: Marc-André Hamelin. Credit: Randi Lynn Beach / For The Times.

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Tatev Tatoyan, Abgar Khachatryan:Selling art November 21, 2016PanARMENIAN.Net - The Armenian art market experiences hard times, while artists have to promote their works by themselves. Possessing a huge art potential, the country lacks relevant infrastructure and governmental support to reveal the art market, which exists but is hidden from public eye. Unfortunately, a possibility to display their works in different galleries doesn’t provide painters with a possibility to become known because of the poor public awareness. Marketing experts, Khachatyan Art Collection project initiator Tatev Tatoyan and artist Abgar Khachatryan talked with PAN about the urgent issues of the art market and possible ways out of the crisis. What’s going on at the art market today? Is there any progress? Tatev Tatoyan: The situation is really deplorable. There are a lot of talented artists live a life of poverty in their own world, because they do not know how to present themselves and their works. They are not aware of market tools. Actually, they shouldn’t, as a person, who is searching for creative solutions, would find much difficulty dealing with financial issues. There must be a mediator between the art and business, who could care for the ‘material part’. Business should help promote art but not vice versa. The state of affairs at the art market has not changed for decades, despite interest of some private parties who try to make things moving. My art project is one of such initiatives, aiming to help artists find their audience. Abgar Khachatryan: Participation in various international modern art fairs can help our artists become known. However, lack of financing is the main obstacle on this path. Unlike art-expos, ordinary exhibitions provide a small room for exploration of talents. In the U.S., for example, there are many galleries for various genres, where visitors have a chance to talk to the artists and discuss their works. They can also buy a painting they liked. Thus, a dialogue between the painters and potential buyers is created and, as a result, the artists gain popularity. The market fully operates, although there is a risk ‘to drown’ the art in business. Tatev Tatoyan: This is a key issue. If the objective of art worker is getting money, it will kill the real art. To keep the balance, serving the art and creation of its economic value should be parallel but never mixed. A piece of art should not be a business tool, however, business can help establish links with the public. I wish the government could support artists for them to have their own platform and to showcase their works at the international level without extra expenses, because our art must become a landmark of our country. Abgar Khachatryan: I should add that our Vernissage was an interesting platform, where artists could communicate with the purchasers. Not long ago it was repaired and now it’s open not only at weekends but on working days as well. This innovation is rather insidious. Before, the painters could work and create for five days and they bring their works to the Vernissage for sale. Now, if he doesn’t appear every day, his place will be occupied by second-hand dealers, who buy paintings at low prices. As a result, the artists will not sell their best works or will just stop drawing worthy paintings for the Vernissage. This is the way market malfunction kills the art, with the buyers losing trust and artists losing inspiration. Tatev, projects like yours give some hope for revival of the art market. What’s your vision for the future? Tatev Tatoyan: My project is just in progress. It main concept is the correct presentation of the ‘material’ we have. Instead of organizing exhibitions and turning on a standby mode, I would like to create a platform affordable for the artists, using modern technologies – internet and social networks, thus helping the art object find its buyer. Abgar Khachatryan: I want to tell about one more worthy project, an exhibition that opened at Zvartnots airport not long ago. The idea is innovative and very attractive both for artists and tourists. Thanks to it, the guests of our country got an opportunity to get acquainted with the Armenian art. It’s a promising phenomenon for our art market development.PanARMENIAN.Net / Tsets Tweet At focusSusan Sarandon, Tigran Tsitoghzhyan star in “American Mirror” doc The director, Arthur Balder was honored with two consecutive awards by the Association of Latin Entertainment Critics of New York for his first work. Articles: Arts & ShowbizArmenian RenaissanceSights for Armenians in IranSaroyan against HemingwayMaster MomikTigranes the Great and European operaHomeOverview: Arts & ShowbizMore intreviews in sectionArts & Showbiz Other interviewsArmenia and worldThough Armenia is a CSTO member, it successfully cooperates also with NATO. Armenia, represented by the Foreign Minister and Defense Minister, participated in the Lisbon NATO summit in November 2010, as part of which opinions were exchanged with respect to the bilateral relations. Newly appointed NATO Secretary General's Special Representative for the South Caucasus and Central Asia James Appathurai commented toPanARMENIAN.Net on the current level of NATO-Armenia relations, outlooks for boosting the relations within the framework of IPAP, as well as the organization’s position on the Karabakh conflict settlement and the Armenian-Turkish normalization.James Appathurai: NATO has not changed position on Karabakh and supports OSCE MG effortsSocietySurrogacy is an extra reproductive technology, whereby a woman agrees to carry a pregnancy for another person or persons, who will become the newborn child's parent(s) after birth. The issue that still arouses a lot of controversies and debates has become the topic of conversation with psychoanalyst, member of the Yerevan subsidiary of the New Lacanian School, head of the social and psychological service at Quantum college Elena Barteneva.Elena Barteneva: Surrogate mother gives ‘temporary shelter’ to childEconomyAndrew Mkrtchyan, Chairman of the Board of Directors at Ameriabank elaborated in an interview on the future of Armenian banking system and possible developments for 2016, tackling questions on the crisis in the system, Ameriabank's recent collaboration with international financial institutions and much more. The interview was triggered by the two deals signed by Ameriabank with major IFIs: the European Bank for Reconstruction and Development (EBRD) invested $40 million in the capital of Ameriabank, while the International Finance Corporation (IFC) provided a $50 million subordinated loan.Andrew Mkrtchyan: Ameriabank positive about the futureSportAras Özbiliz and Artur Sarkisov who joined Armenia’s national squad not so long ago managed to promptly adapt to the team members and get admired by many. These are the two representatives of the football team who did not speak Armenian with the PanARMENIAN.Net reporters. Below is our “foreign-language” interview with Özbiliz and Sarkisov.Aras Özbiliz and Artur Sarkisov: Artur believes in love at first sight, Aras can’t travel without his phoneIT & TechnologyThe problem of cyber security and piracy has always been urgent amid the growing number of attacks against corporate computers, websites and IT networks. To know more about the solutions for software security, PAN talked to Dmitry Beresnev, Senior Anti-Piracy Manager & Compliance Director at Microsoft for the CIS countries.Dmitry Beresnev: All of cyber attack victims in Armenia use pirate softwarePoliticsIn the framework of constitutional reforms in Armenia, the new electoral code addresses the introduction of electronic voting among other things. PanARMENIAN.Net spoke to Katrin Nyman-Metcalf, the Head of Research at the Estonian e-Governance Academy and the Head of the Chair of Law and Technology at Tallinn Law School about the peculiarities of e-voting in Estonia and the challenges the system faces worldwide.Katrin Nyman-Metcalf: Trust is paramount in electronic votingForeign Policy & DiasporaOn March 8, 2004, six Armenian pilots were detained in a small but oil-rich African country Equatorial Guinea. The crew members of AN-12 cargo jet were accused of plotting coup d’état to overthrow President Teodoro Obiang Nguema Mbasogo.Armenian pilot Samvel Machkalyan: 15 months in African jail Latest newsJazz-rock fusion pioneer Larry Coryell dies at 73 Coryell was best known for his 1970 album "Spaces" in which he stayed true to jazz but brought a new rock power and psychedelic ambience to the music.Louvre exhibit questions legend of Vermeer the lone genius The Louvre in Paris has gathered a third of the 17th-century painter's canvasses for the show -- the most ever shown in one place since his death.Moscow not indifferent to future of OSCE office in Yerevan: Lavrov “I believe the last proposal by the Austrian presidency solves all the problems,” Russian foreign minister Sergey Lavrovsaid.UK posts faster-than-thought growth The upward revision is mainly due to manufacturing industry having done better than thought.

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Catholic Review of: Edmund Campion: The Hero of God's Underground - A Vision Book More Author: Fr. Harold Gardiner, S.J. Average Rating: Ignatius PressPaperback 180 pp. ISBN: 0898703875 By Marita Espinoza (CA) - See all my reviews A champion of the faith to inspire young Catholics The saints of the Catholic Church offer us all spectacular examples of courage, faithfulness and love in the face of persecution, cruelty and death. Edmund Campion was an English priest who, in the face of the terrible dangers of Elizabeth I's rule, ministered to, taught and encouraged English Catholics to persevere in their faith. Turning his back on great honors in the Anglican Church, he pursued the truth, entered the Catholic Church and received ordination to the priesthood in the Society of Jesus. Because of his articulate writings to English Catholics, he became a prize quarry for Elizabeth's "bloodhounds." Despite the fact that he was hunted and pursued at every turn, he continued to serve his beloved English people until he was eventually captured, tortured and sentenced to the gruesome death of hanging, drawing and quartering. To the very end, Saint Edmund remained cheerful, loving and charitable. Far from deterring other English men from becoming Catholic, his heroic death inspired many to continue his work and serve as priests in the dangerous territory that England had become. The book is written for a 9-12 year old audience. It is fast-paced, engaging and full of historical detail. Very difficult to put down! The reader is not spared the bloody facts of Saint Edmund's martyrdom, so parents should make sure that their children are developmentally ready to process the reality that earthly suffering for Christ's sake is the prelude to eternal happiness. The author does a superb job of highlighting the intelligence, cheerfulness and fiery courage of Saint Edmund's character. There is much for a young person to emulate here. Certainly, the reader will come away with wonder at the tremendous grace bestowed on saints who generously give their all for Christ. You can purchase this book here.

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Book News: NoViolet Bulawayo, Jhumpa Lahiri Shortlisted For Booker Prize By editor Sep 10, 2013 TweetShareGoogle+Email NoViolet Bulawayo is a Zimbabwean author. She is currently a Stegner Fellow at Stanford University. Smeeta Mahanti / Courtesy Reagan Arthur Books The daily lowdown on books, publishing, and the occasional author behaving badly. The shortlist for the Man Booker Prize, Britain's most prestigious literary award, was announced Tuesday morning. Although the prize is limited to writers from the British Commonwealth and the Republic of Ireland, the list skews international, and includes authors from Zimbabwe, New Zealand and Canada. The complete shortlist is: We Need New Names by NoViolet Bulawayo The Luminaries by Eleanor Catton Harvest by Jim Crace The Lowland by Jhumpa Lahiri A Tale for the Time Being by Ruth Ozeki The Testament of Mary by Colm Tóibín The Man Booker Prize is a perennial source of controversy, with past selections criticized as either too popular or not readable enough. This year's list seems to strike a balance, avoiding big bestsellers while still choosing accessible novels. Two of the books, The Luminaries and The Lowland, haven't yet come out in the U.S. (though American audiences can read the beginning of The Luminaries courtesy of Granta, and a long excerpt of The Lowland is available over at The New Yorker). The £50,000 prize (roughly equal to $78,000) will be announced Oct. 15. For Al-Jazeera, Leigh Cuen reports that the civil war in Syria has sparked a kind of poetic renaissance. She quotes the expatriate writer Ghias al-Jundi: "A lot of poetry and beautiful lyrics are rising up from the ashes in Syria." Cuen adds that writers are in more danger than ever: "Poets and writers are disappearing across the country. Syrian writers are caught between a double danger: the regime and the Islamists. It is a risk to write or utter a word." Former President Jimmy Carter is writing a book about "all aspects of women's lives," according to The New York Times. He writes in the book proposal, quoted by the Times, "I am convinced that discrimination against women and girls is one of the world's most serious, all-pervasive and largely ignored violations of basic human rights." Following the release of a documentary and biography about J.D. Salinger, Phoebe Hoban argues that Salinger fans should skip the biography and read the man himself: "Almost everything you ever wanted to know about Salinger can be found on the written page — in Salinger's own unmistakable voice — in his slim oeuvre of four famous volumes; the plethora of letters he sent to friends, editors, and lovers; the 22 uncollected short stories published from 1940–48 in Story and other magazines; and the handful of unpublished stories stashed in libraries." Copyright 2015 NPR. To see more, visit http://www.npr.org/. TweetShareGoogle+EmailView the discussion thread. North Carolina Public Radio - WUNC is created in partnership with:

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> Fiction House Rules By: Jodi Picoult eBook View Product Published: 1st March 2011 Books with a similar title An Architects Guide to Modern Life Chicagoland Vampires Novels Rules Of The House A Chicagoland Vampires Novel Black Swan Ser. Ballantine Reader's Circle God's House Rules Seven Biblical Truths to Transform and Enrich Y... A Memoir Cybersecurity Exposed The Cyber House Rules The Separation of Powers and Legislative Organization The President, the Senate, and Political Partie... Constitution of the State. Standing Rules and Orders for the Government of... Digest and Manual of the Rules and Practice of the House of Representatives To Which Are Added the Constitution of the Unit... Violations of Antitrust Act of 1890 Hearings Before the Committee on Rules of the H... Rules and Regulations, Adopted by the Board of Managers for the House of Refuge Ample Instructions for the Barometer and Thermometer Containing Particular Directions for the Marine... A Digest of Parliamentary Law Also, the Rules of the Senate, and House of Rep... With the Amendments Thereto: To Which Are Added... Hearings Before the Committee on Rules House of Representatives Sixty-Fifth Congress, ... Manual Constitution of the United States ... with ... Amendments ... Jefferson's Manual ... and the Standing Rules and Orders for Conducting Business in the House of Representatives and Senate of the United States When a teenage boy with Asperger's is arrested for murder, his family face a daunting task to prove his innocence. 'Picoult writes with unassuming brilliance.' - Stephen King 'Picoult has become a master - almost a clairvoyant - at targeting hot issues and writing highly readable page-turners about them ... It is impossible not to be held spellbound by the way she forces us to think, hard, about right and wrong.' - Washington Post Jacob Hunt is a teenage boy with Asperger's syndrome. He's hopeless at reading social cues or expressing himself to others, and like many children with Asperger's, Jacob has an obsessive focus on one subject - in his case, forensic analysis. He's always showing up at crime scenes, thanks to the police scanner he keeps in his room, and telling the cops what they need to do - and he's usually right. But then one day his tutor is found dead, and the police come to question him. Reluctance to make eye contact, stimulatory tics and twitches, inappropriate gestures, all these can look a lot like guilt. Suddenly, Jacob finds himself accused of murder. House Rules looks at what it means to be different in our society, and at the extremes of love and loyalty a family must call upon to help each other overcome impossible circumstances. Jodi Picoult is the author of 16 bestselling and widely - acclaimed novels. JODI PICOULT is the author of 16 bestselling and widely acclaimed novels. She lives in New Hampshire with her husband and three children. Jodi Picoult, 42, is the bestselling author of fifteen novels. Picoult studied creative writing with Mary Morris at Princeton, and had two short stories published in Seventeen magazine while still a student. Realism - and a profound desire to be able to pay the rent - led Picoult to a series of different jobs following her graduation: as a technical writer for a Wall Street brokerage firm, as a copywriter at an ad agency, as an editor at a textbook publisher, and as an 8th grade English teacher - before entering Harvard to pursue a master’s in education. She married Tim Van Leer, whom she had known at Princeton, and it was while she was pregnant with her first child that she wrote her first novel, Songs of the Humpback Whale. In 2003 she was awarded the New England Bookseller Award for Fiction. She has also been the recipient an Alex Award from the Young Adult Library Services Association, sponsored by the Margaret Alexander Edwards Trust and Booklist, one of ten books written for adults that have special appeal for young adults; the Book Browse Diamond Award for novel of the year; a lifetime achievement award for mainstream fiction from the Romance Writers of America; Cosmopolitan magazine’s ‘Fearless Fiction’ Award 2007; Waterstone’s Author of the Year in the UK, a Vermont Green Mountain Book Award, a Virginia Reader’s Choice Award, the Abraham Lincoln Illinois High School Book Award, and a Maryland Black-Eyed Susan Award. Most recently, she wrote five issues of the Wonder Woman comic book series for DC Comics. Her books are translated into thirty four languages in thirty five countries. Three – The Pact, Plain Truth, and The Tenth Circle, have been made into television movies. My Sister’s Keeper will premiere on June 26 in theatres from New Line Cinema, with Nick Cassavetes directing and Cameron Diaz starring. She and Tim and their three children live in Hanover, New Hampshire with three Springer spaniels, two donkeys, two geese, eight ducks, five chickens, and the occasional Holstein. Follow Jodi Picoult on Twitter Praise: “Somebody who’s a terrific writer who’s been very, very successful is Jodi Picoult” – Stephen King, in USA Today, 2/09 “Picoult is a skilled wordsmith, and she beautifully creates situations that not only provoke the mind but touch the flawed souls in all of us.” — Boston Globe “If Jodi Picoult were a general, she would be Patton; if a sports franchise, the New York Yankees; if a natural phenomenon, the sunrise. Which is to say, Picoult is not merely relentless - so are allergies and colds - but exquisitely so.” “Turning the pages, all you’ll care about is what happens next. That’s the mark of pretty much every Jodi Picoult book, and it’s the reason she keeps topping best-seller lists.” “Jodi Picoult writes novels mothers and daughters can agree on even if they disagree on almost everything else.” “Picoult is a rare writer who delivers book after book, a winning combination of the literary and the commercial.” “Jodi Picoult explores dark places in perfect suburban lives. It's easy to understand her best-seller status.” —Midwest Book Review “Picoult is a master in dissecting and describing the tangle of family relationships and the counterbalance of love.” “Picoult is a master of the craft of storytelling ” —Book Review, AP news wire “Anyone who has read any of the dozen books that prolific Jodi Picoult has released in the past 14 years knows that she is arguably the Queen of the Topical Novel.” “Ms. Picoult is a solid, lively storyteller.” “Ms. Picoult has carved her own niche with her novels – one part romance, one part courtroom thriller, two parts social commentary.” “Beginning with her first book… Picoult has refused to sweat the small stuff. She's concerned with love and truth, the blurry boundary lines implied by both. She forces the reader to look, however uncomfortable the experience might be, at complacent people who discover, much too late, the sad disparity between what they thought they knew and what they know now.” — Orlando Sentinel Tribune “Jodi Picoult reminds me of Sue Miller. She's a writer with literary flair who can also please the public.” “Picoult makes her characters real as reality.” “Her storytelling ability has established herself firmly in the ranks of highly regarded novelists, which, at age 38, is a very impressive accomplishment.... Picoult always writes with depth and clarity. She refrains from delivering the happily ever after ending to her stories, but rather presents thought-provoking questions about the human condition.” —Ocean County Observer “Picoult's novels never disappoint the reader.” —Ann Hood, The Sunday Journal, (Providence, RI) “Jodi Picoult is a gifted storyteller whose compelling works profoundly impact her audience.” “Picoult is known for writing fictional page-turners that address controversial issues.” “With a strong, topical theme, Picoult gets into the heads of her well-developed characters.” —The Daily Telegraph (Sydney Australia) “Picoult has created something of a trademark.” —Courier Mail (Queensland, Australia) Visit Jodi Picoult's Booktopia Author Page Published: 1st March 2011 Country of Publication: AU Dimensions (cm): 19.8 x 12.8 » Crime & Mystery » Fiction-Related Items » Modern & Contemporary Fiction

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The Readers’ Writers: Literary author Lorrie Thomson When Lorrie Thomson began writing her debut novel “Equilibrium,” she never imagined how drastically her perspective would change before the story’s conclusion.“Equilibrium” is about a family coping with the aftermath of a husband/father’s struggle with bipolar disorder, and the ultimate tragedy brought on by suicide. It is the story of the impact mental illness can have on a family, both in life and death. Though poignant, “Equilibrium” avoids the trap of maudlin, telling the story through the eyes of a mother and daughter who have come to accept that life must be lived, only to see a new challenge surface that threatens their fragile stability. And it is that new challenge, the inherited bipolar trait in the son and brother, that rekindles all the fears and doubts and threatens to destroy what the family has rebuilt.Thomson devoted hour upon hour to researching her topic. But the full impact of what she was writing hit Lorrie’s heart when her son was diagnosed with schizophrenia. Though “Equilibrium” remained a fiction novel, the complex family dynamics became truth.“Equilibrium” is filled with drama. There is romance, love, dashed dreams, fear, and a boatload of emotion and conflict. But, always, there is hope. As stated, the story is told through the mother and daughter’s viewpoints. I liked that we could see how each handled the circumstances affecting their lives, and no matter how different they thought each other to be, in the end, their commonality far outweighed their perceived differences.Though technically a literary work, I would recommend “Equilibrium” to romance and young adult readers as well. There is definite attraction between major characters, and those relationships bring their own issues to an already struggling family.A former Bostonian, author Lorrie now resides in New Hampshire with her husband and children where she writes full time, hunts for collectibles, and chats with neighbors over a stone fence.http://www.lorrie-thomson.com/Q) How did your son’s diagnosis impact “Equilibrium”?A) I completed the first draft of “Equilibrium” before my son showed any symptoms of his disorder. After having experienced real-life trauma, and re-reading that draft, I was surprised by how accurately I’d portrayed the family’s reactions. In subsequent drafts, I’ve peppered in some from-real-life emotional responses. And the scene in which Laura and Troy visit the father’s/husband’s grave? That was written fairly recently, and helped me unravel a question I’ve been asking myself for years. How can you tell the difference between a loved one’s personality and his mental illness? Q) I find it interesting that a number of prerelease reviewers have recommended your book as a ‘must read’ for discussion groups and book clubs. You pounded the “I want to be published’ roads for ten years before finding a literary agent who believed in your work. So, how does it feel seeing those kinds of reviews for your debut novel?A) It feels wonderful! The response from the local high school has been overwhelming. I’m excited about the enthusiasm from both adult and high school book clubs. I can’t wait to sit down and discuss their reactions to the story. After hanging out alone with my characters, I’m looking forward to hearing the thoughts of many, many book clubs.Q) A follow-up question: What kind of pressure do those reviews put on you for your next book due out in 2014?A) Comparison is inevitable. That said, just like a parent with more than one child, I feel every novel I write is special in its own way. I hope the reviewers feel that way, too!Q) Undoubtedly, some readers will be people who have suffered through the circumstances your characters struggle with. What comfort do you believe your book can provide them?A) I believe there’s comfort in following the story of others who’ve weathered trauma, persevered, and ultimately thrived. There’s comfort in knowing we’re not alone. We all deserve real-life happy endings, even if those happy endings are different from what we imagined at the beginning of our journeys.Q) Your next book also deals with life after a loss. What is it about that subject that compels you to write?A) When searching for a story spark, I look to my own fears. And then, through my characters, figure out how to stand up to them. So many people have lost loved ones, and I admire their resilience. Even though “Equilibrium” and “What’s Left Behind” deal with loss, the story perspectives are very different.BTW, the 2015 book will deal with a different type of fear. Q) Any parting thoughts for potential readers?A) I hope readers come away from “Equilibrium” with the feeling of having connected with the Klein family, the warm fuzzy feeling of, yes, I’ve felt that, too. I’ve been heard and validated.DA Kentner is an award-winning author. www.kevad.net

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Dark Horse to Publish "The Legend of Zelda: Hyrule Historia" Encyclopedia Encyclopedia published by Shogakukan with assistance from Nintendo Humberto Saabedra August 16, 2012 5:56pm EDT (8/16/12) Buried within the retailer catalogs for next year, the latest Diamond Book Distributors catalog has revealed that Dark Horse has acquired the rights to publish The Legend of Zelda: Hyrule Historia encyclopedia that was published in Japan. The book as listed will be published by Dark Horse as a hardcover weighing in at 272 pages, which will include the history of the Zelda series, an in-depth look at The Legend of Zelda’s timeline, an overview of Hyrule’s evolution, concept art and more information on the franchise than is realistically necessary, fitting its status as an encyclopedia perfectly. Here's the marketing blurb for the book as described by Dark Horse: Dark Horse Books and Nintendo team up to bring you The Legend of Zelda: Hyrule Historia, containing an unparalleled collection of historical information on The Legend of Zelda franchise. This handsome hardcover contains never-before-seen concept art, the full history of Hyrule, the official chronology of the games, and much more! Starting with an insightful introduction by the legendary producer and video-game designer of Donkey Kong, Mario, and The Legend of Zelda, Shigeru Miyamoto, this book is crammed full of information about the storied history of Link’s adventures from the creators themselves! As a bonus,The Legend of Zelda: Hyrule Historia includes an exclusive comic by the foremost creator of The Legend of Zelda manga — Akira Himekawa! Pricing for the book is set at $34.99 and will be released on January 29th of next year. Any Zelda fans looking forward to finally being able to buy the massive tome in English? via GenGame Humberto Saabedra is the Editor-in-Chief of AnimeNews.biz, PhoneNews.com and an occasional columnist for Ani.me. He can also be found musing on his favorite 2D girls at @AnimeNewsdotbiz. Tags the legend of zelda, nintendo, dark horse « Previous Post VIDEO: "World of Warcraft: Mists of Pandaria" Opening Cinematic WHAT IF… Hideo Kojima Made a "Silent Hill" Game? Other Top News North American Release of Final "Blade of the Immortal" and "Oh My Goddess!" Volumes Listed

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Lions, snails, wild babies, oh my!; The Lion Upstairs, by Stephen Krensky, illustrated by Leigh Grant. New York: Atheneum. 40 pp. $10.95. Patricia A. Spencer The Snail's Spell, by Joanne Ryder, illustrated by Lynne Cherry. New York: Frederick Warne &amp; Co. Pages unnumbered. $10.95. The Wild Baby Goes to Sea, by Barbro Lindgren, illustrated by Eva Eriksson. New York: Greenwillow Books. 24 pp. $9.To the mature adult, a glimpse into a child's imagination can be astonishing, bewildering, and at times, awe-inspiring. But in any case, it is a desirable experience, one that should be encouraged and nurtured through the years.Among the new picture books published this spring, three stories revolve around the imagination of a child and how he or she has created a private fantasy world separate from the world of home and family. In two of the stories, the child's adventure is a purely fun and pleasurable one, but in one story a neglected child invents an imaginary friend in order to attract the attention of his family. In The Lion Upstairs, a young boy, Sam, goes on a safari in his living room and captures a lion. No notice is taken of Sam and his big game hunt - his mother is chatting on the phone, his father is taking a nap, and his sister, Abby, is reading a magazine. But the family does take notice when Sam refuses the mow the lawn because the lion likes to prowl in the long grass - and when he refuses to take out the garbage because his lion friend might like a midnight snack. A family conference is called, and Mom, Dad, and Abby discuss tactics to deal with this new addition to the family. All turns out well in the end, and one morning Sam announces at breakfast that the lion became homesick and was sent back to Africa. ''Understandable,'' said his father. ''Very,'' said his mother. ''Have some toast,'' said Abby. There may yet be more safaris for Sam.The Snail's Spell, with its delightful drawings, is a simple story of a child imagining what it would be like to be a small snail slithering about in the damp earth of a vegetable garden. Between the eggplant and the mushrooms, the chipmunks and the bunnies, the child and the little gray snail creep through the garden, using their feelers to taste and touch and explore. There are no exciting adventures or pleas for attention here, just a child imagining what it would be like to be. . . .Exciting adventures with amusing drawings on the high seas do take place in The Wild Baby Goes to Sea by Eva Eriksson. This story was originally in Swedish and was adapted into rhyming verses in English by Jack Prelutsky. Baby Ben takes to the sea in a boat made from a cardboard box and his mother's kitchen apron. He sails with a crew of three - Mouse, Giraffe, and Bunny - and with a week's supply of seaworthy buns. When a storm comes up and the ocean swells, shipwreck seems imminent and the crew is terrified, but Baby Ben relishes the adventure and chuckles as their ship pitches and tosses with the waves. Soon the ocean stills, and when they hear a clock ticking, they realize they have washed up on shore. Adventure over, captain and crew sit down to dinner with Mama. What a little imagination can do to transform an ordinary day into something delightful! Lion kills heron: A stork reminder of big cats' wild nature British police pursue mysterious lion: Real or rumor? Peru sea lion returns to wild

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More Pauline Johnson: 8 facts about the legendVancouver Sun 05.16.2014ShareAdjustCommentPrint New opera’s big gamble Reinventing the opera with Pauline • Between Pauline’s first visit to Vancouver in 1894 and her decision to make it her home in 1908, the population had grown from 20,000 to more than 100,000. A significant proportion of the population were members of the Shuswap, Kaska, Sekani, Haida, Nootka and Coast Salish Nations. Settlements were well established on the shores near the Alexander Street warehouse district, at Point Grey and on the North Shore.• The small basin of water set into the south side of Stanley Park was known as part of Coal Harbour and as Pauline explored it, she began to call it Lost Lagoon, since it filled and was depleted according to the changing tides and seasons. The Park Board adopted the name officially in 1922, long after the construction of the causeway left it landlocked.• When Pauline was eight years old, she had watched her father officiate at the ceremony in which the 19-year-old Prince Arthur was inducted as a chief into the Six Nations. Nearly five decades later, Arthur, Duke of Connaught, visited an ailing Pauline during his official tour as the Governor General of Canada. During his visit, she pointed out the red blanket draped over his chair and reminded him that it was the very same blanket upon which he had stood for the induction ceremony.• Pauline had never canoed on salt water before relocating to Vancouver. She was loaned a canoe by Su-á-pu-luck (Chief Joe Capilano) and explored the coastline and crossed Burrard Inlet to the Squamish village on the North Shore.• After Su-á-pu-luck died from tuberculosis on March 10, 1910, the funeral hosted delegations from all over the province. His son Matthias accepted the ceremonial cloak, belt and medals from the elders, signifying that he was the new chief. Pauline was mistress of ceremonies at the chief’s house, along with his widow Líxwelut (Mary Agnes Capilano).• The True Legend of Vancouver’s Lions was the first of 21 stories to be published in the Daily Province Magazine in April 1910. Pauline had learned the legends during visits with Su-á-pu-luck and Líxwelut (Mary Agnes Capilano), told to her in a mix of Chinook and English. She had been taught as a child to listen politely to the Six Nations elders and to appreciate the rhythm and structure of epic oral narratives. By the end of 1912, the collection of stories, published as Legends of Vancouver, was into its fifth edition.• Pauline’s funeral procession from the Bute Street Hospital to Christ Church Cathedral, and on to the Mountain View crematorium, included Vancouver’s best-known citizens. Chief Matthias Capilano was prominent in full ceremonial dress, and the streets were lined with mourners. Public offices were closed and flags flew at half-mast. It was the largest funeral the young city had ever seen.• At the time of Pauline’s death, Stanley Park was officially a federal military reserve, leased to the city for recreational purposes. In order to fulfil Pauline’s request that she be buried overlooking Siwash Rock, special permission from the Dominion government was required. Elizabeth Rogers, whose husband was a member of the Parks Commission, extracted a promise from the Duke of Connaught during his 1912 visit that he would speed up the process. Pauline’s ashes were interred in a small clearing on Ferguson Point on March 13, 1913.Source: City Opera Vancouver===CLICK HERE TO VIEW MORE PHOTOS, or tap and swipe the image on your mobile device.=== xSharePauline Johnson: 8 facts about the legend

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Hockessin Bookshelf hosting Mark Bowden event New York Times best-selling author Mark Bowden will be in Hockessin next week discussing his latest book, "The Finish: The Killing of Osama Bin Laden" with an intimate group of readers and fans. Tickets are still available. Christine Miller, Arts & Entertainment The Hockessin Bookshelf, a haven for local readers, is making a name for itself as a mecca for best-selling authors. Over the past two years, the local bookstore has been hosting intimate get-togethers, connecting readers and authors in a setting that's less like a cattle call for booklovers and more like a casual cocktail party.The parties are the brainchild of store owner Rebecca Dowling, who doesn't just love books, she also loves readers. And, she has a special passion for authors with any sort of Delaware connection. But, her joy comes from putting the two together."We're a small state and we're not always getting the big names and the big tours," said Dowling, who has not had any trouble scoring well-known New York Times best-selling authors. "But, I've been lucky and our reputation for hosting good events has spread. It's so great to put readers and authors in the same room together and watch the connections that happen. I think both sides get a lot out of it."This week, she and her store are hosting "Black Hawk Down" author and University of Delaware professor Mark Bowden.Here's what to know before you go:The author, chapter and verseThe author of nine books, Bowden's work includes "The Best Game Ever," "Bringing the Heat" and, of course, "Black Hawk Down," which was adapted for the big screen in 2001. He served as a journalist for The Philadelphia Inquirer for 20 years and now regularly contributes to publications like "Vanity Fair" and "The Atlantic."Dividing his time between Oxford, Pa. and Delaware, he strives to inspire and instill journalistic integrity in the next generation of writers by teaching journalism at the University of Delaware.Book breakdownWith a penchant for chronicling the military and special forces, Bowden's latest book, "The Finish: The Killing of Osama Bin Laden," is a gripping account of the hunt for the man widely considered the mastermind of the Sept. 11, 2001 attacks. Bowden delves into the next 10 years, describing, step-by-step, the tactical strategies used to fight a new kind of war and hunt down a killer. He takes readers to the heart of the hunt and explores the three possibilities of takedown: a drone strike, a precision bombing or a Navy SEAL assault.Tabling the normUnlike other book signings, the Hockessin Bookshelf's event dismantles the table and eschews the long lines that normally form as voracious readers clamor for their moment with literary greatness."We really try to give our readers a different kind of experience," said Dowling. "We've partnered with a great community resource, the historic Lamborn Library who graciously helps us host the event, so readers really get to get up-close-and-personal with authors. But, the whole thing is casual."The casual atmosphere means that not only are the lines normally seen at book-signings non-existent but people are mingling, chatting and munching on the provided refreshments. Fans have a chance to speak to the author and participate in conversations that are longer and slightly more meaningful than the usual pleasantries.More informationLike all parties, the planning entails a head count so that food and drinks can be ordered. Tickets are $10 and can be purchased by visiting the Hockessin Bookshelf, located at 7179 Lancaster Pike. Tickets will be available at the door but Dowling said that readers will still need to let her know in advance that they're attending."Just call us and we'll reserve the spot," said Dowling. "However, we will only be able to accept cash or personal checks at the event so people should be prepared for that. We'll also have a limited quantity of Bowden's books at the event. But, people are also welcome to stop by the store and pick up those beforehand as well."Looking aheadIn June, the Hockessin Bookshelf will host Caroline Leavitt, a New York-based author. Her latest release (Tuesday, May 7) "Is This Tomorrow" will be her ninth book."She's not from Delaware but she has a blog and she has interviewed just about every single author we've hosted," said Dowling. "We like her work and she just seemed like a good fit for readers here."

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Book Notes: People and their problems By Rae Padilla FrancoeurMore Content Now“Problems with People Stories” by David Guterson. Knopf, New York, 2014. 163 pages. $25.95.David Guterson, most well known for “Snow Falling on Cedars” and winner of the PEN/Faulkner award, has produced a new book of short stories, “Problems with People.” From the stormy waters off Alaska to the foul terrain one man traverses in Nepal to an uncaring hospice, these graphically sketched territories serve as fascinating laboratories for Guterson’s equally detailed characters. What’s impressive is Guterson’s ability to land anywhere at any moment in time and capture the immediacy and the quirky human qualities of the interior struggles.In “Photograph,” one of my favorite stories in this collection, the captain of the gillnetter Fearless sits down with the parents of his 19-year-old deckhand, Paul, and describes in detail the circumstances of Paul’s death at sea. Less than 11 pages long, the story is nonetheless a total immersion experience. In the space of a few sentences the reader encounters the parents’ strained marriage — fully developed and ongoing. They listen in as the captain relates his harrowing battles with steep seas. And they come to understand the genesis of Paul’s ill-advised obedience.In all these stories, it’s as if we’ve opened the door to a drama of some small or large magnitude in progress, a door we can’t bring ourselves to close again.In “Politics,” the petty and the perilous intertwine for an unnamed character who, during a strike in Nepal, must make his way on foot to the hospital where his ex-wife is recovering from serious injuries related to a car accident. The man intends to have his wife moved to a better hospital in Delhi but he first must trek more than five miles to get to her. He weaves through groups of threatening Maoists with weapons, mud and excrement. A young boy cleans his shoes but later relentlessly pesters him for money. In an interesting turn, Guterson moves deftly from the man’s point of view to that of a bellboy who, we learn, craves knowledge of a western traveler who doesn’t even want to finish a meal. Each male has his very different preoccupations and each feels true and telling.In “Hush,” Lou Calhoun’s health is rapidly declining and he needs someone to walk his dog. Vivian Lee agrees, after some wrangling. These are tough, independent characters whose needs are basic. These needs dictate the course of their dealings and their interactions. Even Calhoun’s dog Bill has become a complication in Lou’s late-life survival. Vivian steps in to assist Bill after he is diagnosed with colon cancer. This decision takes her all the way to hospice, where Bill lands, alone, turned to a blank wall.If you wonder what confusion feels like to someone suffering from dementia, read “Shadow.” Guterson starts with an airport terminal’s existing chaos, gives it a few extra stirs, and deposits a retired lawyer on his way to visit his son. The man has issues with competency due to some changes to his frontal lobe. He runs into trouble at the security gate, gets turned around in the terminal and eventually misses his plane. As he returns home, he imagines how he will interact with his son in the future.“Maybe from now on he’d see him just in dreams, and hear his voice exclusively on the telephone, at long intervals — obscured, disembodied. Would he even know him if he saw him again? Would he recognize his son for who he was?”Guterson writes about contemporary people we may know or suspect we’ve encountered at one time or another. We’ve wondered about them, tried to imagine what’s on their minds. Guterson has the key that lets us in.Rae Padilla Francoeur’s memoir, “Free Fall: A Late-in-Life Love Affair,” is available online or in some bookstores. Write her at rae.francoeur@verizon.net. Read her blog at http://www.freefallrae.blogspot.com/ or follow her @RaeAF.

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Alaskan fiddler Ken Waldman performing at the Earlville Opera House Nov. 10 with Dust Busters EARLVILLE -- When Ken Waldman, Alaska's Fiddling Poet, makes his first public appearance in the region on Saturday, Nov. 10, at the Earlville Opera House, he'll have a number of stellar musicians joining him. His 8 p.m. show in the EOH Arts Café is titled From Earlville to Anchorage, and Waldman will host an evening of variety that connects the grandeur of upstate New York to Alaska. He'll be joined by New York City roots music trio the Dust Busters, and likely by special guests. A 25-year Alaska resident, Waldman's performances have been described by Austin Chronicle writer Ric Williams: "Feels like a Ken Burns movie -- always recommended." More recently, Shepherd Express Weekly in Milwaukee termed Waldman,"a one-man Prairie Home Companion" and the Denver Post called Waldman's mix of words and music "renegade Americana." The Dust Busters are celebrating the release of their Smithsonian Folkways CD, "Old Man Below," recorded with traditional music icon John Cohen. "The Dust Busters start where the New Lost City Ramblers left off, evoking the golden age of the 1920s and 1930s," Cohen said. They are influenced and inspired by the direct fusion of Scots-Irish and African music that took place in Appalachia, the Western states and the Deep South from the earliest colonial times through the Second World War. The band includes are multi-instrumentalists Eli Smith, Walker Shepard, and Craig Judelman, though another multi-instrumentalist, Jackson Lynch, has recently replaced Judelman. See the Earlville Opera House website for information about the 5 p.m. writing workshop by Waldman included with the evening called Four Writing Prompts: The Beginning of Four New Stories or Poems. Waldman will draw on his years teaching at colleges and universities -- he has an MFA in creative writing -- as well as his long experience around the country facilitating similar workshops. The evening will appeal to anyone who enjoys traditional string-band music with a sampling of smart poetry, acclaimed storytelling and Alaska. Begin the night in Earlville. Journey to Anchorage and back with surprises en route in the intimate EOH Arts Café. Tickets are $20 for the general audience, $18 for EOH members, and $15 for students. Seating is limited. The EOH Arts Café will open one hour before the performance and serves desserts and hot coffee/tea. The Opera House is located at 18 E. Main St., Earlville. For more information, or to reserve your seats, call 315-691-3550 or order online at: www.earlvilleoperahouse.com

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2017-09/0320/en_head.json.gz/19550

Clockwork and Old Gods Meet The FiveMature Page published by Gandel on November 1, 2010. Recommend Favourite Share Send to a fan or friend Short link: It was true that the Five Princes of Marsten were the ones ultimately in control. It was also true that Marsten, like any large city, was actually run on a day to day basis by a small army of bureaucrats and functionaries. The princes had their estates, the bureaucrats had the Civic Building. It was an impressive building, as such things went; a circular three story affair with a green roof that was enthusiastically scrubbed back to it's original copper every few years. Marble columns and elegantly carved statues circled the outside of the building. Broad stone steps led from the road up to carefully carved double doors, which were always open during the day. Inside were broad hallways paved with patterned tiles leading to various offices, meeting rooms, sitting areas, and - on the upper floors - spacious balconies. Every so often along these hallways was set a decorative alcove where a statue or column, having apparently come in from outside and become disoriented, had taken up residence. Alongside the taxmen and city planners were also offices for the various guilds that held sway in Marsten, local or foreign. The city being a major trade hub, many governments felt the need to have a representative in residence to insure their merchants were being treated fairly. The princes themselves had offices in the the Civic Building, though they only ever used them when there was a matter that required their collective attention. Today was one such day. The Captain had sent a personal summons to each of the Five, and as midday turned to evening they gathered at the Civic Building. The Captain had made a point of arriving first, and watched from a second story balcony as the rest showed up. She arrived not in a traditional carriage, but in a contraption that clanked and clattered and spewed steam and smoke into the air. It drew looks that ranged from awed to terrified as it passed by people on the street. When it drew to a stop in front of the Civic Building's grand steps a door swung open, and out stepped Her Ladyship. She was dressed more formally than he had anticipated, as if she were attending a state function and not just meeting the captain of the Watch. After she'd disembarked from the contraption is chugged it's way a little further down the street, where it sputtered to a stop and finally became silent. This didn't seem to bother Her Ladyship in the least, and he suspected she wanted to keep her latest toy in full view of the public for as long as she could manage. "What in the name of the gods is that?" He called down to her as she reached the top of the stairs. She looked up in surprise, but smiled and waved when she saw who it was. "Isn't it wonderful?" She shouted. "It's absolutely brilliant! An independently motivated carriage!" She hurried for the door with another wave. As she disappeared from view The Captain cast another suspicious look at her new mode of transport. If such things were the way of the future, he wasn't sure he liked the way the future looked. Hammon was the next to arrive. He was also dressed splendidly, but that was nothing new. Hammon took his title as prince very, very seriously. Every opportunity to set foot in public was another opportunity to show everybody just how important he was, from the way he dressed to the opulence of his coach and the way he dressed his horses. The Captain could barely stand the man, and he knew the feeling was mutual. Mostly, he imagined, because he didn't have to answer to Hammon, and the idea that anybody other than another prince could ignore him invoked a righteous anger in the prince. While the Captain didn't like to let his personal feelings prejudice him when it came to Watch business, over the years he had come to use assignment to Hammon's guard as a punishment for members of the Watch. If Hammon knew, The Captain didn't care. Third of the five to show was Prince Konrad. Konrad, The Captain mused, was almost the exact opposite of Her Ladyship. He kept to the Old Ways, worshiping the gods most people felt were gone and showing a healthy respect for magic. His estate boasted a temple to all the gods, though his family's patron deity was known to be Saliea, the goddess associated with light, healing, and the season of spring. Konrad was also known to have a mage on retainer as part of his personal staff. Rumor had it the mage was responsible for maintaining a large number of protective wards scattered around Konrad's estate, though most thought he was just for show. The Captain hadn't yet heard an official position on Her Ladyship's technology fair from Konrad, and wondered what the prince thought of it. Vincent and Noron arrived within moments of each other, driven in by sturdy coaches bearing their family crests and colors. Vincent was what The Captain considered a balancing hand on the tiller of Marsten's government. Where Ladyship and Konrad were opposite sides of the spectrum regarding religion and technology, he was somewhere in the middle. Where Hammon liked to revel in his power, Vincent was more a 'man of the people'. Which was not to say he forewent the privileges of his position, of course, but he was sympathetic to the city's more common classes and did what he could to make life a little easier. And then there was Noron. He was more a merchant than a prince, The Captain reflected. Older than many of the other princes, he kept a very active hand in running the businesses that called his district home. Overall his was the richest in the city (much to the annoyance of Hammon), and it was well known that a great deal of Marsten's wealth was because of his policies. Aside from his focus on economics and business related matters, he spoke his mind on matters and voted however he felt like, without engaging in debate. It was rare that the others managed to change his mind once he'd made it up about something. Vincent and Noron greeted each other as they exited their carriages. They talked casually as they went inside, and The Captain judged it was time to head for the meeting room. The princes had their own meeting chamber, specially designed for them and reserved for their use. The room was on the third floor, and featured a large semicircular table where the princes would sit. Behind the table, set high on the wall, were numerous windows that allowed light to steam in during most hours of the day. When the sun began to set, as it would soon, there were numerous torch sconces to ensure the room was fully lit. A table was set before the princes, intended for The Captain. He stepped around it and stood facing them, hands clasped behind his back. He wasn't sure how the princes chose their seats at their crescent shaped table, and took a minute to note their positions. Starting on the left side of the table, from The Captain's perspective, was Prince Hammon and Her Ladyship. Vincent sat in the center, looking unassuming, followed by Noron and Konrad on the right side. "Good evening, Princes," he began. "I apologize for requesting a meeting on such short notice, but the situation warrants it. Thank you for coming." "Always a pleasure, Captain," Vincent replied with a nod of greeting. "I, for one, know that you take the protection of this city seriously. Whatever it is you've summoned us for, I'm sure it's important." The Captain nodded, mentally translating Vincent's words into what he really meant: this had better be important, and you'd better have a good serious reason for it. A moment later Hammon voiced the exact same sentiment, though in terms far less subtle. "It had better be important," he grumbled. "I was supposed to be attending a dinner party." '"Come now," Her Ladyship admonished him, "Let's let the Captain speak. The longer you piss and moan the longer you'll be here." Noron stifled a chuckle at her words from the other side of the table, and for a moment Hammon was silent. Finally he waved a hand towards The Captain and said, "Fine, fine, carry on then." "My lords," The Captain continued, "As some of you may have heard there has been a series of murders in our city. The first took place in Prince Noron's district, but they have since spread throughout Marsten. These are no ordinary murders. They have an occult aspect to them - arcane symbols are drawn in the victim's blood." He noted without any surprise that Prince Konrad had sat straighter in his chair. "What manner of symbols?" The prince asked. "We have someone analyzing them now," The Captain assured him. "We keep Olian of the Mage's Guild on retainer for those rare cases that involve magic. While he hasn't yet deciphered them as a whole he has assured us that those symbols found at the crime scenes are inert. However," he drew a breath and got to the real reason they were here, "We've been able to piece together a number of different incidents we believe were caused by the same individual. These incidents confirm our worst fears, that the murderer is a mage from outside Marsten and, worse yet, he is able to summon and bind demons." Konrad gasped audibly, one of the few in the room who realized the level of danger such a thing represented to the city. Her Ladyship was also looking concerned, fingers steepled before her. Noron leaned forward, eyebrows raised. "Well... this is good, yes? You know who the murder is?" "After a fashion." The Captain explained, "We have a description of the suspect and we have a name: Noman." "Then catch him already," Hammon said flippantly. "It is what your people do, isn't it?" "If you know you're dealing with a Summoner," Konrad demanded before The Captain could respond, "Why haven't you involved the entire Mage's Guild?" "I didn't feel it was necessary to involve them in Watch business," The Captain said, choosing to ignore Hammon for the moment. "Right now we have a mage working on the problem. If he makes it clear he needs further assistance we'll request it from the Mages Guild at that time." "I urge you to reconsider, Captain," Konrad argued. "A Summoner is not something to be trifled with. Just one is enough to wreak untold havoc! We're lucky the city isn't burning around our ears as it is!" "The Watch has dealt with magical threats to the city in the past," The Captain tried to sooth Kondrad, "And we didn't need to call on the Mage's Guild to do it. But rest assured, if this threat proves beyond our capabilities we will draw on ever resource available, including the guild." "I think Prince Konrad may be overestimating the danger," Her Ladyship broke into the conversation. "No offence, Konrad, but the Old Gods are gone. Magic is on it's way out of the world. Surely the fact that we are not swimming in demons as the city burns around us is a sign that this rogue mage, this Summoner, is not powerful enough to cause such a disaster? I have full faith in the dear Captain and his Watch to resolve this situation." "It's better to be cautious in the face of a threat, " Vincent advised, speaking before the bristling Konrad could get a word in. "And while I don't intend to alarm the entire city, it may be prudent to bring the Mages Guild into the investigation. If you need them they will be there and ready at hand. If you don't need them they do nothing and go home when this is over. I don't really see a downside. Do you?" "Yes, very good." Hammon said imperiously. "Is it decided, then? We have a magical murderer on the loose, the Watch will catch him, and the Mage's Guild will assist. Hmm?" "We should vote on the matter," Vincent began, but The Captain raised a hand. "There will be no need," he said. "I'll alert the Mages Guild in the morning that their involvement, if not their help, is needed." The meeting wound down quickly after that, with Her Ladyship asking about the preparations for her technology fair. He gave her details about how the inventor's camp was being set up, and how the fair itself was going to be set up. It was mostly taking place in her own district, so the other princes had little to comment about it... except Noron, who seemed legitimately interested in the business opportunities such a fair would invite. He even went so far as to offer space in his own district if the size of the fair warranted extra room. And all the while The Captain kept noticing Her Ladyship's eyes, how they flashed such a brilliant green when the light hit them just right... She noticed him watching, and gave him an almost playful wink. He kept his own gaze firmly fixed on one of the other princes from then on. Page: A Hard Day's Night 49 more pages to read The End View story summary » Story summary A mysterious stranger has come to the city of Marsten. He has no memory of himself, no memories of life before he arrived at the city. Under the influence of a supernatural green stone he is compelled to carry out the will of an unknown entity. It speaks to him in whispers only he can hear, guiding him to terrible acts and promising the salvation of humanity... Filed under Action / Adventure, Fantasy, Just for Fun You're currently reading the story Clockwork and Old Gods, Gandel. 71pages 5,162views 6recs 11faves Author guidance Tags magic stonenightmareold godsrainshadows ****note - this is a very early rough draft of Clockwork and Old Gods. The completed version is now available on Amazon, Barnes & Nobles, Kobo, Smashwords, and others!***Welcome to Clockwork and Old Gods. This is a world where magic, tied to the Gods and long depended upon, is waning. In it's place rises technological innovation,... Recently submitted to these groups Completed Works Submitted July 28, 2011 94 members 200 works Fantasy Submitted July 15, 2011 243 members 162 works Share this story Tweet Share on Tumblr Page statistics View ratings chart » This page has been viewed 40 times. rated this page for an average rating of View participating authors. This story was featured on July 24, 2011. This story has been rated 80 times for an average rating of 119,489 words (670,929 characters.) Some rights reserved: Submit report Close Cancel Would you like to recommend the story "Clockwork and Old Gods"?

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2017-09/0320/en_head.json.gz/19556

The pulp era's greatest superhero returns in two exotic pulp novels by Lester Dent writing as Kenneth Robeson. First, the attempted theft of the submarine Helldiver and an encounter with a mysterious white-tressed woman bring Doc Savage to the Arabian desert in search of "The Phantom City." Then, a case of mistaken identity and the disappearance of the Moon lead Doc, Monk and Ham into one of their strangest cases in "No Light to Die By," a rare tale told in the first person. This instant collector's item features the color pulp covers by Walter M. Baumhofer and Walter Swenson, Paul Orban's classic interior illustrations, and historical commentary by Will Murray, writer of seven Doc Savage novels.

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2017-09/0320/en_head.json.gz/19576

Tag Archive | Shadows Jackie and the Shadow Snatcher, by Larry Di Fiori Apr22 It’s a children’s picture book that actually looks like a comic book. There’s a grid of beautifully sketched black-and-white panels on each page of Jackie and the Shadow Snatcher, and the story is told entirely through dialogue balloons. Larry Di Fiori has worked as an illustrator on some picture books using the Muppets. But in this book, he seems to reach back all the way to the 1920s, telling a long fantasy-adventure story that could’ve been serialized during the golden age of the Sunday newspaper’s comics section. The book is titled “Jackie and the Shadow Snatcher,” and there’s even a bubble on the book’s cover that describes it as “A thrilling adventure and mystery.” There’s criminals wearing the traditional black and white stripes and an eye mask – and an old-fashioned bowler hat. The book opens innocently, with a boy named Jackie in a cap walking past the smokestacks on the edge of town. But if you study the picture carefully, you’ll see something strange happen to his shadow. First it’s in front of Jackie, and then it’s to the side of him – and then it’s just a pair of shadowy legs kicking as they’re dragged into a tree! The magic of the story makes it instantly intriguing, and the simple characters are still funny to watch. It’s as though it’s taken the best elements of a comic book, and then transported them into a children’s picture book. For example, because the book’s illustrations are black and white sketches, the book is ultimately filled with lots more pictures than usual. And with all the accompanying extra dialogue, this book could keep young readers occupied for a longer period of time! But what I liked most about this book was the way it takes its time with the story, as though it really was written during a more leisurely era. There’s a whole page devoted just to the eight panels where Jackie’s pet Bulldog arrives, and then sniffs the ground at his feet with concern. And then there’s another page for just the complete text of Jackie’s reaction. (“What are you trying to tell me? Golly! No shadow! Well… I’ll be doggoned. I don’t cast a shadow! I bet I lost it on the way home from school…”) Ultimately the story finds his way to the spooky mansion of the shadow snatcher – the hide-out for a criminal mastermind and his gang of thieves. The illustrations suddenly get more grand and fanciful, and the final showdown is very satisfying. And my favorite illustrations shows the glorious liberation…of all the stolen shadows. This entry was posted on April 22, 2016, in Funny Books and tagged Crooks, Shadows. Leave a comment

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A Journal of My Son's First Son Add To Wishlist In Some Assembly Required, Anne Lamott enters a new and unexpected chapter of her own life: grandmotherhood.Stunned to learn that her son, Sam, is about to become a father at nineteen, Lamott begins a journal about the first year of her grandson Jax's life.In careful and often hilarious detail, Lamott and Sam-about whom she first wrote so movingly in Operating Instructions-struggle to balance their changing roles with the demands of college and work, as they both forge new relationships with Jax's mother, who has her own ideas about how to raise a child. Lamott writes about the complex feelings that Jax fosters in her, recalling her own experiences with Sam when she was a single mother. Over the course of the year, the rhythms of life, death, family, and friends unfold in surprising and joyful ways.By turns poignant and funny, honest and touching, Some Assembly Required is the true story of how the birth of a baby changes a family-as this book will change everyone who reads it.

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The Genius of the English Nation: Travel Writing and National Identity in Early Modern England by Anna SuranyiHardback • 2008 • $79.00ISBN: 978-1611493344Order Book Travel literature was one of the most popular literary genres of the early modern era. This book examines how emerging concepts of national identity, imperialism, colonialism, and orientalism were worked out and represented for English readers in early travel and ethnographic writings. Using insights from a variety of scholarly fields such as history, anthropology, and literary studies, Dr. Suranyi analyzes recurrent cultural stereotypes used by English travelers to describe continental Europe, Ireland, and the Ottoman Empire. For such writers, the most important criteria for evaluating countries were civility and barbarism. These were represented through depictions of cultural traits such as foodways, cleanliness, the roles of women, or even the ascription of gender to countries. This book will contribute to the growing interest in travel and ethnographic literature and in the intersection of cultures. In addition, this study presents new evidence for the emergence of nationalism in the early modern world. Anna Suranyi is Assistant Professor of History at Northeastern University in Boston.

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Laurence Bergreen’s ‘Marco Polo: From Venice to Xanadu’ (Books I Didn’t Finish) Filed under: Biography,Paperbacks — 1minutebookreviewswordpresscom @ 8:36 pm Tags: Explorers, History, Italy, Marco Polo, Middle Ages, Venice The latest in an occasional series of posts on books I didn’t finish and why I didn’t finish them Title: Marco Polo: From Venice to Xanadu. By Laurence Bergreen. Vintage, 432 pp., $16.95, paperback. What it is: A biography the 13th-century Venetian explorer who became the world’s first adventure traveler. Marco Polo was named one of the Top 10 Biographies of the year by the American Library Association’s Booklist magazine. How much I read: About 75 pages (the first and last chapters and parts of others). Why I stopped reading: Marco had too much competition from holiday parties. I liked the book a lot and would probably have finished it if I’d started it in June. Best line in what I read: “In disgrace, Andrea Dandolo lashed himself to his flagship’s mast and beat his head against it until he died of a fractured skull, thus depriving the Genoese of the satisfaction of executing him.” Dandolo led a Venetian fleet of 96 ships defeated by the Genoese in the Battle of Curzola. Marco Polo has many lines as memorable as this one. Worst line in what I read: “ … although he was done with his book, it was not done with him.” Bergreen means “finished.” Comments: A strange thing happened as I was thinking about the best books I’d read in 2008: I realized that none was a new biography when, in a typical year, I read several or more. So I picked up Marco Polo, an acclaimed 2007 biography that recently came out in paperback. A blurb from Simon Winchester calls Bergreen “America’s liveliest biographer,” and to judge by what I read, he’s at least one of the liveliest. Bergreen has a flair for storytelling that includes an ability to evoke people and places in a few lines. He can also sum up broad historical forces lucidly. Here’s the first paragraph of his brief explanation of the cause of the Crusades: “The Crusades began with a simple goal: to permit Christians to continue to make pilgrimages to the Holy Sepulcher, the tomb in Jerusalem in which the body of the crucified Jesus was believed to be laid to rest. Christians had been visiting this holiest of Christian shrines at least since the eighth century AD. Matters changed dramatically in 1009 when Hakim, the Fatimid caliph – that is, the Muslim ruler – of Cairo, called for the Holy Sepulcher’s destruction. Afterward, unlucky Christians and Jews who found themselves in Jerusalem were likely to be persecuted, and the city’s Christian quarter was surrounded by a forbidding wall that controlled access. Within five years, thousands of churches had been burned or ransacked.” Try to rewrite that paragraph and say as much in fewer words, and you’ll see how good Bergreen is. Would that all of our history professors had been so concise! Recommendation? Marco Polo is much longer than Longitude but may appeal to its fans. Like Dava Sobel’s bestseller, Bergreen’s book tells well-written story that involves the history of exploration. Read an excerpt and more at www.laurencebergreen.com. About the author: Bergreen also wrote Over the Edge of the World: Magellan’s Terrifying Circumnavigation of the Globe, As Thousands Cheer: The Life of Irving Berlin, and other books.

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My view of life is, 'If you're going to miss Heaven, why miss it by two inches? Miss it! Sam Kinison Quotes Heaven, With any other celebrity, people come up and say, 'Hey, I really like your work.' But with my fans, when they see me, they don't even say hello. They just go, 'AWWWWWGHGHHHGHGHRRR!' You don't know what a rough crowd is. If all I have to do is go make people laugh, that's nothing. Let me tell you what a tough crowd is. A tough crowd is going to a morning service and you got six people there and you gotta pat your house payment. That's a tough crowd. Every generation has someone who steps outside the norm and offers a voice for the unspeakable attitudes of that time. I represent everything that's supposed to be wrong, everything that's forbidden. Voice, Rage only works if it is justified. That's the trick with rage. You gotta have a reason to be mad. Mad, When has stand-up comedy been kind to anyone? It goes after anyone who's the target. Comedy attacks, man. Jesus is still up in Heaven, thumbing through his Bible, going 'Where did I say build a water slide?' What am I responsible for? Who am I responsible to? Everybody? How come when Archie Bunker nailed everybody, it was funny - but when I do it, it's not? Who Am I, I guess my main influences are Jesus, rock 'n' roll and ex-wives. In that order. I started saying things in church that didn't meet with a lot of approval - like 'Jesus isn't coming back.' They started throwing Bibles. Saying, Stand-up comedy is an art form and it dies unless you expand it. I guess they're tough jokes. But there's lots of things you either laugh or cry at. And you just can't cry. Tough, I don't worry about terrorism. I was married for two years. Worry, I'm attracted to heartbreakers. If I get married again, I want a guy there with a drum to do rimshots during the vows. Drum, Real comedy doesn't just make people laugh and think, but makes them laugh and change. I got divorced, which was not a good thing for a revivalist minister. It did not go down well. I'd already been banned from a couple churches for my jokes. So one day I woke up and decided it was time to start living for myself. In the 1990s, it's OK to do comedy about the Chernobyl disaster or the Space Shuttle blowing up. It's acceptable to ridicule the Pope or the President of the United States, but God forbid you do a joke... about gays. The gay community is the last sacred cow in this society. AIDS is a horrible disease, and the people who catch it deserve compassion. Compassion, Not that I want to put the entire rap music style down - I just don't like it. And I know somewhere there's gotta be another guy like that. There's gotta be a guy just like that - just like me. There's gotta be somebody, somewhere... Maybe, maybe an assassin type. Folks, I've been straight for seventeen days... Not all in a row. Seventeen, It was like going to church, except Ozzy Osbourne was there. Going, Obviously I'm not a role model for impressionable youth. Youth, Everything can be satirized. I don't deny my life-style is occasionally pretty wild. Wild, I'm so tired of men who are afraid to hurt women's feelings.

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Gibbes Museum of Art Announces Short List of Finalists for the 2010 Elizabeth and Mallory Factor Prize CHARLESTON, SC.- The Gibbes Museum of Art announced the Short List of Finalists for the third annual Factor Prize. The Factor Prize, awarded annually with a cash prize of $10,000, acknowledges an artist whose work demonstrates the highest level of artistic achievement in any media while contributing to a new understanding of art in the South. The winner of the 2009 Factor Prize was photographer and digital montage artist Stephen Marc Artists who work in, who are from, or who create work related to Alabama, Arkansas, Florida, Georgia, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee, or Virginia were nominated for the Prize online at www.factorprize.org through February 28, 2010. In early March, seven panelists reviewed the hundreds of applicants and narrowed the list to six artists. The seven panelists for the 2010 Factor Prize were philanthropists Elizabeth and Mallory Factor who established the prize; David Houston, Chief Curator of the Ogden Museum of Southern Art; Leslie King-Hammond, Founding Director of the Center for Race and Culture at the Maryland Institute College of Art; Holly McCullough, Chief Curator of Fine Arts and Exhibitions at the Telfair Museum of Art; Pam Wall , Associate Curator of Exhibitions and Interpretation at the Gibbes Museum of Art; and the 2009 winner Stephen Marc. The six artists (profiled below) selected for the 2010 Factor Prize Short List of Finalists are Aldwyth, Radcliffe Bailey, Willie Birch, William Christenberry, Sally Mann, and Joyce Scott. “This year’s finalists are an exceptional group of artists who represent the wide array of high-quality art being created in the southern region. Through the Factor Prize, the Gibbes continues its legacy of supporting contemporary artists while honoring the talents of artists working in and from the South,” said Angela Mack , Executive Director and Chief Curator of the Gibbes. The winner of the 2010 Factor Prize will be announced on May 3 at a ceremony at the Gibbes Museum of Art in Charleston . Nominations for the 2011 award can be made beginning June 1, 2010 on the factorprize.org website. The Factor Prize website not only serves as a nomination point for artists but it is also a publicly accessible online archive of information about Southern artists that can be used by curators, collectors, academicians, and the public. Aldwyth South Carolina artist Aldwyth has worked in relative seclusion for several decades. She creates intricate collages and assemblages, often monumental in scale, from found objects, appropriated images, text, and other elements. Aldwyth was recently honored with a major one-person traveling exhibition organized by the Halsey Institute of Contemporary Art at the College of Charleston. Radcliffe Bailey A native of Bridgeton, New Jersey, Bailey lives in Atlanta, Georgia, where he received his BFA from the Atlanta College of Art in 1991. Greatly inspired by jazz music, he is best known for his mixed media works and site-specific installations that explore his personal background and the history of African Americans. Bailey’s work is included in the collections of many prestigious organizations including the Art Institute of Chicago, the Corcoran Gallery of Art, the High Museum of Art, and the Metropolitan Museum of Art. Willie Birch Birch is a painter, sculptor, and draftsman whose work draws upon African American culture and traditions in his native New Orleans . He earned his BA from Southern University in New Orleans and later received an MFA from the Maryland Institute College of Art in Baltimore . Birch’s work is included in the collections of numerous institutions including the Metropolitan Museum of Art, the Ogden Museum of Southern Art, and the Pennsylvania Academy of the Fine Arts. William Christenberry For over forty years, Christenberry has used his drawing, painting, sculpture, and photography as a means to document his home state of Alabama . A resident of Washington , DC , he has taught at the Corcoran College of Art and Design since 1968 and has been included in numerous one-person and group exhibitions and the collections of art museums across the country. Most recently, Christenberry was honored with a major one-person exhibition at the Smithsonian American Art Museum in Washington , DC . Born and raised in Lexington , Virginia , Mann is best known for her intimate photographs of her family and her unique portrayal of the southern landscape. Using a hundred year old camera, she creates photographs from eight by ten inch wet-collodion glass plate negatives. Mann has exhibited her work throughout the world and is included in many prestigious collections including the Metropolitan Museum of Art; The Museum of Modern Art, New York ; and the Whitney Museum of American Art. Joyce Scott Scott, who resides in Baltimore , creates sculpture and installation pieces using a variety of techniques including weaving, quilting, beadwork, and glasswork. Her work addresses issues of gender, race, and class struggles particularly in the South. Scott earned her BFA from the Maryland Institute College of Art in Baltimore and an MFA in crafts from the Institute Allende in Mexico . The Gibbes Museum of Art | 2010 Factor Prize | Aldwyth | Radcliffe Bailey | Willie Birch | Cy Twombly: Third Contemporary Artist Invited to Install a Permanent Work at the Louvre Museum of Modern Art Adds @ Symbol to Design Collection Cornell University Study Super-Sizes the "Last Supper" Christie's Presents Selections from the Baio Collection of Photographs this Spring Jean Nouvel Commissioned to Design 10th Serpentine Gallery Pavilion Sotheby's Sets Record for Classical Chinese Painting Sold in the US Renaissance Rivals Brought Together for Rare Art Exhibition in Gothenburg Abu Dhabi Launches Tender Competition for Louvre Museum Awe-Inspiring Staffordshire Hoard Saved for the Nation Signed Copy of Wind in the Willows Triumphs at Bonhams First Museum Display Dedicated to Philip de Laszlo in Over 70 Years Exhibition Dedicated to the Works of Women Artists Opens at The Chrysler Solo Exhibition of New Paintings by Valerie Jaudon at Von Lintel Gallery Americas Society Showing Work by Argentine Artist Marta Minujín St. Louis Historical Museum to Host Vatican Collection New Multichannel Video Installation by Alfredo Jaar on View at University of Connecticut The Frick Collection Announces 75th Anniversary Celebrations Nevada Museum of Art Garners National Funding Awards National Endowment for the Arts Presents Live Webcast of its 169th National Council on the Arts Meeting Gibbes Museum of Art Announces Short List of Finalists for the 2010 Elizabeth and Mallory Factor Prize Most Popular Last Seven Days Pablo Picasso and other Modern Masters Announced at the Gibbes Exhibition to Feature Etchings and Lithographs Created During James McNeill Whistler's Travels Through Europe

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<2011 October> Foreign Intrigue Each photo has a life story. Who took it, why was it taken, and if it's in this column, who is it. This picture from Maureen Ballantine's collection has an additional issue—how did it get so damaged?The scan she sent me was so faded that I enhanced it using Adobe Photoshop Elements. The portrait of this unidentified woman has experienced the passage of time: The cardboard mount is broken and the right edge is missing part of the picture. The area around her face is rippled—that bit of damage suggests that at one point this part of the image was wet and the photographic paper became separated from the cardboard. This image is in fragile condition. According to Ballantine, the portrait wasn't taken in the United States; this mystery woman posed for her picture on the Caribbean island of St. Lucia. Over the years, the tropical heat and humidity took its toll on this lovely image. Maureen's cousin thinks that it is her great-great-grandmother Anne Philibert, and that the picture was taken between 1870 and 1880. I don't have Anne's life dates, but the photo evidence suggests a date earlier than the 1870s. The woman wears her hair pulled back in soft curls. Her dress features full sleeves and a hoop skirt. The dress suggests a date in the early 1860s. While there are slight stylistic differences in clothing worn in different countries, this woman's attire also suggests that she's aware of the current fashion. Dresses in the 1870s have more-elaborate trim, long bodices and different sleeves from this one. In the background of the larger image, you see the standard tasseled drapery used in studios in the 1860s. It's time for Maureen and her cousin to double-check their genealogy to see if Anne is still a possibility for a woman living in the 1860s. A damaged photo requires special care. An acid- and lignin-free folder would protect it from further abrasion. Scanning it at 600 dpi as a TIF file provides a backup copy. Maureen might want to consider having a professional photographic conservator provide an estimate to stabilize the image. She can find one through the American Institute for Conservation of Artistic and Historic Works. This image will continue to deteriorate. There is more preservation advice in my book, Preserving Family Photographs and details on hairstyles in Fashionable Folks: Hairstyles. Solve your family photo mysteries with these books by Maureen A. Taylor: 1860s photos | unusual photos Monday, 03 October 2011 16:53:26 (GMT Daylight Time, UTC+01:00) Comments [0] What is Crowdsourcing? Crowdsourcing has been in the news lately relating to photo identification. According to Wikipedia, the term refers to the outsourcing of tasks to a community. The Library of Congress (LOC) is using the historical, photographic and genealogical community to help identify their photo mysteries. In its Flickr collection is a set called "Mystery Photos Solved." On Dec. 24, 2009, the LOC posted this set and asked for help identifying the images. Within days, they had the answers. Each identification was confirmed through the use of other images and maps. It's a fantastic use of the web-based community. Here's one of them. It's a staircase in a Paris Opera House taken between 1890-1900. You'll notice that the image is color and looks like a photograph. In actuality, it's an "ink-based photolithograph." You can view the entire LOC collection of these lovely images on Flickr. You'll be able to travel without leaving your computer screen. <smile>The LOC is also using crowdsourcing to try to identify the faces in their Civil War collection. This technique is being used to predict weather, identify new planets and save old languages. The techie community is calling this trend outdated, but I love the way folks work together to solve these picture riddles. Solve your family photo mysteries with these books by Maureen A. Taylor: Monday, 26 September 2011 21:14:17 (GMT Daylight Time, UTC+01:00) Comments [0] Oral History and Family Photos Behind every family photo is a story. It might be a simple tale of how your ancestor visited a photo studio or a complex story interwoven with local, national and family history. Bonnie Farver, Farver family historian for Pennsylvania, sent me this great portrait. The Farvers have an oral tradition associated with this woman that claims she's Sohanna or Christina Springer Brice, a Lakota Sioux related to Sitting Bull. Have you noticed her blue eyes?According to Farver, most of this woman's descendants have blue eyes and blonde hair. Farver's been researching Sitting Bull hoping to find a connection to this woman. She learned that Sitting Bull had twin children. It's an interesting fact: There are 24 sets of twins in the Farver family beginning in 1880 to the present. This image is a copy of a one-inch-square tintype. It appeared on a reunion notice. Family folklore states that in this picture, she wears a neckpiece of white ermine fur and that the metal pin is actually a Henry rifle shell. Sorting out the truth from the legend is key in every family story. For instance, this neck ruffle doesn't appear to be made from ermine. Perhaps the ermine hangs from the ribbon wrapped around her neck. However, her pin is an unusual shape and might be a refashioned shotgun shell. The Henry rifle was first made in the 1850s. Farver wanted to know if the dress was recycled from a Civil War uniform. While it's difficult to see the fabric in this photo, the style of the collar, the bodice and the big buttons date from the late 1870s. So who is this woman? That's the big question in the family. Could she be the wife of John Conrad Farver (possibly a German immigrant), born in 1755 and died 1823-24? If she's around 80 years of age and this photo was taken circa 1879, then this woman was born circa 1799. She could have been the young bride of a much older man—that was not an unusual occurrence. Proof of her identity is still lacking, but having a time frame for the picture may help narrow the possibilities. If you recognize her, comment below and I'll let Bonnie Farver know. She'd love to have a definite name to go with this face. Solve your family photo mysteries with these books by Maureen A. Taylor: Friendship, Love and Truth in the Family Album Pam Rolland is working her way through family albums in the possession of her aunt. She reports that she's been able to date and identify many of the pictures in them, but still has a few mysteries. This is one of them. It was in an album with members of the Roberts family. That particular branch of the family moved from North Carolina to Virginia then to Missouri, Arkansas and finally to Oregon. Look closely at the man's accessory. The clasp holding it on is three interconnecting rings. That is a symbol of the Independent Order of Odd Fellows, a group I've written about in previous columns. You can see these rings in Fraternal Membership Clues and in Fraternal Insignia. They stand for Friendship, Love and Truth. The Odd Fellows are a fraternal organization that believes in charitable pursuits. You can read more about the history of the group and their mission on Wikipedia. Photos of men in fraternal symbolism can be difficult to decipher. There is no comprehensive guide to these symbols. Unless the accessories are easy to identify, tracking down what your ancestor is wearing requires extensive research into their lives. Obituaries often reveal membership in these "secret" groups. In the 19th century, a majority of men belonged to a fraternal organization. They were professional networks and offered support for members in need. City directories are a great resource when trying to determine which groups had chapters in the area in which your ancestor lived. There is usually a list of local organizations in directories. Many of these nineteenth century groups still exist so a quick Google search can provide you with contact information. Complicating Rolland's search for this man's identity is the number of places the family lived. In order to narrow down the possibilities she'll have to identify where this man might have lived in the 1880s (based on his attire and the card stock) and who in the family tree might be the right age to be him. Solve your family photo mysteries with these books by Maureen A. Taylor: 1880s photos | beards | organizations | unusual clothing Images of Ancestors at Work Happy Labor Day! It's a day that honors work so why not take a trip into the past to find pictures of your laboring ancestors. Some of my favorite images on the Library of Congress website are the pictures that show individuals in their work clothes posed with tools. Each one is like a time capsule. Here's how to find them. Go to the Library of Congress websiteClick on the link for "Prints and Photographs."Enter in the search box "occupational portraits" or the specific occupation of your ancestor. You can find your ancestor's occupation on census records, professional licenses or in family papers. It may be that your family tells stories about work history. Start looking. I followed these tips and found two daguerreotypes. Those are shiny reflective images first introduced to the United States in 1839. This peddler carried his wares in two boxes balanced over his shoulders. It was taken circa 1850. If you have any barrel making ancestors then you'll love this picture of a cooper with a barrel and his tools in hand, circa 1850. Solve your family photo mysteries with these books by Maureen A. Taylor: Hurricane of 1938: Before and After I grew up on the Rhode Island shore and spent summers on the beach. In Rhode Island (and New England), we measure storms like this weekend's hurricane/tropical storm against the grandaddy of all New England hurricanes: the Hurricane of 1938. In the late 19th and early 20th centuries, the shores of Narragansett Bay were dotted with resorts and beach houses. In this circa-1930s photo of Watch Hill, RI, groups of bathers and sun worshipers cluster under umbrellas in all modes of beach attire. It was a typical summer scene until Sept. 21, 1938. Watch Hill was famous for its beaches, which stretched seven miles to the west to a lovely place known as Napatree Point. The 1938 hurricane changed the Rhode Island shoreline and washed away many of those summertime places. On Napatree Point, 39 cottages, their owners' cars and the road all disappeared and 15 people died, swept out to sea or into Watch Hill Harbor. Today, Napatree Point is a nature conservation area. Here's a view of part of the Watch Hill shoreline after the storm. You can see other scenes of the 1938 damage to Rhode Island on the Rhode Island State Archives Virtual Archives. You can use the search box on the home screen to search for hurricane or place names. If you want to read about that storm, I suggest, R.A. Scotti's Sudden Sea: The Great Hurricane of 1938 (Back Bay Books, 2004).The Rhode Island State Archives has one of my favorite picture collections, so don't stop with hurricane pictures. There is a lot more to look at in their virtual exhibits. Solve your family photo mysteries with these books by Maureen A. Taylor: 1930s photos | candid photos | men | women Monday, 29 August 2011 15:22:32 (GMT Daylight Time, UTC+01:00) Comments [0] Godfrey Update It's week three of the project to identify all the faces in Gwen Prichard's family composite. In the first installment, I introduced this lovely composite and then last week I showed an original image from which one of the tiny portraits was taken. This week, Gwen wrote to me with a new piece of information. Her niece did a quick search of the city directories on Fold3 (formerly Footnote.com) and found a photographer named Peter Godfrey living in Louisville, Ky., in 1866. She thinks it's her ancestor. This suggests that Godfrey created the composite after 1866 when he was living in Fulton, Mo. We're still trying to sort through photos for facial comparisons and then trying to compare the life dates of those individuals with their possible ages in the composite.I agree with Gwen that Godfrey probably photographed family members residing in Louisville before he moved, and then the Missouri Godfreys later on. There is also the possibility that family members sent him photographs of themselves for inclusion in the composite.This photo has a lot of angles worth exploring! According to Gwen's emails, it appears she's identified around a dozen individuals. That's great news. Photo mysteries like this take a long time to decipher. She's doing all the right things—comparing faces to photos in her collection and reaching out to relatives. She's taking it one face at time. Photo challenges come in all sizes from single unnamed images to large group portraits. In Gwen's case, she's got a lot of genealogical information to help her follow the pictorial trail. Solve your family photo mysteries with these books by Maureen A. Taylor: 1860s photos | Photo fun | unusual photos Tackling the Godfrey Family Photo Last week's column focused on Gwen Prichard's family photo mystery. This small composite image is a genealogical lock. All Gwen has to do is find the key. In this case, the key is her family photo collection. Gwen spent last week comparing each face in this picture to possible matches in her collection. She's well on her way to solving this picture puzzle. Here's one of her comparisons. In the second row from the top, on the far left, is a little boy in curls. Gwen has the original photo in her collection. He's dressed in what appears to be a riding outfit for boys, with a whip in his hand. As Gwen looks at each face, she's trying to match the date of the composite (mid to late 1860s) with what she knows about the folks in her family pictures: Who's the right age to be in the picture?Do their facial features match—eyes, noses, mouths and shape of face?I'm not convinced all the images in this composite were taken at the same time. While she's working on her family collection, I'm studying each tiny picture for clues. I'll be back next week with another update on this fascinating photo. Solve your family photo mysteries with these books by Maureen A. Taylor: Godfrey Family Picture Puzzle Gwen Prichard and her cousin Libby Claypool have quite the family photo mystery. The image is a composite of what appears to be several generations worth of Godfreys. Several years ago I saw something similar, but that woman didn't have a clue about the identity of the people in the collage. In Gwen's case, there are some identifications written on the back. She has no idea who wrote the caption, but that detail could be the key to figuring out the identity of the folks depicted. According to the caption, the first three women in the top row (left to right) are Fannie Godfrey, Sarah Ostick Dalton and "Aunt Godfrey." This photo generates a lot of questions. It's going to take some time to figure this out. PhotographerAccording to Gwen, photographer Peter Godfrey appears in the 1870 and 1880 census, but she's been unable to find him in the 1860 federal census. He was born in 1841. I found a Peter Godfrey living in Ohio in the 1860 census working as a farm laborer. His age is 23. Could this be the photographer?Provenance The history of ownership of an image can offer clues worth following. In this case, Libby Claypool is fairly certain the photo belonged to her great- grandmother, Fannie Williams Sloane, who was Peter Godfrey's niece. Perhaps she wrote the identifications on the back. If so then Gwen might be able to figure out the first name of "Aunt Godfrey." This aunt is an elderly woman and likely the oldest person in this photo. Did Frannie Sloane have an aunt who lived into the 1860s?Date of PhotoThere are a lot of faces in this composite. A quick assessment suggests that most of the images in this collage were taken in the 1860s. This carte de visite card photograph with a double-gold-line border was common in the 1860s. The photographer's name and address is also of a design popular in the Civil War decade. It seems quite possible that Peter Godfrey had a photo studio in the 1860s. Did he take all these photographs of family members or just make copy prints and lay them out to form this multi-generational group portrait? 1860s photos | Civil War | unusual photos A Possible Identity for the Lady Last week I wrote about Jay Kruizenga's photo of a woman with long hair. He read the column and quickly wrote back to say thank you. It appears that the lovely woman with the long locks has a name!He believe that this picture was taken 1883-85 because the cardstock and other details match another photo in his family collection. The other image depicts Jacob Derk Kruizenga's only living son, Derek Jacobs, who was born in 1879. Jay then wondered "who was living with Jacob Derk Kruizenga (1830-1906) and his wife Jennie (1837-1905) in the same time frame?"According to the 1880 federal census, the couple had two daughters living at home—Nettie (born 1861) and Frances (born in 1866). Jay doesn't think Nettie is the woman in this photo because she married and moved away from home around the time of the census. Could this photo be Frances? Perhaps. She was the only living daughter of Jacob and his second wife Gezina Rotmans VanBraak. She didn't marry until 1885, so she would still be single in this photo. Now all Jay has to do is find another photo of Frances for comparison. She was well known in Michigan. Frances was elected President of the Michigan Chapter for the Independent Order of Foresters, a fraternal organization, and gave speeches at conventions. Jay wrote to the Foresters but the person who replied said that all their historical information is boxed and unorganized, thus making it difficult to find anything. I'm hopeful that someone has a photo of Frances in her capacity of president of that organization. Thank you to the person who commented on last week's story. If you've ever wondered why all these young women posed with their long hair down, there is a simple answer: They wanted to look like the famous Barnum and Bailey Circus act, the Seven Sutherland sisters. The sisters concluded their musical performance by letting down their hair for the audience. It was sensational! 1880s photos | hairstyles | photo-research tips

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Sherlock Holmes and Modernism I do love pretending that this blog is topical, sprinting at the avant garde of the cutting edge, and as there's a new series of the new Sherlock Holmes starting tonight, I thought I'd write about the original Sherlock Holmes and how he relates to Modernism. The Modernists were a bunch of different artists and thinkers and the like in the very late 19th and first half of the 20th Century. One of their Big Ideas was that the city was fragmented, which is a much simpler notion than it sounds. The idea was that back at the beginning of the C19th almost everybody had lived simple rural lives in simple rural villages - the sort of place where everybody knows everybody. If you ever do see a stranger walking through town, you're bound to find out who he is by the end of the day because everybody will talk about him. If you hear a scream in the middle of the night, you can wake up the next morning and ask people what happened. If you see a hat lying at the side of the road, you pick it up and find out who it belongs to. But then, over the course of the C19th, almost everybody moved to the city, and the city did their heads in. In the city you would see strangers all the time, nothing but strangers. And you would never find out where they had come from, or where they were going. You would be woken by a scream from the next street, but you would never find out who was screaming or what about. You would see people fighting down the alleyway, and you didn't know them, you didn't know what they were fighting about, you didn't stop to find out who won. You would see a hat lying on the pavement and you would never know to whom it belonged. All you had in the city was fragments. The Modern world was, as T.S. Eliot put it, a heap of broken images. You got a paragraph of a story, but you never learned the beginning or the end. The Modernists decided that this was the Big Change in the way people lived their lives: specifically they thought that the human mind couldn't cope with it. This idea is all over Modernist novels - the unknown strangers at the funeral in Ulysses, or passing Von Aschenbach on the street, or wandering through the Waste Land. Indeed, the Waste Land opens with meaningless fragments from some trip to the Hoffgarten. I shan't go on about this. If you're interested, I heartily recommend Christopher Butler's Early Modernism. The point about all this is Sherlock Holmes. To Sherlock Holmes, there are no fragments. To Sherlock Holmes, there are no strangers. The signature action of Sherlock Holmes is his ability to tell a visitor his whole biography after a mere glance, as he does at the opening of almost every tale. All stories are completed for him. There are no more fragments. This is why we remember Sherlock Holmes much more than we remember any particular crime that he solves. Sherlock Holmes is a vision of how modern man can cope with the modern city. He is an idea and an ideal. Through Sherlock Holmes the Modern Condition of fragments and incomplete stories is vanquished. He is another way of looking at the city. Sherlock Holmes is not a crime-solver, that is incidental. He is an idea. He is the Messiah who can save us all from Modernism. Now whether that's actually possible is beside the point, just as it's beside the point to wonder whether the rural idylls of the early C19th ever really existed like that. The point is the idea. The point is that if Leopold Bloom or Eliot had had Sherlock by their sides there would have been no Ulysses and no Waste Land, just a comprehensible, coherent and complete world. There would have been no Modernism. And for those of you poor souls who have never read the original stories, here is how Sherlock Holmes reacts to a hat left on the pavement. It's from The Adventure of the Blue Carbuncle. "Then, what clue could you have as to his identity?" "Only as much as we can deduce." "From his hat?" "Precisely." "But you are joking. What can you gather from this old battered felt?" "Here is my lens. You know my methods. What can you gather yourself as to the individuality of the man who has worn this article?" I took the tattered object in my hands and turned it over rather ruefully. It was a very ordinary black hat of the usual round shape, hard and much the worse for wear. The lining had been of red silk, but was a good deal discoloured. There was no maker's name; but, as Holmes had remarked, the initials "H. B." were scrawled upon one side. It was pierced in the brim for a hat- securer, but the elastic was missing. For the rest, it was cracked, exceedingly dusty, and spotted in several places, although there seemed to have been some attempt to hide the discoloured patches by smearing them with ink. "I can see nothing," said I, handing it back to my friend. "On the contrary, Watson, you can see everything. You fail, however, to reason from what you see. You are too timid in drawing your inferences." "Then, pray tell me what it is that you can infer from this hat?" He picked it up and gazed at it in the peculiar introspective fashion which was characteristic of him. "It is perhaps less suggestive than it might have been," he remarked, "and yet there are a few inferences which are very distinct, and a few others which represent at least a strong balance of probability. That the man was highly intellectual is of course obvious upon the face of it, and also that he was fairly well-to-do within the last three years, although he has now fallen upon evil days. He had foresight, but has less now than formerly, pointing to a moral retrogression, which, when taken with the decline of his fortunes, seems to indicate some evil influence, probably drink, at work upon him. This may account also for the obvious fact that his wife has ceased to love him." "My dear Holmes!" "He has, however, retained some degree of self-respect," he continued, disregarding my remonstrance. "He is a man who leads a sedentary life, goes out little, is out of training entirely, is middle-aged, has grizzled hair which he has had cut within the last few days, and which he anoints with lime-cream. These are the more patent facts which are to be deduced from his hat. Also, by the way, that it is extremely improbable that he has gas laid on in his house." "You are certainly joking, Holmes." "Not in the least. Is it possible that even now, when I give you these results, you are unable to see how they are attained?" "I have no doubt that I am very stupid, but I must confess that I am unable to follow you. For example, how did you deduce that this man was intellectual?" For answer Holmes clapped the hat upon his head. It came right over the forehead and settled upon the bridge of his nose. "It is a question of cubic capacity," said he; "a man with so large a brain must have something in it." "The decline of his fortunes, then?" "This hat is three years old. These flat brims curled at the edge came in then. It is a hat of the very best quality. Look at the band of ribbed silk and the excellent lining. If this man could afford to buy so expensive a hat three years ago, and has had no hat since, then he has assuredly gone down in the world." "Well, that is clear enough, certainly. But how about the foresight and the moral retrogression?" Sherlock Holmes laughed. "Here is the foresight," said he putting his finger upon the little disc and loop of the hat-securer. "They are never sold upon hats. If this man ordered one, it is a sign of a certain amount of foresight, since he went out of his way to take this precaution against the wind. But since we see that he has broken the elastic and has not troubled to replace it, it is obvious that he has less foresight now than formerly, which is a distinct proof of a weakening nature. On the other hand, he has endeavoured to conceal some of these stains upon the felt by daubing them with ink, which is a sign that he has not entirely lost his self-respect." "Your reasoning is certainly plausible." "The further points, that he is middle-aged, that his hair is grizzled, that it has been recently cut, and that he uses lime-cream, are all to be gathered from a close examination of the lower part of the lining. The lens discloses a large number of hair ends, clean cut by the scissors of the barber. They all appear to be adhesive, and there is a distinct odour of lime-cream. This dust, you will observe, is not the gritty, gray dust of the street but the fluffy brown dust of the house, showing that it has been hung up indoors most of the time, while the marks of moisture upon the inside are proof positive that the wearer perspired very freely, and could therefore, hardly be in the best of training." "But his wife -- you said that she had ceased to love him." "This hat has not been brushed for weeks. When I see you, my dear Watson, with a week's accumulation of dust upon your hat, and when your wife allows you to go out in such a state, I shall fear that you also have been unfortunate enough to lose your wife's affection." "But he might be a bachelor." "Nay, he was bringing home the goose as a peace-offering to his wife. Remember the card upon the bird's leg." "You have an answer to everything. But how on earth do you deduce that the gas is not laid on in his house?" "One tallow stain, or even two, might come by chance; but when I see no less than five, I think that there can be little doubt that the individual must be brought into frequent contact with burning tallow -- walks upstairs at night probably with his hat in one hand and a guttering candle in the other. Anyhow, he never got tallow-stains from a gasjet. Are you satisfied?" Posted by sirjoe7771 January 2014 at 16:33If «Sherlock Holmes is not a crime-solver, that is incidental. He is an idea. He is the Messiah who can save us all from Modernism.», then can we hope the new BBC drama «Sherlock» (i.e. the actor Cumberbatch) can save us all from all Postmodernisms? This evenings I'll wait for the newest Messiah arriving for the elect people only... :-D P.S. Sorry for my poor English that doesn't allow me to pick up from some memories of my youth reads I used to, telling about a parallel between this literature and Robert Musil...ReplyDeleteIain Watson2 January 2014 at 17:47Couldn't help but read that line as Anthony Hopkins' Hannibal Lecter:"Sherlock Holmes is not a criiime-solver, that is inciden-talll."ReplyDeleteDownsman3 January 2014 at 10:22The perspicacity of “Sherlock Holmes" is an enduring memorial to Dr. Joseph Bell, of the Edinburgh Medical School, whose diagnostic skills so impressed his young student Arthur Conan Doyle.ReplyDeleteRepliesalex5 January 2014 at 20:45I had no idea! Deducing sure is very helpful for a doctor. I remember one of my teachers at medical school telling us that with time we would do most diagnosis within the first 5 seconds the patient enter the door. DeleteReplyJames A3 January 2014 at 20:24I've posted at http://recentreflection.blogspot.co.uk/2014/01/on-sherlock-and-post-modernism.html --a little too long for a comment here. ReplyDeleteRepliessirjoe7773 January 2014 at 22:23Dear Mr James,I found really interesting what you said. I would like to add some observations or questions, if you want...1) The latest Sherlock is going viral here in Italy too, so my daughter and I saw two times the first episode of the third series. I told her about the Forsyth's sentence and she said: «Acutally, when Sherlock was tortured at the beginning it looks like... Christ!»2) I remember that when I was young (now I'm 58) I often read Musil, Wittgenstein, Walter Benjamin, Rilke... And I would say that among that plenty of fragments, to read about Sherlock and his pseudo-scientific certainties was a bit comfortable!3) You are right telling «I had thought I would argue for Sherlock being a post-modern take oh hoary old stories-but she persuaded me that he hadn't changed. The word had.» So, how before this awareness you... save yourself every day that happens?My best wishes.SergioDeleteReplyTammela5 January 2014 at 18:00You make an interesting point in how Sherlock Holmes ties up fragments. What, then, do you make of the BBC series' fragmentation (in film techniques and such)?ReplyDeleteConnie Law16 January 2014 at 00:26I'm studying Modernism at college and LOVE Sherlock but I had never considered it in this way - it's very interesting, and probably very true. Although in certain cases the human mind has trouble adapting to the fragmentation - I know people now who have trouble dealing with the pace of life and the strangers that consume our lives - equally there are people who are meant for this kind of lifestyle. Holmes definitely draws together the fragments; or perhaps that's not the right expression, as he does not see them as fragments to be drawn together. They are a whole that he must, and of course will, uncover. And that is why he evades fragmentation. I'm sure, then, that he definitely could've done a whole lot for Eliot. Although I do enjoy The Waste Land, so I'm pretty glad that he didn't. teaandcakesandices.blogspot.co.ukReplyDeleteKerridwen25 January 2014 at 22:53Absolutely love Sherlock Holmes, and very much enjoyed this post. Since we are also talking about T.S. Eliot - I very much enjoy his 'Prufrock' poem, which is also rather about modern man and his struggles, though it does lend itself to other interpretations.. As for Sherlock's hat deductions - at least one thing the new Sherlock would disagree with is the size of head = intellect idea. There's a great bit in BBC Sherlock with some hat deductions. ~The Tiger's SterneReplyDeleteAdd commentLoad more...

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Coins and Canada - Prince Edward Island, one cent, 1871 - Articles on canadian coins Provincial coins Coins sets Numismatic tokens You are: Home » Canadian coins » Articles » Prince Edward Island, one cent, 1871 Prince Edward Island, one cent, 1871 By Library and Archives Canada | Monday, 29 March 2004 Prince Edward Island was the last of the British North American colonies to adopt a decimal system of currency. 'Going decimal' in 1871, the island chose a dollar equal in value to the United States one-dollar gold piece, in line with the decimal currency system introduced earlier in the Provinces of Canada and New Brunswick and adopted by the Dominion of Canada in 1867. The only decimal coin struck for P.E.I. prior to its entry in Confederation in 1873 was a one-cent piece in 1871. This attractive coin was designed and engraved by Leonard C. Wyon, who for some forty years was the principal engraver for the Royal Mint in London The obverse of the coin depicts a diademed head of the queen, a design that was already being used for the Jamaica halfpenny. The reverse was adapted from thc official seal for the island. The central design shows a large oak tree (representing the United Kingdom) sheltering three smaller ones (the three countries of the island) with the Latin phrase PARVA SUB INGENTI ('The small beneath the great') below. Because of heavy pressure of work on other coinage, the Royal Mint was forced to contract with the Heaton Mint in Birmingham (a private firm) to produce the Prince Edward Island cents. The specimen illustrated is part of the Bank of Canada's Currency Collection. Prince Edward Island: Bronze Half Cent, 1861 This article represents a portion of the the article titled Currency Museum of the Bank of Canada Source : Library and Archives Canada

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Ascend / Page 34 Loki lifted up a heavy branch and moved it off of the path to the palace. It had been cobblestone, but many of the stones were missing, tossed about the lawn. Tove and I approached the palace, trying to look both dignified and remorseful. The remorse part wasn’t that hard. Seeing that much damage was devastating. Before we got to the palace, the door was thrown open. A girl not much older me than came out, her dark hair pulled up in a tangled mess, and smudges of dirt and ash covered her face and clothes. She was small, even shorter than I was, and she looked as though she might cry. “Are you the Princess?” she asked. “Yes, I’m the Princess from Förening,” I said, then gestured to Tove. “This is the Prince. We are here to help you.” “Oh, thank god.” She burst into tears and actually ran toward me and hugged me. “I didn’t think anybody would come.” “We’re here now.” I patted her head because I wasn’t sure what else to do and exchanged a look with Tove. “We’ll do everything we can for you.” “Sorry.” She pulled herself away from me and wiped at her eyes. “I didn’t mean to do that. I’ve… There is much that needs to be done.” She shook her head. “My father would be angry at me for behaving this way. I’m sorry.” “There’s no need to apologize,” I said. “You’ve been through so much.” “No, I’m in charge now,” she said. “So I should act like it.” “Kenna Tomas?” I asked, hoping I remembered her name correctly. “Yes,” she smiled at that. “I’m Kenna, and with my parents dead, I’m now the Marksinna of Oslinna.” “Do you have any survivors here?” I asked. “Any people who need medical treatment? We brought a healer.” “Oh, yes!” Kenna nodded. “Come with me.” As we followed her into the palace, Kenna explained what had happened. While they were sleeping, the hobgoblins had come in and started tearing the town apart. As far as she could tell, that was actually their main goal. People got hurt because the hobgoblins happened to be destroying homes with people in them, or throwing trees that would land on bystanders. It was like a tornado hitting a town in the middle of the night, without any sirens to give warning. They had very few trackers here when the attack started, but they hadn’t lasted long. Kenna saw a tracker go up against a hobgoblin, and the hobgoblin snapped him in half. The hobgoblins retreated pretty quickly after the Markis and Marksinna started defending themselves. In the Oslinna palace, a small ballroom had been turned into a makeshift care unit. Some of the more injured Trylle had left to go to nearby hospitals, but most of them would rather die than be treated by humans. It was horrifying to see. Cots were set up all over for survivors, and most of them were bloody and battered. Mänsklig children with broken arms and dirty faces were crying as their host parents held them. Aurora immediately went to work without any prompting from me, which was nice. Willa and I went around talking to the people and giving them water, helping them if we could. Kenna took Tove, Duncan, Loki, and Matt outside to show them where the most work needed to be done, and I wanted to go out with them. I would be much more useful lifting heavy objects than Matt or Duncan, because I could move them with my mind. But I felt like I needed to be inside with the people, at least for a little while. Most of them I couldn’t help, other than handing out bottled water, but I think some of them just wanted to talk, to know that somebody cared. Their stories were heart-breaking. Wives had lost their husbands, children had lost their parents, and most trackers had lost everything. I wanted to cry, but I couldn’t. It felt wrong and selfish. I needed to be calm and assure them that we would fix this, that I would make everything better. I stayed long enough to talk to every person in the room, but then I had to move on. I could be of more help to them outside than I could in here. Willa went with me for the same reasons, leaving Aurora alone to heal them as much as she could. As we were leaving, Willa was tearing up. She had a small, dirty teddy bear clutched in her hands, and she wiped at her eyes. “That was pretty rough in there,” I said, holding back my own tears. “This little tracker boy gave me this.” She held up the bear. “His whole family died. His parents, his sister, even his dog. And he gave me this because I sang him a song.” She shook her head. “I didn’t want to take it. But he said it was his sister’s, and she’d want another girl to have it.” I put my arm around her, giving her a half-hug as we walked down the hall toward the palace door. “We have to do more for these people,” Willa said. “That little boy isn’t hurt, but if he was, Aurora wouldn’t heal him. She wouldn’t want to waste her energy on him.” “I know,” I sighed. “It’s insane.” “That’s got to change.” Willa stopped and pointed back to the ballroom. “Every one of those people in there has been through hell, and they all deserve help just as equally.” “I know, and I’m trying to make it better,” I said. “When I’m going to all those meetings, this is what I’m trying do and why I want you to help me with them. I will change this, and I will make it better. But I need help.” “Good.” She sniffled and played with the teddy bear. “I will start going to the meetings. I want to be a part of what it is you’re doing.” “Thank you,” I said, feeling some small bit of relief in that. “But right now, the best way to help these people is to get this place cleaned up so they can go back to their homes.” Willa nodded and walked with me again. Outside, I could see some improvement. Half of a roof had been on the lawn of the palace, but it was gone now, as well as the uprooted oak by the cars. I could hear the boys a few houses down arguing about what to do with the debris. Matt suggested they make a pile in the road for now, and they could worry about moving it later. Loki started to argue against it, but Tove told him to just do it. They didn’t have time to waste arguing. Willa and I joined them, and we all went to work. Loki, Tove, and I did most of the lifting, while Matt, Duncan, and Willa tried to clean things and straighten up the houses. Just moving the garbage out of the way wouldn’t solve their problems, but it was the first step in being able to go back and fix it up.

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Big Buildings and City Skylines by Kevin G Saunders > Cleveland's Terminal Tower shot from the Key Tower by Kevin G Saunders Kevin G Saunders Explore score Rollei X-Act2 View Camera Kevin G Saunders's Portfolio, Big Buildings and City Skylines by Kevin G Saunders Terminal Tower, cleveland, Public Square, Key Tower, Jennie Jones, Kevin G Saunders, Kevin G Saunders Photography, architecture, Architectural Photogrphaphy Cleveland's Terminal Tower is one of Cleveland's most famous iconic structures. Here is a description from wikipedia en.wikipedia.org/wiki/Terminal_Tower : The Terminal Tower is a landmark skyscraper located on Public Square in downtown Cleveland, Ohio. It was built during the skyscraper boom of the 1920s and 1930s, and was the fourth-tallest building in the world when it was officially dedicated on June 28, 1930. Only three buildings in New York City were taller than its 708 feet (216 m), 52-floor frame. This building complex was last shot from this angle in the early 1990's by legendary architectural photographer Jennie Jones. The image was taken atop the Key Tower, across Public Square. My sincerest thanks go out to Jennie for her assistance in gaining access to get this nearly impossible shot. This image is offered for sale as a large print: 100 x 150 inches, which can be mounted on a properly prepared wall. Please contact us at kevin@kevingsaunders.com for more information. Frank Moreno (November 21, 2013, 01:11AM Amazing and beautiful detail.

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Magical Realism: A Brief Definition (in the form of a rebuttal) Over at Suite 101 they have an article about Magical Realism. While the author lists some excellent examples of the subgenre, I do think she gets one thing quite wrong:An angel walks into your local grocery story with shiny wings and a glowing halo. Everyone accepts this as a natural occurrence and doesn't bat an eye.My problem with this statement isn't that it's simplistic--the author admits that as a fault. The problem is that it's wrong on a fundamental level.I would argue that Magical Realism is actually an exceptional disconnection of the fantastic from focus. Yes, it is about the acceptance of the fantastic as natural, but it goes beyond that. Magical Realism makes exceptional, both in its form (writing) and its content (characters, etc.), the naturalization and de-mystification of the fantastic; this means that, while Fantasy presents the fantastic in a way that is both exceptional in its presentation (i.e. we see it vividly and in a form that clearly demarcates the elements that make it fantastic) and its content (stories "of" the fantastic), Magical Realism does the exact opposite, taking something that we know doesn't exist (or at least only exists in a particularly limited supernatural scope) and putting it into the backdrop of an otherwise "real" story. You don't actually "see" the fantastic elements in Magical Realism unless you're intentionally looking for it. They become so utterly embedded into the world, so de-emphasized so as to be less than a passing fancy. You don't see the fantastic in Magical Realism well enough to say that it is a coherent structure of the fiction being portrayed.So, when an author uses an example like an angel walking into a grocery store, that has far more to do with urban fantasy than it does with magical realism. Why? Because the angel is not de-emphasized; the example clearly allocates considerable textual play to the nature of that angel's existence, placing such a being outside of the exceptionally naturalized. Magical Realism goes that one step further by making the fantastic natural for us (the readers) too.Does anyone disagree with me? Let me know what you think about Magical Realism. I'm curious to hear opinions on this. Harry Markov5:13 AMI wondered what this Magical Realism is in more detailed and explained in depth way, so that I can understand it. I knew that it had to do with de-mystification, but I haven't read it, yet. Your explanation helped me understand it and yes, the example you high lighted is more UF than anything. If the example was that the man was as ordinary as any other, but later on his background revealed he was an angel, but accepted as nth shocking, then it would be magic realism. Right?ReplyDeleteS.M.D.11:40 AMHarry: Well, this isn't a full explanation of Magical Realism. It's very brief and leaves out a lot of things I simply don't know about the subgenre.As for your question: I'd really have to read that story. A provisional "possibly" is in order. The problem with magical realism is that you can't describe a book and then say "this is Magical Realism," because you're almost always talking about something as if it's fantasy in highlighting what makes it Magical Realist. That's the problem with MR. The novels de-emphasize the fantastic, but we constantly draw attention to it as being exceptional.ReplyDeleteHarry Markov3:46 PMSMD: Even as brief as it is, it was helpful to clear whatever questions I had about the definition. And yeah, I guess that it would be a bit hard to label it, because it is subjective and to a different person it can mean different genres. But I meant that being an angel is treated the same way someone tells that he is a vegetarian or republican. Normal.ReplyDeleteS.M.D.4:32 PMHarry: Even that wouldn't necessarily mean it was Magical Realism. Fantasy, for example, treats things like vampires and magic as normal...all the time. Normalcy is too weak a determination. De-emphasized is more important (features that are fantastic, but are treated so limited in the text, that unless you're looking for the fantastic, you won't really notice it, or you shrug it off as nothing).ReplyDeleteAdd commentLoad more...

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Clement Greenberg Between the Lines: Including a Debate with Clement Greenberg by Thierry de DuveThierry de Duve Clement Greenberg (1909–1994), champion of abstract expressionism and modernism—of Pollock, Miró, and Matisse—has been esteemed by many as the greatest art critic of the second half of the twentieth century, and possibly the greatest art critic of all time. This volume, a lively reassessment of Greenberg’s writings, features three Clement Greenberg Between the Lines: Including a Debate with Clement Greenberg available in Clement Greenberg (1909–1994), champion of abstract expressionism and modernism—of Pollock, Miró, and Matisse—has been esteemed by many as the greatest art critic of the second half of the twentieth century, and possibly the greatest art critic of all time. This volume, a lively reassessment of Greenberg’s writings, features three approaches to the man and his work: Greenberg as critic, doctrinaire, and theorist. The book also features a transcription of a public debate with Greenberg that de Duve organized at the University of Ottawa in 1988. Clement Greenberg Between the Lines will be an indispensable resource for students, scholars, and enthusiasts of modern art. “In this compelling study, Thierry de Duve reads Greenberg against the grain of the famous critic’s critics—and sometimes against the grain of the critic himself. By reinterpreting Greenberg’s interpretations of Pollock, Duchamp, and other canonical figures, de Duve establishes new theoretical coordinates by which to understand the uneasy complexities and importance of Greenberg’s practice.” John O’Brian, editor of Clement Greenberg: The Collected Essays and Criticisms “De Duve is an expert on theoretical aesthetics and thus well suited to reassess the formalist tenets of the late American art critic's theory on art and culture. . . . De Duve's close readings of Greenberg . . . contain much of interest, and the author clearly enjoys matching wits with ‘the world's best known art critic.’” Library Journal Abstract Expressionism & Art of the 1950s Art of the 1980s and 1990s General & Miscellaneous American Art CLEMENT GREENBERG BETWEEN THE LINES INCLUDING A DEBATE WITH CLEMENT GREENBERG By THIERRY DE DUVE THE UNIVERSITY OF CHICAGO PRESS Copyright © 2010 University of Chicago Press All right reserved. ISBN: 978-0-226-17516-4 Chapter One The Paths of Criticism First, the question: is artistic emotion textually transmissible? Can an art critic cause his readers to love the work of which he speaks, and if so, by what means? By his argumentation, his rhetoric, his writing? Second, the question of the question: which critic are we talking about, and which work, which transmission? Third, an attempt at a first-person response concerning one specific case: did Greenberg make me love Pollock? Fourth, the problem of generalization, and its legitimacy. Fifth, the whole thing is opened up again for discussion. I have a particular affection for Clement Greenberg the art critic, even if I am far from sharing all his judgments, even if I may have learned more from Greenberg the historian, who very early on formed quasi-dogmatic convictions about the role of the avant-garde and the raison d'être of modernism, and even if my debates have primarily been with Greenberg the theorist, who stepped out onto the terrain of aesthetics in the sixties under the pressure of the art stemming from Duchamp, whom he detested. All this means that even when I stick to Greenberg the art critic, my feelings are mixed. I also have a particular and long-standing affection for Jackson Pollock, the painter and the artist. However, being a child of my times, I must admit that what I now call my affection for Pollock—which twenty years ago I would have called my interest in Pollock—has gone through successive phases in which I am occasionally unsure whether I recognize the same artist. As an adolescent, my first contacts with the painting of Pollock, by way of Skira press, led me to view him—in the doxa of the epoch—as an American Mathieu. I already didn't like Mathieu, but I liked Soulages and I adored Hartung. And how could I have understood that it was Mathieu who sought to pass himself off as a European Pollock? In short, I learned that there was art in America, that tachisme translated as "Action Painting" in American, and that Pollock was a name with a future. He seemed difficult. Kline and Rothko looked better in reproduction, that's sure. The important thing, in any case, was the moves of "Jack the Dripper," more so than the results. That's what I hung on to. Later on, as a young professor overflowing with more or less well-digested theory, with "critiques of the dominant ideology," and "the deconstruction of representation," I was impudent enough to credit Pollock with dealing the definitive blow to the old Renaissance window. I had my Hans Namuth photos to prove it. The canvas lay on the ground, and the artist was up on his feet, dancing around in an altered state (alcoholism or floating attention?). His body had abjured the authority of the gaze, his hand had forgone the mastery of the tool, his trade had been given over to the force of gravity, like his whole being to the winds of chance. The word "chance" contained an entire epistemology: Boltzmann and Heisenberg, not yet Prigogine but already Shannon, and also tuchè, automaton. A bit further and I'd have reproached Pollock for his Jungian analyst, when a Lacanian would have done so much better. And for a crowning touch, the all-over treatment was a symbol of democracy and egalitarianism, whereas Mathieu centered his compositions and took himself for Connétable de Bourbon. The moves had become infinitely more complex, but they were still more important than the canvases. Poor me. I don't disavow all that, there's still some truth in it, but nonetheless... It was then, and all at once, in a well-wrapped package, thanks to the good graces of Yve-Alain Bois and the journal Macula, that Greenberg's texts on Jackson Pollock fell out of the sky in a French translation. Only ten years later did they become easily available in the original, without long hunts through the library. Meanwhile, I had seen some Pollocks. And then I saw them again, and some I saw again and again. And I read and listened to other critics, for example T.J. Clark in Vancouver, who made me realize, suddenly, without saying anything of the sort, that Pollock was in the same family as Cézanne, and on the same level. But that was in 1986, and the Macula articles are 1977. And it was then, I say it for truth's sake, without shame and in gratitude, that my interest in Pollock finally molted into affection. Yes, Greenberg made me love Pollock. The question is: how? Did he get me to trade an ideology of "critique of ideology" for another, that of "modernist painting"? I'll dare to hope not. If there is an ideologue in Greenberg it is the early Greenberg, the one I call a dogmatic historian, the one who wrote "Avant-Garde and Kitsch" and "Towards a Newer Laocoon"; not the art critic. (And I am quite careful about distinguishing the three Greenbergs; such are my ethics toward him.) The fact is, I don't love Pollock because he is a modernist, nor Greenberg for that matter; and I don't love Pollock because Greenberg made me love him. I love Pollock because he is the best painter of his generation. Now there's an undisguised judgment, a real Greenbergian one, tautological! An argument of authority with much waving of hands. Could I be under his influence? Yes, but just when I say it, not when I think it. And just when I write it like that, in his rhetoric and without fearing reprisals, which is only courageous on the level of rhetoric, if at all. Where the judgment is concerned, I have nothing left to fear. And the rhetoric only seduces me in flagrante delicto of non-vigilance, and never without a slight feeling of guilt. Ask a certain "smart Jewish girl with a typewriter" about it, she'll tell you why. If you believe me when I say that argumentation by the "logic" of modernism was not what made me give Pollock his place in the pantheon, and if you believe me when I admit that the formulation of Greenberg's judgments—or of my own when I envy and imitate them—in a rhetoric aspiring to the apodictic still raises a slight flush of shame on my brow, then will you also believe me if I say that it was not Greenberg's style which persuaded me to love Jackson Pollock? None of this is clear-cut, because modernism is not foreign to my affection for Pollock; but modernism is simply not a logic, except perhaps an apparent and retrospective one. Nothing is clear-cut, because to say of Pollock, "he's the best," and to think it too, may not be so different from saying of the woman I love, "she's the most beautiful"—and the flush on my forehead isn't just shame. As to Greenberg's style, if it can give me the opportunity to ask whether artistic emotion is textually transmissible, it is only on the condition—a minimum—that I love it too. And therefore that I judge it good. Does Greenberg write well? Yes, he writes well. Does it matter? Yes, it matters. But what does it mean to write well? It's to write "true." And "true," what does that mean? That means ... but take a look for yourself, read a passage: It is possible to accuse the painter Jackson Pollock, too, of bad taste; but it would be wrong, for what is thought to be Pollock's bad taste is in reality simply his willingness to be ugly in terms of contemporary taste. In the course of time this ugliness will become a new standard of beauty. Besides, Pollock submits to a habit of discipline derived from cubism; and even as he goes away from cubism he carries with him the unity of style with which it endowed him when in the beginning he put himself under its influence. Thus Pollock's superiority to his contemporaries in this country lies in his ability to create a genuinely violent and extravagant art without losing stylistic control. His emotion starts out pictorially; it does not have to be castrated and translated in order to be put into a picture. Pollock's third show in as many years (at Art of This Century, till April 20) contains nothing to equal the two large canvases, Totem Lesson I and Totem Lesson II, that he exhibited last year. But it is still sufficient—for all its divagations and weaknesses, especially in the gouaches—to show him as the most original contemporary easel-painter under forty. What may at first sight seem crowded and repetitious reveals on second sight an infinity of dramatic movement and variety. One has to learn Pollock's idiom to realize its flexibility. And it is precisely because I am, in general, still learning from Pollock that I hesitate to attempt a more thorough analysis of his art. This is one of two articles by Greenberg on Pollock that I will quote in full, and I do so not to betray it by cutting it short. It was published in The Nation on April 13, 1946. There is nothing extraordinary in the style, it's just good journalism. It packs a maximum of information into a minimum of space, without tiring the reader, and without forgetting—no doubt it's a law of the genre, but it has great importance—to indicate the location of the exhibition and its closing date, so the reader can verify the critic's words with his own eyes. In passing, the reader who knows nothing of Pollock learns that the painter is under forty, that he was initially influenced by cubism, and that he has had three exhibitions in three years. He also learns that Pollock has bad taste, that he is superior to his contemporaries in this country, and that he is nothing less than "the most original contemporary easel-painter under forty." But does he really learn that? Not really. He learns that such is the opinion Greenberg has formed of Pollock. To write "true," for an art critic, is perhaps above all to interject this quality of frankness, emanating from a style which, while blending factual information and value judgments in the same breath, still stresses the heterogeneousness of the registers with crystalline clarity, using none of those falsely modest provisos such as "in my opinion," "I believe that"—or even worse, pusillanimous pedantries like "in the eyes of the present writer ..." Greenberg writes in such a way that the speaking subject never disappears behind the subject of the sentence, but also in such a way that we feel that this assignation of the subject to different places does not dissolve the writing into subjectivity, by which I mean subjectivism. How do I know that? You can feel it, and there's nothing more to be said, if not this: frankness does not equal sincerity. And this: an operation of feeling, which is also an operation of reflection, causes me to say upon reading this article that the frankness of the style cannot be reduced to the sincerity of the author; is this operation not akin to the operation of feeling and of reflection (filling a small paragraph of explanations which are simultaneously a judgment) which causes Greenberg to say that Pollock's bad taste is not bad taste, or that his ugliness will become a new standard of beauty? He doesn't say exactly that, by the way. He says "what is thought to be Pollock's bad taste is in reality simply his willingness to be ugly in terms of contemporary taste," adding that "in the course of time this ugliness will become a new standard of beauty." How does Greenberg know that Pollock is not ugly but that he is willing to be ugly? He feels it, and there's nothing more to be said, just as I feel that Greenberg writes "true" and that his frankness is not one with his sincerity. Moreover: just as Pollock is willing to be ugly, Greenberg is willing to yield to the truth of what he perceives—I mean, what he feels—in Pollock. One could linger over each word of this text, stressing the pertinence of its reading of Pollock's sources in cubism (at a time when his painting shows more the influence of Masson and Hofmann, with traces of Thomas Hart Benton), recognizing the acuity of the judgments, bowing before the premonitory intuition of variety in "what at first sight may seem crowded and repetitious," and finally thanking the author for the humility of the final paragraph. Shunning all braggartism, an art critic announces to his readers that his function is to learn from artists, and that because this artist has not finished teaching him he can say no more for the moment. Admirable. But I am not here to praise Greenberg, I'm here to find out how he made me love Pollock. So I'll ask once and for all, because I've got it under my skin: who writes like that today? Where can you read art criticism that discusses a contemporary work, and at the very moment of its blossoming (because one must remember that outside a small circle, Pollock was a nobody in 1946), with the terms customarily reserved for the great masters of the past, and yet without sparing specific reproaches: "divagations and weaknesses, especially in the gouaches"? No jargon, no abstruse theorization, no professorial condescendence, no need to excuse oneself for promoting the artist—or for not promoting him. The reader is assumed to take contemporary art as seriously as the critic. Greenberg only addresses himself to real art lovers, but in a style and in a mode of address that excludes no one. It's a long time since I've read anything similar (or wrote anything similar, I admit) in contemporary art criticism. The text I have just quoted is Greenberg's third critique of Pollock. The very first, commenting on the painter's first solo exhibition at Peggy Guggenheim's gallery (in The Nation on November 27, 1943), begins with these words: "There are both surprise and fulfillment in Jackson Pollock's not so abstract abstractions." Next comes a laudatory evocation of Blakelock and Ryder, enlarging on "the muddiness of color that so profoundly characterizes a great deal of American painting." Immediately afterwards, that same miry quality earns Pollock the following comments: The mud abounds in Pollock's larger works, and these, though the least consummated, are his most original and ambitious. Being young and full of energy, he takes orders he can't fill. In the large, audacious Guardians of the Secret he struggles between two slabs of inscribed mud (Pollock almost always inscribes his purer colors); and space tautens but does not burst into a picture; nor is the mud quite transmuted. Both this painting and Male and Female (Pollock's titles are pretentious) zigzags between the intensity of the easel picture and the blandness of the mural. The smaller works are much more conclusive ... It must be admitted, we've lost the habit of such criticism, a criticism peppered with judgments, laced with admonitions to the artist (orders he can't fill, pretentious titles), a criticism that breathes fire and ice in the same sentence—a criticism where one can wonder if the word "mud," weighted with so much malevolence by the nineteenth century (like coal, blacktop, pipe juice), is not after all simply being employed here as an innocent description. But a strange description nonetheless, since Greenberg applies it to pure colors. I recently saw Guardians of the Secret again, and as for those traces of mud, really, there aren't any. But I can understand that an eye which, in 1943, could not of course have familiarized itself with the impastos of Burri, Fautrier, or Dubuffet, could use the word "mud" for such violently colored paint, thick and indeed, inscribed—grafittoed, one might say—onto the canvas. And I can understand the evocation of Blakelock and Ryder, even if the comparison strikes me as distant, above all for Blakelock. Whatever the case, I think it is the last sentence of this excerpt that should catch our attention, where it is said that this painting "zigzags between the intensity of the easel picture and the blandness of the mural." Here, and very early on, Greenberg has seen something—a question or a dilemma—which without exaggeration can be said to structure a large proportion of his later thinking on "modernist painting." We'll come across it again further on. Jackson Pollock's second one-man show at Art of This Century (till April 14) establishes him, in my opinion, as the strongest painter of his generation and perhaps the greatest one to appear since Miró.... In Pollock, there is absolutely [no self-deception], and he is not afraid to look ugly—all profoundly original art looks ugly at first.... Pollock's single fault is not that he crowds his canvases too evenly but that he sometimes juxtaposes colors and values so abruptly that gaping holes are created. (Continues...) Excerpted from CLEMENT GREENBERG BETWEEN THE LINES by THIERRY DE DUVE Copyright © 2010 by University of Chicago Press . Excerpted by permission of THE UNIVERSITY OF CHICAGO PRESS. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site. Show More Thierry de Duve is a Belgian art historian, critic, and curator, as well as Director of Studies at l’Ecole des Beaux-Arts, Paris. His publications in English include Kant After Duchamp and Pictorial Nominalism.

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HOME > ARTISTS > S > JOHN SINGER SARGENT > PAPER PRINTS John Singer Sargent, A Javanese Dancer 1889 Tags: portraits, womens portraits, american art, portraits Share the Art: Gerrit Van HonthorstPortrait of Frederick V Hedianto HsLearning Louis RheadRead the Sun, 1895 Georges SeuratStanding Model James McNeill WhistlerMrs Frances Leyland James McNeill WhistlerSymphony In White Leopold Morse Goulston Baseball CollectionConnie Mack, Manager, Philadelphia American League, 1880 Paul DelarocheNapoleon In Fountainebleau James CampbellOur Village Clockmaker Solving a Problem Pedro JarqueRoyal Couple Peter DribenWink Magazine - On A Scale AmbraVenus In Furs Sargent, John Singer, 1856–1925, American painter, b. Florence, Italy, of American parents, educated in Italy, France, and Germany. In 1874 he went to Paris, where he studied under Carolus-Duran. He remained there for 10 years except for visits to the United States, Spain, and Africa. From his first exhibit in the Salon of 1878 he received early recognition, and by 1884, when he moved to London, he already enjoyed a high reputation as a portrait painter. He spent most of the remainder of his life there, painting the dashing portraits of American and English social celebrities for which he is famous. For a considerable period of time, Sargent was the world's best-known and most highly paid portrait painter. In 1890 he was commissioned by the architect Charles McKim to paint a series of murals, The History of Religion, for the Boston Public Library. He completed them in 1916.An untiring and prolific painter of great facility, Sargent was particularly brilliant in his treatment of textures. In his portraiture he showed great virtuosity in his handling of the brushstrokes, quickly capturing the likeness and vitality of his subject. His portraits nearly always flattered his sitters; he remarked upon this once, saying his was a pimp's profession. During his youth, and again after 1910, he deserted portrait painting long enough to produce a large number of brilliant impressionistic landscapes in watercolor, many of them painted in Venice and the Tyrol. Of these, fine collections are in the Museum of Fine Arts, Boston, and the Brooklyn Museum.His portraits and figure pieces are housed in many private and public collections in England and the United States. Well-known examples are the portrait of Isabella Stewart Gardner and El Jaleo (Gardner Mus., Boston); the portraits of Madame X, the Wyndham sisters, Henry Marquand, and William Merritt Chase (Metropolitan Mus.); The Fountain (Art Inst., Chicago); and Children of E. D. Boit (Mus. of Fine Arts, Boston). During the late 1990s and early 2000s Sargent was subject to wide-ranging critical reappraisal, provoking a renewed appreciation for his work.Used with permission. The Columbia Encyclopedia, Sixth Edition. Copyright © 2001 Columbia University Press

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This Day in HIstory: Sep 02 The Iceman Cometh, by Eugene O’Neill, opens on Broadway The Iceman Cometh, by Eugene O’Neill, opens on Broadway Author http://www.history.com/this-day-in-history/the-iceman-cometh-by-eugene-oneill-opens-on-broadway Hailed by many critics as Eugene O’Neill’s finest work, The Iceman Cometh opens at the Martin Beck Theater on this day in 1956. The play, about desperate tavern bums clinging to illusion as a remedy for despair, was the last O’Neill play to be produced on Broadway before the author’s death in 1953. Like many of his other works, the play drew on O’Neill’s firsthand experiences with all-night dive bars and desperate characters. Although his actor father sent him to top prep schools and to Princeton, O’Neill dropped out of college after a year. He went to sea, searched for gold in South America, haunted the waterfront bars in Buenos Aires, Liverpool, and New York, and married briefly. He drank heavily. In 1912, when O’Neill was nearly 30, he came down with tuberculosis and was sent to a sanitarium in Connecticut. While recovering, he wrote his first play and decided to devote himself to drama. He began churning out gritty, realistic plays about lives on the margins of society. He wrote nine plays from 1913 to 1914, six from 1916 to 1917, and four in 1918. In 1917, a Greenwich Village theater group, the Provincetown Players, performed his one-act play Thirst. The group became closely associated with O’Neill’s future work. In 1920, his first full-length play, Beyond the Horizon, was produced on Broadway. Between 1920 and 1943, O’Neill wrote 20 long plays and several short ones. His work was groundbreaking in its use of slangy, everyday dialogue, its dingy, run-down settings, and his experimental use of light, sound, and casting to set an emotional tone. O’Neill’s family life had been very unhappy. His father became rich playing just one theater role, the Count of Monte Cristo, for many years and never succeeded in becoming a more serious actor. His mother used morphine, and his beloved older brother became an alcoholic. All three died between 1920 and 1923. O’Neill wrote several autobiographical plays about his family after they died, including A Moon for the Misbegotten (produced in 1957) and Long Day’s Journey Into Night (produced in 1956). Other major works include The Hairy Ape (1923) and Mourning Becomes Electra (1931). Although O’Neill was an outgoing host with an active social life during his second marriage, he became reclusive during his third. In the 1940s, he developed a degenerative nervous disease, and he died in Boston in 1953. Many critics call O’Neill America’s first major playwright. Mark Twain: Fast Facts A Tale of Two Books › More on This Topic news 10 Things You May Not Know About F. Scott Fitzgerald 8 Historical Figures with Unusual Work Habits Nellie Bly’s Biggest Scoops 9 Famous Authors With Day Jobs Poet Robert Frost Dies in 1963 10 Things You May Not Know About Agatha Christie 8 Things You May Not Know About “The Wizard of Oz” Ernest Hemingway Commits Suicide When Roald Dahl Spied on the United States 9 Things You May Not Know About Dr. Seuss 1969 First ATM opens for business On this day in 1969, America’s first automatic teller machine (ATM) makes its public debut, dispensing cash to customers at Chemical Bank in Rockville Center, New York. ATMs went on to revolutionize the banking industry, eliminating the need to visit a bank to conduct basic financial transactions. By the 1980s,... 1789 Congress founds U.S. Treasury On this day in 1789, the United States Treasury Department is founded. The institution’s roots can be traced to 1775, when America’s leaders were looking for ways to fund the Revolutionary War. Their solution–issuing cash that doubled as redeemable “bills of credit”–raised enough capital to fuel the revolution. but also led... 1959 Ford introduces the compact, fuel-efficient Falcon On September 2, 1959, at a news conference broadcast to viewers in 21 cities on closed-circuit television, Henry Ford II introduces his company’s newest car–the 90-horsepower, 30 miles-per-gallon Falcon. The Falcon, dubbed “the small car with the big car feel,” was an overnight success. It went on sale that October... 1862 McClellan is restored to full command President Abraham Lincoln reluctantly restores Union General George B. McClellan to full command after General John Pope’s disaster at the Second Battle of Bull Run, Virginia, on August 29 and 30. McClellan, commander of the Army of the Potomac, saw much of his army transferred to Pope’s Army of Virginia... 1987 Trial of Mathias Rust begins The trial of Mathias Rust, the 19-year-old pilot who flew his Cessna plane into Red Square in May 1987, begins in Moscow. Rust had become an international celebrity following his daring intrusion into Soviet airspace and landing in the center of Moscow, but the Soviet government condemned his actions. Rust,... 1998 A UN court hands down the first international conviction for genocide A United Nations court finds Jean-Paul Akayesu, the former mayor of a small town in Rwanda, guilty of nine counts of genocide, marking the first time that the 1948 law banning genocide is enforced. Because mass killings had occurred in several countries since the law went into effect, the UN... 1923 Great Tokyo Fire continues to blaze On this day in 1923, aftershocks and out-of-control fires continue to rock Tokyo, Japan, and the surrounding area following a massive earthquake. In total, 143,000 people died in the disaster, which is known both as the Great Kwanto Earthquake and the Great Tokyo Fire, as the fire caused by the... 31 B.C. The Battle of Actium At the Battle of Actium, off the western coast of Greece, Roman leader Octavian wins a decisive victory against the forces of Roman Mark Antony and Cleopatra, queen of Egypt. Before their forces suffered final defeat, Antony and Cleopatra broke though the enemy lines and fled to Egypt, where they... 1666 Great Fire of London begins In the early morning hours, the Great Fire of London breaks out in the house of King Charles II’s baker on Pudding Lane near London Bridge. It soon spread to Thames Street, where warehouses filled with combustibles and a strong easterly wind transformed the blaze into an inferno. When the... 1945 Japan surrenders Aboard the USS Missouri in Tokyo Bay, Japan formally surrenders to the Allies, bringing an end to World War II. By the summer of 1945, the defeat of Japan was a foregone conclusion. The Japanese navy and air force were destroyed. The Allied naval blockade of Japan and intensive bombing... 1945 Vietnam independence proclaimed Hours after Japan’s surrender in World War II, Vietnamese communist Ho Chi Minh declares the independence of Vietnam from France. The proclamation paraphrased the U.S. Declaration of Independence in declaring, “All men are born equal: the Creator has given us inviolable rights, life, liberty, and happiness!” and was cheered by... 1973 Lord of the Rings creator Tolkien dies On this day in 1973, J.R.R. Tolkien, the author of the best-selling fantasy novels The Hobbit and The Lord of the Rings–the source of the award-winning blockbuster movie trilogy directed, co-produced and co-written by Peter Jackson–dies at the age of 81 in Bournemouth, England. With legions of fans worldwide, The... 1996 Michael Jackson earns his 12th and final solo #1 with “You Are Not Alone” The seventh child of a hard-driving father committed to turning his sons into superstars, a young Michael Jackson was pushed in front of the public at the tender age of five and told never to lose their attention. He succeeded beyond anyone’s expectations, leading the Jackson 5 to stardom by... 1885 Whites massacre Chinese in Wyoming Territory On this day in 1885, 150 white miners in Rock Springs, Wyoming, brutally attack their Chinese coworkers, killing 28, wounding 15 others, and driving several hundred more out of town. The miners working in the Union Pacific coal mine had been struggling to unionize and strike for better working conditions for... 1944 Navy aviator George H.W. Bush and his squadron attacked On this day in 1944, future President George Herbert Walker Bush is serving as a torpedo bomber pilot in the Pacific theater of World War II when his squadron is attacked by Japanese anti-aircraft guns. Bush was forced to bail out of the plane over the ocean. According to... 1991 Connors celebrates birthday with win at U.S. Open On September 2, 1991, tennis star Jimmy Connors celebrates his 39th birthday with a fourth round win over Aaron Krickstein, 24, at the U.S. Open. The match was finally decided in a fifth-set tiebreak after a marathon four hours and 49 minutes of play. Connors was playing with a surgically rebuilt... 2013 Diana Nyad, 64, makes record swim from Cuba to Florida On this day in 2013, 64-year-old Diana Nyad becomes the first person to swim from Cuba to Florida without the use of a shark cage for protection. Nyad completed the 110-mile swim from Havana to Key West, through the jellyfish-and shark-infested waters of the Straits of Florida, in approximately 53... 1969 Ho Chi Minh dies President Ho Chi Minh of the Democratic Republic of Vietnam dies of a heart attack in Hanoi. North Vietnamese officials announced his death the next day. Ho Chi Minh had been the heart and soul of Vietnamese communism since the earliest days of the movement. Born in 1890, he... 1972 47th North Vietnamese MiG shot down Phuc Yen, 10 miles north of Hanoi, and one of the largest air bases in North Vietnam, is smashed by U.S. fighter-bombers. During the attack, a MiG was shot down, bringing the total to 47 enemy aircraft shot down since the beginning of the North Vietnamese offensive. At... 1917 Fatherland Party formally launched in Germany On September 2, 1917, militarist conservatives within Germany formally launch a new political party, the Vaterlandspartei or Fatherland Party, a move that reflects the growing hold of the army over all aspects of German society during the First World War. By 1917, with mutinies flaring within the German navy and hungry... 1945 Allies celebrate V-J Day On this day in 1945, the USS Missouri hosts the formal surrender of the Japanese government to the Allies. Victory over Japan was celebrated back in the States. As Japanese troops finally surrendered to Americans on the Caroline, Mariana, and Palau islands, representatives of their emperor and prime minister were preparing... 31 B.C. The Battle of Actium 1946 The Iceman Cometh, by Eugene O’Neill, opens on Broadway

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Tap Dancing: A Love Story Reprised November 30, 2008 • "Shoot Me While I'm Happy" is an account of falling in love with tap dancing written by Jane Goldberg, who studied and performed alongside some of the greatest tap dancers of the past 50 years. Hugh Jackman: Boy From Oz Is 'Australia' Hero November 26, 2008 • The star of Oklahoma and the X-Men franchise is the rare actor who can headline a musical and a marquee picture. His latest, with Nicole Kidman: Baz Luhrmann's swooning historical epic. Gayle Danley Returns With Thanksgiving Reflections November 26, 2008 • Sam Poet Gayle Danley wowed the Tell Me More audience earlier in the week with spoken word artistry. In a special encore performance, Danley returns with a poem about her family remembrances and Thanksgiving. Will Audiences Give Their Regards To Broadway? November 26, 2008 • Thanksgiving traditionally kicks off Broadway's most lucrative season. Last year, most shows were closed for the holiday because of a strike by stagehands. The theaters are open for business this year. However, with the economic downturn, will people buy tickets? Driveway Moments In Ancient Dramas, Vital Words For Today's Warriors November 25, 2008 • Were the tragedies of Sophocles written for soldiers dealing with post-traumatic stress disorder? The artists behind The Philoctetes Project think so — and they argue that the millennia-old plays can help today's veterans cope. Classical Composer Spreads A 'Green' Message November 25, 2008 • Metropolitan Opera violinist Patmore Lewis hopes classical music and world beats will lend a hand to spread the word about river conservation. The renowned composer has released a new CD, Rillito River Project, to draw attention to the environment through pop and innovation. Lewis talks about his solo project and how he's hoping to make an impact. Renowned Slam Poet Takes Her Message To Youth November 24, 2008 • Slam poet Gayle Danley has won international acclaim as a slam poet, and her newest endeavor is could be her most challenging one yet. Danley is taking the themes within her poems and passing them on to children. Van Peebles Speaks Candidly On Honors, Criticism November 21, 2008 • Filmmaker Melvin Van Peebles' breakout hit Sweet Sweetback's Baadasssss Song rattled the Hollywood status quo when it was released in 1971 with an "X" rating for adult content. Since then, Van Peebles has gone on to write, direct and act in many other projects, which has earned him a tribute in the Gotham Independent Film Awards showcase. He discusses highlights of his career and criticism of his work. After Years, Sondheim's 'Road Show' Pulls Into N.Y. November 18, 2008 • Stephen Sondheim's new musical has been around in various forms for a decade or more. But Broadway's living legend says his fascination with the scandalous story of the Mizner brothers goes back 50-plus years. Iraq's Drama: An Easier Sell On The Stage? November 14, 2008 • Iraq-war movies always seem to flop: Stop Loss, Redacted, Rendition, In the Valley of Elah — all were box-office disappointments. But several plays about Iraq have been hits. Why does Iraq work on stage but not on screen? Juanes Wins 5 Latin Grammys November 14, 2008 • Colombian rocker and social activist Juanes took home five Latin Grammys last night, sweeping in all five categories in which he was nominated. His hit song, Me Enamora, won song of the year, record of the year and best short form music video. Nilaja Sun Plays With 'No Child' Policy November 13, 2008 • Nilaja Sun's play No Child received critical acclaim in the theater world. The show went from a one-woman show to a full cast of actors who portray teachers and children struggling to meet the standards of No Child Left Behind. Lipton Gives A Rare Look 'Inside The Actors Studio' November 13, 2008 • James Lipton, the creator and host of the popular television program "Inside the Actors Studio," is celebrating the show's 200th episode this week on the Bravo cable network. Lipton is known for his casual, reflective talks with celebrities, A-listers from the late Paul Newman to comedian Chris Rock. In commemoration of the anniversary, the television host talks about his show, and his book Inside Inside the Actors Studio. 'Billy Elliot' Makes The Leap To Broadway November 13, 2008 • The big-ticket Broadway musical, based on the surprise-hit British film, has its opening night Thursday. Jeff Lunden explains what's new and what's different — and how the story's focus expanded for the stage. George Carlin Honored With Mark Twain Prize November 11, 2008 • The late comedian George Carlin was honored Monday night with the Mark Twain Prize for American Humor. Carlin is famous for those "Seven Words You Can Never Say on TV." The Mark Twain Prize was the only comedy award Carlin believed was a legitimate comedy prize. More from Performing Arts

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The Warhol turns 20, honors life and times of Pittsburgh's native son A museum honoring the life, times and work of artist and native son celebrates its own milestone Bill Wade/Post-Gazette The Andy Warhol Museum first-floor remodeling in 2013 includes a floor-to-ceiling photo of Andy pulling an acetate of Marilyn Monroe. Bill Wade/Post-GazetteVisitors to The Warhol Museum during 2003 celebrations of the artist's 75th birthday. Robin Rombach/Post-GazetteStephane Houy-Towner, a consulting curator, dresses a mannequin in a Halston silk velvet, fox fur-trimmed cape for the "Halston and Warhol: Silver and Suede" exhibit. Darrell Sapp/Post-GazetteThe Andy Warhol Museum, which opened May 15, 1994, on the North Side. By Marylynne Pitz / Pittsburgh Post-Gazette Somewhere, in a silkscreen studio far away, Andy Warhol's vibrant spirit is laughing gleefully over the large crowds his Pop art attracted on its recent Asian tour and the high prices it commands. Although he died in 1987, fascination with the Pittsburgh native's life, times and work shines as brightly as the disco balls at Studio 54, one of his favorite haunts in New York City. "I think he's laughing and smiling intermittently," said Eric Shiner, director of The Andy Warhol Museum. "Andy was so careful about the way he constructed his artwork, his identity and his persona. He created the brand Andy Warhol." On Wednesday, a piece of that brand, a Warhol silkscreen of the Last Supper, is expected to fetch at least $8.7 million at an auction in Sweden. On Saturday, the North Side museum that interprets his life and work will celebrate its 20th anniversary with a sold-out black-tie gala for 650 people. Collectors, donors and people who worked with the shy superstar will dine, dance and dish, then view the recently rehung collection. The chronological exhibition is designed to show Warhol's richly textured approach to drawing, painting, silkscreening, sculpture and filmmaking. It also includes some of the more than 600 time capsules he created. Warhol 20th anniversary events The Andy Warhol Museum will close at 5 p.m. Friday and remain closed on Saturday in preparation for its 20th Anniversary Gala Saturday night. A free public 20th Anniversary Community Day celebration will be kicked off from midnight Saturday to 2 a.m. Sunday by New York DJs AndrewAndrew. Events continue through 5 p.m. Sunday, including hands-on art making and studio programs exploring Warhol's artistic practices from 11 a.m. to 5 p.m. and an author talk and book signing of "Holy Terror: Andy Warhol Close Up" with Bob Colacello at 3 p.m. Tourism officials and others say the quirky museum, part of Carnegie Museums of Pittsburgh, has increased the city's hipness factor, helped attract conventions and put Pittsburgh on the world's cultural map. More than 1.56 million visitors have included first lady Michelle Obama, the Flying Elvises and the Rolling Stones. Craig Davis, president and CEO of Visit Pittsburgh, counts the Warhol museum and Fallingwater as its biggest attractions when he pitches the city to 250 convention organizers each year. "We invariably take them to The Warhol if they have a need for an off-site reception. It's a very atypical museum," he said. The museum's founding began in summer 1988 with a single phone call, which is fitting because the artist loved chatting on the phone. In 1988, Charles B. Wright III, who ran the New York City-based Dia Art Foundation, called Bill Lafe at the Heinz Endowments, wondering who in Pittsburgh would want the foundation's collection of 120 Warhols plus a loan of an additional 20 artworks. Mr. Lafe called Robert Wilburn, who ran the Carnegie Museums of Pittsburgh from 1984 to 1992. The city's past art losses motivated Mr. Wilburn and museum trustees to act. "I had a meeting in my office of anyone I thought would have any interest in pursuing this. We did not want to lose another major collection. We wanted to make sure it didn't happen again," Mr. Wilburn said. Henry Clay Frick's collection wound up in New York. Paul Mellon donated his artworks to the National Gallery in Washington, D.C. In 1959, steel entrepreneur G. David Thompson offered his collection to the Carnegie Museum of Art if it would build a separate building to house it and put his name on it. The museum ultimately rejected the offer because of Thompson's demands. The collection went to the Swiss art dealer Ernst Beyeler. Exhibiting Warhol's art in a loft-style building similar to the spaces the artist worked in was paramount. "What Charlie Wright and the Dia Art Foundation was most interested in was the setting in which the paintings would be displayed," Mr. Wilburn said. The group considered many buildings in the East End, South Side and North Side. The Volkwein Building was considered the best option, but it was under contract to Allegheny General Hospital. William Penn Snyder III, then president of the hospital's board, talked its directors into letting the Carnegie have the seven-story, terra cotta-clad structure for The Andy Warhol Museum. "Bill Snyder proved to be very valuable in convincing the board that this was for the community's good," Mr. Wilburn said. To show their good faith, Mr. Wilburn joined museum trustees James Mellon Walton, Milton Fine, the late Jim Fisher and Henry Hillman in a meeting with Mr. Wright at the Dia Art Foundation's office in Manhattan. "We convinced them that we were for real and we were serious. Shortly after that, the Warhol Art Foundation became involved," Mr. Wilburn said. The stakes suddenly got higher. "I don't know if this was planned or serendipity. Instead of talking about 100 paintings, we were talking about 1,000 paintings. Negotiations became even more serious," Mr. Wilburn said. A key player in the negotiations was Ed Hayes, a scrappy New York criminal defense lawyer who represented boxer Mike Tyson and became the model for Tommy Killian, the lawyer in Tom Wolfe's classic novel "The Bonfire of the Vanities." "I spent I don't know how many hours with him," Mr. Wilburn said. "He had a very down-to-earth way of speaking. He really turned out at some point to be our champion." Mr. Wilburn also waged an internal campaign within the Carnegie Museums. "When I first introduced this to the board, there was some reluctance to do this. We were in the middle of a capital campaign, and this was going to increase the amount of money we needed to raise. The campaign went from $125 million to $140 million." But he prevailed, and in November 1992 work began to convert a former warehouse and music store into The Andy Warhol Museum. It opened on May 15, 1994. Four directors have led The Andy Warhol Museum and left their stamp on it. Founding director Mark Francis, now at one of the London offices of Gagosian Gallery, brought his Oxford education, British perspective and curating skills. His urbane successor, Tom Armstrong III, used his worldwide art connections to promote it. The third director, Tom Sokolowski, pushed the envelope during his 15-year tenure. He and his staff organized traveling shows that exported Warhol to the world. On his watch, the museum exhibited "Without Sanctuary," a show of black-and-white photographs of lynchings. Pictures of prisoners being degraded by U.S. soldiers at Abu Ghraib, the notorious prison in Iraq, were shown in 2004. "No place in town would do those kinds of shows," Mr. Sokolowski said, adding that when tough subjects arose, arts leaders would say, " 'That's an issue that The Warhol should take up.' " Among the original supporters of the museum was Ann McGuinn, a Warhol board member from Shadyside. She organized the first gala with art adviser Alice Snyder and a band of volunteers. They are back at it 20 years later and planned this Saturday's party. Mrs. McGuinn loves the diverse audience the museum attracts. In 1999, "We did a great show on some of Andy's works," including a Warhol of Marlon Brando on his motorcycle. Members of a local Harley-Davidson club parked their gleaming cycles outside the museum and stayed for cocktails. "The kids were in cute leather black outfits. I had somebody drive a Harley into the museum. It was spectacular. Everybody likes art in some fashion," Mrs. McGuinn said. Mr. Davis loves to tell a particular story when he pitches for convention business. One year, when the Rolling Stones came to town to perform, they stayed at the William Penn Hotel, where Mr. Davis was employed as director of sales and marketing. "I took Mick Jagger up to this room to make sure he didn't get accosted in the lobby," Mr. Davis said. "The next day ... he went to The Warhol and had a private tour." Marylynne Pitz: mpitz@post-gazette.com or 412-263-1648. Bridge painter has show in the City of Bridges Warhol rocks Asia A timeline of The Warhol Warhol re-hangs collection

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Home / Culture / Books / Nonfiction No script ads will arrive soon! Review An Education by Lynn Barber The Sunday Times review by Wendell Steavenson The journalist Lynn Barber is known for her acerbic features and interviews, and this memoir is no less candid, fun and down-to-earth. Written in a breezy ­vernacular - "I didn't fancy", "tremendous fun", "appallingly naff", "heaven forfend!" - An Education reads like a gossip over coffee with a fabulously irreverent mother-in-law. It has been published, one suspects, to cash in on the release later this year of a Nick Hornby-penned film of the same name. That film is based on one of the book's central events - an account Barber first wrote for Granta magazine of her affair as a 16-year-old schoolgirl with a thirtysomething charmer with a Bentley, a self-proclaimed property developer who picked her up at a bus stop, and who, after he had proposed to her, turned out to be already married. Barber's description of the liaison is a chilling glimpse into the guileless limbo between girlhood and adulthood. But

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Collections> Browse Mel Chin Mel Chin, Walker Art Center Collections, 2005 Can art stimulate social change? Mel Chin is among the many artists who would say yes, a response that aligns him with practices ranging from the utopian dream of Russian Constructivism to the avant-garde mysticism of Joseph Beuys to every creator of any sort of propaganda art. But he is wary of success in this enterprise, because his aim is not to support a specific ideology, but to enhance opportunities for discourse and change. “I aspire to make art that would be indistinguishable from direct political action some day,” he says, “then to supersede that as fast as possible.”1Chin’s works of the late 1980s and early 1990s address specific geopolitical, social, and environmental issues and have been called “sculptural witnesses to ecological and political tragedies.”2 Each is weighted with complex iconography that connects contemporary social issues to ideas from alchemy, philosophy, myth, religion, and history; the materials Chin uses come as directly as possible from the cultures he references. Exhaustive research is central to his practice, and learning and remembering are key activities for him. The Opera of Silence (1988) is typical of these works. Exhibited at the Walker Art Center in 1990 and acquired later that year, it is an oversized replica of a Beijing Opera drum made of hog hides stretched over a wooden armature. Chin and an assistant cut and sewed the hides into a pattern resembling the eagle’s-head emblem of the U.S. Central Intelligence Agency (CIA); the backside of the drum is covered with white theatrical makeup, used in the Beijing Opera to signify treachery. The whole massive structure is propped up by a slender device made of bone and wood.Chin’s references to the CIA and China allude to the ongoing occupation of Tibet by the Chinese, in which the CIA is said to have meddled with disastrous effect, although the agency continues to deny any involvement.3 On the drum, the two superpowers are made inseparable, the patterns of one woven into the structure of the other. The device supporting the weighty instrument is composed of two objects used in traditional Tibetan rituals: a death’s-head staff and a trumpet made from a human bone. Chin’s configuration may be a pun on the balance of power in the conflict, but the chief motif is silence: both Tibetan trumpet and Chinese drum have been made mute, symbolic of the suppression of the Tibetan people by China, and the official denials from both Beijing and Washington, D.C. Although these references may not be obvious to the viewer, Chin isn’t concerned that his message will be lost. “My intention is to transcend the materials and propel the imagination; so that you look at the sculpture, and its presence sticks in your mind,” he says. “Someday it will come back to you and the message will become clear, like a poem that you don’t understand at the first reading.”4 Chin has continued this tactic in his recent work, which is more directly activist, collective, and ephemeral. For a 1996 project, In the Name of the Place, Chin and a group of collaborators inserted props into the sets of the prime-time television drama Melrose Place. The props functioned as subliminal messages, often with overtly political content—characters snuggled under sheets adorned with a pattern based on the shape of rolled condoms, or received Chinese take-out that came in containers bearing slogans from the Tiananmen Square protest. In such works, Chin’s strategy is “not to subvert, but to assist with a creative process, thus infecting the host with the possibility of options not open for discourse within their existing, rigid, tripartite structures.”5 More than a maker of objects, he sees himself as a catalyst for change. Quoted in Benito Huerta, ed., Inescapable Histories: Mel Chin, exh. cat. (Kansas City, Missouri: Exhibits USA, 1996), 45. ↩ Thomas McEvilley, ed., Soil and Sky: Mel Chin, exh. cat. (Philadelphia: Fabric Workshop, 1993), 4. ↩ Beginning in 1958, the CIA reportedly provided Tibetan rebels with arms and training in guerrilla tactics, only to withdraw support after 1968 when President Richard Nixon decided to seek rapprochement with China. ↩ Quoted in Peter Boswell, Viewpoints: Mel Chin, exh. bro. (Minneapolis: Walker Art Center, 1990). ↩ Mel Chin, “My Relation to Joseph Beuys Is Overrated,” in Gene Ray, ed., Joseph Beuys: Mapping the Legacy (New York: D.A.P.; Sarasota, Florida: John and Mable Ringling Museum of Art, 2001), 136. ↩ Rothfuss, Joan. “Mel Chin.” In Bits & Pieces Put Together to Present a Semblance of a Whole: Walker Art Center Collections, edited by Joan Rothfuss and Elizabeth Carpenter. Minneapolis, MN: Walker Art Center, 2005. © 2005 Walker Art Center Drawings and Watercolors Revival Field: Projection & Procedure Revival Field artworks — Mel Chin — Collections — Walker Art Center

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Three Possibilities: Incident on Highway 41 Neal and I had been driving all night, trying to make it to L.A. by dawn, crossing the desert wedged in between a convoy of over-the-road truckers, trying to avoid any attention from the law; if they searched our trunk we'd be looking at 10 to 20 in the Federal prison, if they tested our blood we'd be hospitalized, and then sent to jail. Neal had a big bottle of black dex that he was popping like candy, his motor-mouth wouldn't quit, all those BIG IDEAS of his, I'd heard them all before, but when he really got rolling it was like a Bach Fugue- inspired variations on theme. "Get that tin foil out of the glove-box there.." he croaked. When Neal had something wrapped in foil, you knew it was special. "Unwrap it, Batty old boy, careful that you don't spill any..." I opened the little metallic package, it contained about forty shiny brown seeds, all round and convex, like some sort of organic M&Ms. "Divvy 'em up, but chew 'em good... they're from my Shaman in the Amazon- they'll keep you awake for the rest of the way, ha, ha, ha..." When Neal started in with that little nervous laugh of his, I knew that these were more than just some mild stimulant. I was feeling a little fagged so what the hell, I ate my half. They were bitter, it was all I could do to avoid gagging, I washed them down with a hit off the bottle of Tempranillo we'd been sharing as I handed Neal his. He kept driving, and talking, but after about twenty minutes I wondered if someone hadn't taken Neal for a ride with those oily seeds. He was suddenly quiet, the last thing we needed was him nodding off at 70 miles per hour. "Prof... Prof, you feeling anything? I... I... " He stopped talking as his hands began to shake. And then the stars began to fall... "You've been through a lot, you're all beat up. Can you tell me what happened out there?" "Well Doc, I was driving on that road to avoid the traffic on the interstate, it's a little out of the way, but I like those lonesome highways..." "You were found naked, in your car, stopped on the shoulder with the motor running..." "OK, Doc this is all I remember..." I was following a semi, he must have been overweight and taking the back road to avoid the inspection station. His rig would sway on the bad parts of the road, I kept my distance... Suddenly a group of bright lights came out of the sky, my car stopped running, but the truck ahead of me kept going until I was alone on the road. An intense blue light, like the ones in the sky, came closer until my car was surrounded. I don't know exactly what happened then, but I seem to remember floating out of my car, out of my clothes, until I sensed that I was in a large craft of some sort. It was like a hospital examination room, there were bright lights and some sort of pedestals lined up. I was on one of them, I wasn't strapped in, but I couldn't move. A strange being, roughly humanoid in appearance, but with an over-sized head and big opaque black eyes came close to me, he was clutching a strange probe-like wand in his "hand", he waved it over me, and then... then..." "I'm sorry, I just can't go on..." "I see. Can you tell me what happened after this encounter?" "Well... afterwards... we smoked cigarettes..." If there are any Elves left in Iceland, they probably don't hang out on the highway. Still, with the not-yet-risen sun brightening the eastern sky, the Professor felt a tingle, as if there were some ineffable message being directed his way by spirits unknown. He took out his camera, set the shutter for four seconds and took a picture through the Flybus' front window... ... months later, The Professor took that image, ran it through some Photoshop filters, in a search for something, a trace. Something consisting of pure energy, leaving a record of its passing, in an appearance so fleeting that a person's ordinary senses would miss it completely... By Professor Batty You've outdone yourself.--------------I'm picturing hours at work, you fiddling away on photoshop, working until you get it right...nice piece of work. This will teach Munkay not to ask... Kristín said... You are decidedly batty, you know...:D lab munkay said... Thank you Batty. Now I clearly see your seeds in that picture.

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2017-09/0320/en_head.json.gz/22072

Piano's Expansion of Kimbell Museum Takes Shape As museum workers and curators install last-minute touches for "The Age of Impressionism" exhibit opening Sunday, Kimbell Art Museum Director Eric M. Lee has one eye turned to the installation occurring outside. By Chris Vaughn Fort Worth Star-Telegram March 9, 2012 The Renzo Piano-designed expansion of the Kimbell, finally beginning to take shape as a museum with floors and walls, is no less a work of art than the Renoirs and Monets hanging in the galleries of the original Louis Kahn building. Given that the museum is spending $125 million on the expansion, across from what is widely acknowledged as an architectural masterpiece, it will surely have a more-lasting impact than a traveling exhibit, blockbuster or not. "The first time I stood on the new lobby floor, it was absolutely exhilarating," Lee said. "We're so used to looking at plans and viewing everything through the model, we forgot that the new building will have one of the most beautiful views in the country -- of the Kahn building. I cannot wait to see this building continue to rise over the next year and a half." Construction started in October 2010. The new building will be the latest addition to the Cultural District, which has seen more than $300 million in renovations and new buildings in the last 11 years. Not wanting to disrupt the tranquil beauty of the Kahn building, Kimbell leaders chose to expand by building a separate museum to the west, with the front entrances facing each other across a tree-lined lawn. The new building, roughly 90,000 square feet, will allow the Kimbell to display traveling exhibitions and still show its permanent collection in the original building. The new concrete-and-glass flat-roofed building will also have an auditorium, education center, library and underground parking garage. It will use glass panels and fabric scrims to provide roughly half the lighting inside, similar to Kahn's use of natural light in the Kimbell. Piano, an acclaimed Italian architect who has designed buildings in Rome, Paris, Berlin, Tokyo and Houston, worked for Kahn early in his career. He has paid close attention to the progress of the construction, fully aware that he has designed a companion to one of the greatest structures of the 20th century. "Renzo has been extremely respectful of the Kahn building," Lee said. "He has walked that fine line of being deferential and at the same time creating a strong piece of his own architecture." The Beck Group and its subcontractors have largely finished the work on the basement and parking garage and have begun building the galleries' concrete walls. The museum intends to open the building in fall 2013, a bit later than first hoped. But Lee said the concrete selected by Piano looks "silky" and requires an exacting attention to detail. "This is a high-tech building," he said. "This building is far more complicated than it seems, if you just look at the drawings. It is extremely complex in terms of how it is put together and the materials used. It has a deceptive simplicity." Chris Vaughn, 817-390-7547 Twitter: @CVaughnFW (c)2012 the Fort Worth Star-Telegram Visit the Fort Worth Star-Telegram at www.star-telegram.com Image above: Outside the Kimbell Museum, K. Muncie, Flickr Talk About It Name optional Architects Day Roundup 2017 Texas Fellows Legislative Preview Cotton Gin Receives AIA Honor Award Check Your Selfie Before You Wreck Your Selfie Top 5 Reasons YOU (Yes, You) Should Go to Architects Day McAllen: An Architectural Panorama Lake|Flato Settles Into East Austin Office Bullet Train Winners Chosen Holiday Gift Guide: For the Architect Who Has Everything Kimbell Museum Login using your AIA Member, Allied Member, Student Member, Associate Member. Magazine Subscriber, or TxA General User login information. Email Address

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