Fanfiction, a literary genre born from the depths of passionate fandoms, has gained immense popularity over the years, captivating the imaginations of countless writers and readers alike.
From reimagining beloved characters to crafting entirely new narratives set within established universes, fanfiction offers an avenue for fans to express their creativity, connect with like-minded individuals, and indulge in the joy of storytelling.
However, as the influence and reach of fan-created works continue to grow, an age-old question looms large: Does fanfiction violate copyright?
Copyright is a legal framework that grants exclusive rights to creators over their original works.
It is designed to protect the interests of artists, authors, and other content creators.
It enables them to control the use, distribution, and reproduction of their creations, ensuring they receive recognition and financial compensation for their intellectual property.
The advent of the internet and the proliferation of fanfiction communities have led to a collision between fan creativity and copyright laws, raising complex issues regarding intellectual property, fair use, and the boundaries of transformative works.
In this article, we aim to shed light on whether fanfiction can be considered a violation of copyright or if it exists within a gray area of creative expression.
Fanfiction, a vibrant and creative realm where fans craft their own stories based on existing works, finds itself in a captivating dance with the intricate web of copyright law.
The core principle of copyright ownership is the exclusive control of reproduction, distribution, performance, modification, and display of works, including the creation of derivative works.
Fanfiction, by its very nature, can be considered a derivative work as it draws upon copyrighted characters and settings from established creations.
Fanfiction authors passionately create and share their works, often posting them online for fellow enthusiasts to enjoy.
However, the emergence of fanfiction has occasionally sparked controversy and drawn the ire of content owners.
The concept of moral rights further complicates the relationship between fanfiction and copyright.
These rights grant authors the power to protect their works against distortion, mutilation, or any action that might harm the original work or the author’s reputation.
Therefore, if fanfiction portrays the original work in a manner that distorts or mutilates its essence, or tarnishes the author’s reputation, it can potentially infringe upon the moral rights of the creator.
In light of these considerations, fanfiction finds itself traversing a delicate landscape, where the expressive desires of fans intersect with the rights and concerns of copyright owners.
Trademark law plays a crucial role in protecting the rights of intellectual property owners.
It encompasses any word, name, symbol, or device used to distinguish goods or services and indicate their source.
In recent years, a growing trend has emerged where authors of books, novels, and movies seek to register their characters as trademarks, adding an additional layer of protection.
Trademark owners have exclusive rights to use their marks or license them to others to prevent confusion among customers and prevent unauthorised profiting from their intellectual property.
The central issue in cases of trademark infringement is to ascertain if there is any potential confusion among consumers.
Fan fiction, a popular form of creative expression, often involves the use of well-known characters from movies, books, and novels.
However, this can potentially raise concerns related to trademark dilution.
Trademark dilution occurs when a famous mark is used, regardless of the likelihood of confusion, in a manner that diminishes its distinctiveness.
Even though confusion may not be a factor in fan fiction, it can still be subject to liability under trademark dilution laws.
The question of whether fanfiction violates copyright is a complex and multifaceted one, lacking a definitive answer applicable in all cases.
While fanfiction typically utilises copyrighted characters, settings, and narratives from existing works, the legal status of fanfiction varies depending on jurisdiction and specific circumstances.
Fanfiction enthusiasts argue that their works fall under the umbrella of fair use, which allows limited use of copyrighted material for purposes such as commentary, criticism, parody, and transformative works.
They contend that fanfiction serves as a form of homage, creativity, and community engagement, and therefore should be protected as a valid expression of fan culture.
However, copyright holders and critics of fanfiction argue that it infringes upon their exclusive rights by utilising their intellectual property without permission or compensation.
They assert that fanfiction can harm the market value of the original work and potentially violate the moral rights of the author.
Imagine there is a popular book series called “Fantasy Adventures” written by Author X.
The series includes well-known characters, such as the brave hero John and the powerful sorceress Emma, and is set in a unique fantasy world.
Now, a fan of the “Fantasy Adventures” series decides to write their own story set in the same universe, featuring John and Emma as central characters.
They publish this story on an Internet fanfiction website, where other fans can read and enjoy it.
From a legal standpoint, this fan fiction could be seen as an infringement of copyright.
The fan has utilised Author X’s characters and settings without obtaining permission to do so.
They have created a derivative work that includes copyrighted elements from the original series.
However, the fan might argue that their fan fiction falls under the fair use doctrine.
They could claim that their story is transformative, offering a new perspective on the characters or exploring different aspects of the fantasy world.
They might also argue that their work is non-commercial and does not harm the market for Author X’s original books.
The interpretation of fair use can vary, and the legality of this fan fiction could depend on the jurisdiction and the specific circumstances.
Some rights holders may be more permissive and even encourage fan fiction, viewing it as a way to engage with their fans and expand the reach of their work.
In such cases, they might grant unofficial permission for fans to create derivative works.
However, other holders of copyright may take a more restrictive approach and enforce their rights, considering any unauthorised use of their characters and settings as a violation of their intellectual property.
The legality of fan fiction depends on various factors, including the specific content, the jurisdiction, and the stance of the content owner.
Fanfiction, a rich and diverse realm of creative expression, often treads a delicate line between transformative storytelling and a potential breach of copyright.
While many fanfiction authors strive to pay homage to their favorite works, the use of copyrighted elements can raise concerns about legal boundaries.
Some of the common elements in fanfiction that may potentially infringe upon copyright are:
Creating fanfiction stories that prominently feature well-known characters from copyrighted works, without permission, can be seen as infringing on the copyright holder’s exclusive rights.
This includes utilising specific character names, physical descriptions, and personality traits that are closely associated with the original work.
When it comes to fanfiction, it is common for writers to immerse themselves in established fictional worlds by utilising copyrighted settings and locations.
However, it’s important to be aware that excessive replication of these copyrighted settings may encroach upon the rights of the original creator.
Fan authors often aim to expand upon existing worlds or offer new perspectives, but using detailed descriptions of fictional worlds, cities, or specific landmarks associated with the original work raises concerns of potential copyright infringement.
By doing so, fan authors risk infringing upon the rights held by the creator of the original work.
Fanfiction sometimes includes snippets of dialogue or quotes from the original work.
While limited use for the purpose of commentary or parody might be considered fair use, substantial reproduction of copyrighted dialogue without permission could lead to claims of infringement.
Fanfiction occasionally adopts or modifies plotlines from the original work.
This includes reusing major plot points, twists, or events without transformative changes or substantial original additions.
While transformative changes and original additions may protect against infringement claims, substantial similarity to the copyrighted plot can raise concerns about unauthorised use.
Incorporating copyrighted artwork, illustrations, or visuals from the original work in fanfiction, such as cover art or character designs, can potentially infringe upon the copyright holder’s exclusive rights.
Using well-known catchphrases, slogans, or taglines associated with the original work without permission can be seen as infringing on the copyright holder’s exclusive rights.
It is important to note that the legal assessment of potential copyright infringement in fanfiction can vary based on jurisdiction and specific circumstances.
Fair use provisions, transformative elements, and the overall impact on the commercial market for the original work are factors that courts consider when determining the legality of fan-created content.
Fanfiction authors should be mindful of these potential infringement risks and consider seeking legal advice if uncertain about the boundaries of their work.
Engaging in respectful and transformative storytelling while respecting the rights of content creators can help foster a vibrant and legally conscious fanfiction community.
Within the realm of fanfiction, content owners like Hasbro and Star Trek have occasionally embraced fan creations by providing guidelines to avoid legal complications.
However, as we delve deeper into the subject, it becomes evident that authors may encounter challenges when their fanfiction ventures into commercial territory.
This analysis examines significant legal cases and explores strategies to mitigate copyright issues in fanfiction.
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One notable case is Salinger v. Colting, 607 F.3d 68 (2d Cir. 2010), which serves as a cautionary example.
The author in question attempted to sell an unauthorised sequel to J.D. Salinger’s Catcher in the Rye. Despite featuring original text and plot, the inclusion of characters from Salinger’s work led to a ruling against fair use.
This case underscores the legal complications that arise when fanfiction crosses into the realm of commercial exploitation.
While commercial use of fanfiction poses challenges, successful navigation of copyright concerns is possible.
E.L. James, the author of Fifty Shades of Grey, provides a compelling example.
Originally an online fanfiction titled “Master of the Universe” based on Stephanie Meyer’s Twilight saga, the work underwent modifications before commercial publication.
James removed copyrighted elements such as character names and settings from the original Twilight series, enabling the work to proceed without copyright infringement claims.
This legal dispute offers valuable insights into the relationship between fan fiction and commercial publication.
The defendant faced accusations of copyright infringement when attempting to publish a printed version of his online lexicon, which centered around J.K. Rowling’s immensely popular Harry Potter series.
The plaintiffs argued that this profit-driven endeavor, which replicated content from the freely accessible online guide known as The Harry Potter Lexicon, infringed upon their copyright and did not qualify for the fair use defense.
Of particular concern to the plaintiff, J.K. Rowling, was her own plan to write an official Harry Potter encyclopedia.
She contended that the publication of a similar book prior to her own could undermine the financial proceeds intended for charity through the official encyclopedia.
The court ruled in favor of the plaintiffs, affirming that the lexicon in question contained a substantial amount of material from Rowling’s original novels.
This ruling established a clear case of substantial similarity between the lexicon and Rowling’s works.
The implications of this case are evident: fan fiction can only be tolerated when it does not involve commercial exploitation.
Fan fiction authors may face legal repercussions if they choose to publish their works for financial gain.
The ruling emphasises the importance of understanding copyright laws and recognising the economic rights of original content creators.
Fan fiction writers should be aware of the legal restrictions on commercialisation to avoid any copyright violations.
This case emphasises the importance of having a comprehensive understanding of the legal implications of fan fiction writing, particularly when considering commercial publication.
When it comes to fan fiction, there is a possibility of exemption from copyright infringement if it can demonstrate fair use under copyright law.
The fair use analysis involves considering four factors:
By satisfying these four factors, fan fiction can potentially be considered a fair use of copyrighted material.
However, it is important for fan fiction creators to exercise caution and ensure they stay within the boundaries of fair use, respecting the rights of the original creators.
Understanding the legal nuances surrounding fair use can help fan fiction authors navigate the copyright landscape responsibly and enjoy the creative expression that fanwork offers.
The popularity of fanfiction can be attributed to various factors, including the varying attitudes of authors towards this form of creative expression.
While some authors, like Meg Cabot, actively encourage and embrace fanfiction, others, such as George R.R. Martin and Anne Rice, do not endorse it.
Supportive Authors: Certain authors recognise the value of fanfiction in fostering fan engagement and creativity.
They may openly permit fans to write and share fanfiction based on their works, understanding the positive impact it can have on the fandom community.
Creative Outlet: Fanfiction provides fans with an outlet to express their love for a particular story or characters.
It allows them to explore alternative narratives, delve into character development, and delve deeper into the fictional world created by the original author.
Online Communities: The internet has facilitated the growth of fanfiction communities, enabling fans to connect, share their works, and receive feedback.
Online Internet fanfiction sites like FanFiction.net, Archive of Our Own (AO3) and Wattpad offer fanfiction authors a platform to publish their works and attract a large global audience, all free of charge.
Grey Area of Copyright: The legal status of fan fiction is complex and falls within a grey area of copyright law.
While fanfiction technically infringes on intellectual property rights by using copyrighted elements, its transformative nature and non-commercial aspects may offer some protection under fair use provisions.
Fan Engagement and Fandom Culture: Fan work plays a crucial role in fostering fan engagement and building vibrant fandom communities.
It allows fans to actively participate in their favorite fictional worlds, deepening their emotional connection to the original work, and contributing to the overall popular culture.
It is important for fanfiction writers to be aware of the varying perspectives of authors and respect their wishes regarding the use of their intellectual property.
While some authors are open to fanfiction, others may hold different views or have specific restrictions.
Writers should always consider seeking proper permissions or exploring alternative avenues to protect their work and maintain a respectful relationship with the original authors.
Fan fiction provides a valuable platform for aspiring creators to delve into the realms of their imagination and contribute to existing fictional universes.
While many authors have embraced and approved of fan fiction, there are some who hold reservations about this practice.
However, it is important to note that fan fiction holds a special place in the hearts of numerous enthusiasts.
For instance, J.K. Rowling, the renowned author of the Harry Potter series has expressed her appreciation for fan fiction, stating, “I find it very flattering that people love the characters that much.”
Her supportive stance highlights the positive impact that fan fiction can have on fostering a passionate and engaged community of fans.
On the other hand, authors like Anne McCaffrey and Anne Rice discourage fans from writing about their books and have even requested fan fiction sites to remove stories based on their works.
While there may be differing perspectives among authors regarding fan fiction, it is evident that it serves as a creative outlet and a form of homage to beloved characters and worlds.
One significant concern, even among authors who approve of fan fiction, is the issue of commercialisation.
Ensuring that fan fiction remains a non-commercial activity is of utmost importance to these authors.
By maintaining a non-commercial stance, fan fiction creators demonstrate respect for the original work and the intellectual property of the author.
It allows them to engage in a creative and transformative practice without infringing on the economic rights of the original creator.
Understanding the legal implications of fanfiction is crucial for both authors and fan communities.
While some content owners have embraced fan works, the line between non-commercial and commercial use can be legally significant.
The Salinger v. Colting case serves as a reminder of the limitations of fair use, particularly when incorporating copyrighted characters.
On the other hand, the case of E.L. James demonstrates the possibility of mitigating copyright issues by retroactively removing copyrighted elements.
By gaining a clear understanding of copyright protection laws and making informed decisions, fanfiction authors can navigate the legal landscape more effectively, ensuring both creative expression and legal compliance.
The stance on fanfiction varies among authors. Some authors, like George R.R. Martin, and Anne Rice do not approve of fanfiction based on their works and discourage its creation.
Others may have specific guidelines or restrictions regarding fanfiction. It’s important to respect the author’s wishes and copyright protections when engaging in fanfiction.
Legally speaking, fanfiction technically requires permission from the original creator or rights holder of the work.
Fan work involves using copyrighted elements, such as characters or settings, from an existing work.
However, in practice, many fanfiction writers create and share their works without obtaining explicit permission.
Publishing fanfiction as a book can be legally problematic. Fanfiction often incorporates copyrighted elements, which can infringe on the original creator’s rights.
Publishing fanfiction commercially without proper authorisation from the copyright holder may lead to copyright infringement issues.
It’s generally advisable to seek permission or explore alternative avenues for publishing original works.
Fan fiction can violate copyright if the creator does not seek permission from the original copyright holder.
Additionally, commercialising fan works, such as selling or profiting from them, can further increase the likelihood of copyright infringement.
It is important for fan fiction authors to respect the rights of the original creators and obtain proper permissions or create transformative works that fall within the boundaries of fair use to avoid potential legal issues.
To avoid copyright issues of Internet fanfiction, focus on transformative elements, create original storylines and characters, engage in non-commercial use, include disclaimers, respect the author’s wishes, and seek permission if possible.
Understanding and respecting copyright law is crucial when writing fanfiction.
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View other formats and editions
- ISBN: 9781442387638 (sound recording)
- Physical Description: 1 online resource (11 audio files) : digital
- Edition: Unabridged.
- Publisher: New York : Simon & Schuster Audio, 2015.
|Participant or Performer Note:||
Narrator: Jacques Roy.
From the bestselling and award-winning author of Whistling Past the Graveyard comes an adventure tale about two daredevils and a farm boy who embark on the journey of a lifetime across America's heartland in the Roaring Twenties.Set in the rapidly changing world of 1920s America, this is a story of three people from very different backgrounds: Henry "Schuler" Jefferson, son of German immigrants from Midwestern farm country; Cora Rose Haviland, a young woman of privilege whose family has lost their fortune; and Charles "Gil" Gilchrist, an emotionally damaged WWI veteran pilot. Set adrift by life-altering circumstances, they find themselves bound together by need and torn apart by blind obsessions and conflicting goals. Each one holds a secret that, if exposed, would destroy their friendship. But their journey of adventure and self-discovery has a price-and one of them won't be able to survive it. As they crisscross the heartland, exploring the rapidly...
|System Details Note:||
Requires OverDrive Listen (file size: N/A KB) or OverDrive app (file size: 351083 KB).
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If people knew the truth of the Garden, they would find it far less mythic than the fantastic tales whispered about it – doe-eyed virgins, endless pleasure and ever-flowing wine.
Do not misunderstand me, however. It is a very pleasant place. On a warm sultry night, it is easy to lose oneself in its charms.
There it was again. Altair rolled over and listened. Over the sounds of the cicadas, there came the plaintive music of a harp. He listened a moment longer, then could not resist getting up and going out onto the balcony to see if he could spot the musician.
It was coming from the Garden, but down in the lower terrace as near as he could tell. He closed his eyes. The music was the most melancholy sound he'd ever heard, yet it was transcendent in its beauty. Amazing.
He stood there listening, unable to tear himself away. When it finally stopped, there was a pause in the cicada's song as if they too mourned the loss of it. He smiled and returned to his bed.
The same pattern happened again the next night and the night after. He'd asked around and no one knew who it was that was playing. He began to look forward to the nightly recital.
On the fifth night, he stood as always on the balcony peering down toward the lower Garden, hoping to spy the musician. Finally his curiosity got the better of him and he went to get a closer look.
He padded quietly down the stairs and through the gates of the Garden. The attendant by the door smiled at him. "Would you care for some wine?" she asked.
He accepted the offered cup. "Thank you. Tell me, who is that playing harp?" he asked.
"That? That is Serena. She is new to the Garden. She plays beautifully, but it is such a sad song."
He had the answer to his question, now he wanted to see her with his own eyes. He nodded and headed toward the lower terraces.
At the far edge of the Garden, he spotted the figure of the woman playing, her back to him and the rest of the world. He stopped and quietly sat down on the step. Up close, the music was even more beautiful.
He tried not to stare as he listened, lest she sense his presence and stop playing. What he saw when he did steal a glance was a tall woman with a thick braid of dark hair that hung to the middle of her hourglass shaped back.
"Your name fits you," he said when she'd finished.
She looked back over her shoulder toward him. "I didn't know anyone was there."
"Forgive me, I hope I did not startle you. Must you stop?"
"For tonight, yes," she replied. She stood and turned to face him.
He opened his mouth to speak, but her beauty stole the words. A few awkward seconds passed before he found his tongue. "Then I will trouble you no further. I thank you, and bid you good night, Siren," he said, standing and turning to leave.
"My name is Serena," she corrected him.
He smiled. "I know."
"Ah, I see. And you are?"
"Good night, Altair."
Thus began a new ritual. Every night, he made his way to the Garden, cup of wine in hand, and sat on the step to hear her play. She never turned or acknowledged him until she was finished and he never interrupted her. Every night he would leave her with the same words: "I thank you, and bid you good night, Siren."
It was a small miracle to him, this music. As he sat there he would often close his eyes and let it transport his spirit. He felt at peace with all of the beauty and sorrow in his heart and in the world when he listened to it. Somehow even the thoughts and bittersweet memories of she who held his heart were less painful.
He was sitting with his head bowed one evening when she broke the ritual.
"What do you think about while you listen?"
He looked up, surprised. "Most of the time I think of nothing. I let the music take my mind where it will. It is almost like meditating, in a way."
"And where does it take you?" she pressed.
"Sometimes into memories, both pleasant and otherwise. Sometimes..." he struggled for the appropriate words to describe the feeling. "Sometimes it just takes me."
"What do you think about while you play?" he asked.
"Nothing. It is not thought that drives my fingers."
"What is it then?"
She sighed. "Emotion. Love, loss, longing."
He took a sip of wine as he pondered her words. "Until I heard you play, I would have thought it impossible to so beautifully portray such paradox."
"I thank you for your kind words. It isn't often that my audience has such an intimate understanding of it," she said, rising to her feet.
The moonlight cast a silvery aura around her, making her seem as ethereal as the notes she coaxed from her harp. As she approached and glided up the stairs, he thought it would not surprise him if she suddenly ascended into the clouds, claimed by jealous Gods. He leaned back after her as she passed. "Will you indulge me a little more, Siren?" he asked, unwilling to depart just yet.
She continued on, leaving him wondering until she retrieved a carafe of wine and returned. She smiled down at him and reached out for his hand, which he gladly gave to her.
He sat down in front of her as she refilled her cup and took up her harp. "Close your eyes, listen, then tell me what you feel," she bid him as she began to play.
He nodded and did as she asked, though he was unable to resist peeking now and then. He'd never been this close to her, and the way her fingers moved over the strings fascinated him. The tune they drew from the harp was soft and melodic at first, then it slowly built to a crescendo that filled him with incredibly sad longing, before resolving itself to flowing sweetness. The final note caught him by surprise. He'd anticipated more to follow, but it ended - almost like a question left hanging in the air. It sent chills up his spine. He opened his eyes to find her regarding him curiously, obviously waiting for him to speak.
"Words seem vulgar and crude after such beauty." He refilled his cup of wine and sipped it. The truth was that he was unsure if she would understand how it affected him.
"Still, I would hear them," she said.
He smiled, running his finger around the rim of his cup as he summoned his courage. Taking a deep breath, he answered. "It was like every question that my heart has ever asked that remains unanswered - every love, every fear and every goodbye."
She laid her harp aside. "You have the soul of a poet, Altair," she said with a soft smile.
He reached out and took her hand, turning it over and caressing it with his thumb. Her fingertips were calloused, no doubt from her playing. He didn't know whether he'd go as far as calling himself a poet, but this woman and her sad and beautiful music had moved him. Whether she knew it or not, it was a gift to him. In gratitude, he placed a gentle kiss upon her palm, allowing his lips to linger a moment as he imagined other kisses in other places. He was unable to keep the smile from his face as he finally answered her. "I have the sweetest inspiration," he replied, standing up. He nodded to her. "I thank you, and bid you good night, Siren."
"Altair?" she said, quickly reaching out for his hand again. "Will you indulge me a little more? I find your company comforting."
He reached down and touched her cheek. "While you do bring comfort to my mind and soul, I must confess that at the moment it is something altogether different that you inspire in me."
"Then stay with me a while." The look in her eyes told him that she shared his desire.
"I am intoxicated; with the wine, with the night, with your music and with you. But I would not take advantage of you, or deceive you with promises of tomorrows. There is another, who though far from me in time and distance, holds my heart."
"Nor would I deceive you. It may surprise you to hear a Companion say such things, but someone holds my heart as well. With that understanding, perhaps we can take comfort in each other. The night is beautiful, and your presence here, with me, makes it more so."
He knelt down and looked into her eyes. "Be sure before you unleash this storm, Siren."
She smiled and pressed her finger to his lips. "Speak to me, but not with words, Poet," she whispered.
He moved forward, laying her down with a kiss that, not unlike the song she'd last gifted him with, began softly, but quickly deepened as the urgency of their need took hold. She filled his senses to overflowing; she smelled of myrrh, felt like silk and tasted of cinnamon and wine. Her hands played upon him as masterfully as they played the harp. All was beauty, sensation and bliss.
The progress of the moon was the only evidence of the night passing. Everything else fell away as they lost themselves in each other's arms.
After their own beautiful crescendo, he lay beside her catching his breath. "You have slain me, Siren," he said with a satisfied smile.
"Isn't that what the myths say? That the Sirens lure men to their death with irresistible songs?"
"Yes, but despite popular belief, it was not earthly pleasures their songs promised, but spiritual truths."
"Truly?" she asked as she finished dressing and lay back down beside him.
He nodded. They fell into an easy silence, hands intertwined. He began to feel drowsy and turned over onto his side, gathering her close to him.
"You should retire to your bed, Altair," she said when she realized he was falling asleep. "Think of the gossip should we be found in the light of morning."
"I don't care," he said stubbornly, though he knew she was right. He buried his face in her neck and inhaled the scent of her. "Come with me."
"I cannot. You know it is forbidden. Besides, that would break the spell," she teased.
"Ah, I see. I knew this must be some sort of sorcery," he said with a laugh, forcing himself to release her. He stood and retrieved his pants from where they'd been discarded and pulled them on. "I am loathe to end this night, Siren," he said, taking her hand and kissing it.
She smiled sweetly at him. "I thank you, and bid you good night, Poet."
He stared into her eyes a moment longer. "You have been like ambrosia to my spirit. Good night, Serena," he said softly, then departed their enchanted corner of the Garden.
As he lay smiling in his own bed some minutes later, close to a heavenly sleep, from out in the Garden came the sound of her playing.
A/N - I wrote this from a challenge, the prompt being "The Garden of Paradise." Serena pops up again in the last chapters of "Wisdom, Sorrow", so I thought I'd post this for reference if anyone is curious about her. Thanks for reading!


A Princess' Diary
Hayley Evans, a daughter of a less than middle-class family discovers that she is betrothed to the Prince of Norway,Alaric and is to marry him as soon as she turns eighteen! She protests against it at first but considering the situation of her parents,she agrees to it and finally gets married to him,just to fulfill her parents' wish.
Meanwhile, Alaric had initially wanted to get married to his first love, Dianne(who coincidentally attends the same school as Hayley) but couldn't as he had to marry his bethrothed, Hayley.
Hayley and Alaric's relationship starts out really platonic right until Lancelot,Alaric's brother seems to show interest in Hayley and jealousy starts to seep into Hayley's mind whenever Alaric is with Dianne.
Will they eventually find their better half in a journey through marriage, jealousy and love? Find out in 'A Princess' Diary'.


10 Hispanic Women Who Made History is a short collection of biographies about Hispanic women and the impact they made in the world. Some of the women featured in this book are iconic figures such as ballet dancer Alicia Alonso; others are less known heroines such as indigenous leader Dolores Cacuango, founder of the first bilingual school in Ecuador. Beautiful illustrations accompany the text to bring these women to life and inspire the young generation of readers to be leaders tomorrow.
In the thin light of the moon, the woman’s limp body hangs from the iron fence amongst the redwoods. Looped over the railings is the little gold locket her mother gave her when she turned sixteen. The picture of the girl inside smiles out at a future she’ll never see…
Biochemist Anushka Mahto flees the lab where she works, stealing the mysterious substance she has been experimenting on. She accidentally contaminates herself while disposing of it, in an attempt to protect the world at large from its potentially harmful effects.
A haunting ossuary of tiny poems covering a wide range of topics such as love, romance, relationships, queer sexuality, religion, death, demons, ghosts, bones, gender, and darkness.
Time Travel Western Romance - Liberty Valley Love, Yesterday and Today ~ where no matter what, soulmates find each other


Forgiving yourself and others can be a blessing, a gift filled with joy that will lead to better understanding one’s actions.
Forgiving doesn’t mean you weren’t hurt or that whatever happened is acceptable or ok. It means it is time to let go of that hurt.
We are all human. We all make mistakes.
If you have never made a mistake, you are lying (shame on you). Our mistakes can sometimes define us, as if they were part of human nature. We learn from them in order to grow, as we do from our achievements and successes.
Obviously, we do not need to suffer or fall into the same traps over and over again, we can also learn from observation… but observing muffins isn’t the same as tasting them, is it?
Even after knowing all of this, we still criticize ourselves harshly, kick ourselves and remind ourselves that we are no good, when we are in fact, amazing creatures.
Learn to forgive yourself! Love yourself.
It is the best gift you can give yourself and those around you. This will take time, of course, and it should as long as it needs to, but you should not punish yourself for your own growth.
Living in the past and obsessing over previous mistakes and experiences doesn’t help us live the present or prepare for the future. The lesson to be taken from that event is already with us, there is no need to experience eternal suffering. By denying ourselves forgiveness, we are only hindering our growth for no good reason, spreading pain around us and attracting the pain of others, perpetuating a cycle.
The very best of us can fail, be selfish and delusional sometimes, and still we must all get up in the morning and remember our mistakes, forgive ourselves and keep in mind that we are all simply human and we can only try to do our best.
If you hurt someone else, ask for forgiveness, but forgive yourself first. After all we are all but children learning.


Nicola Morgan’s book ‘Blame My Brain’ gives a superb insight into what happens inside the teenage brain, both scientifically and emotionally, as the young adult grows and matures. It helps to explain why teenagers behave the way they do and gives hope, as well as dispels fear (on the part of parents and teachers) about what is happening during these turbulent years!
An additional synopsis follows:
‘A comprehensive guide to the biological mysteries that lie behind teenage behaviour. Contrary to popular (parental) opinion, teenagers are not the lazy, unpleasant – frankly, spotty – louts they occasionally appear to be. During the teenage years the brain is undergoing its most radical and fundamental change since the age of two. Nicola Morgan’s carefully researched, accessible and humorous examination of the ups and downs of the teenage brain has chapters dealing with powerful emotions, the need for more sleep, the urge to take risks, the difference between genders, the reasons behind addiction and depression, and what lies ahead. Funny and non-patronizing, it makes essential reading for both parents and teenagers alike.’ Nielsen BookData Online
We have this book in our library (although currently on loan). Nicola Morgan does state that although the teenage brain is undergoing all this change, its control remains very much in the power of its owner… She does not excuse anything.


by Linsey Davis, illustrations by Lucy Fleming
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Where to start with this one? Probably, honestly, at the beginning. . .at the beginning when I started to prep for this post, and I was really starting to pore over this book.
You might say, that among other things, I am a picture book snob. And you’d be right. I won’t post a blog about a book I don’t believe in, or one that I don’t make a connection to. The book has to resonate with me, because then I know it will resonate with some children.
It’s understandable then, that not all books make it to this space. I’d estimate that for every five children’s books I read, only about two or three make it to this tiny spot on the internet. There are various reasons why, and I guess that’s a blog post for another day.
So when I realized the author, Linsey T. Davis, was an award winning news correspondent, my heart sank. My heart sank because some of the celebrity picture books I’ve read have left me less than connected. Now, my mama always said, “If you don’t have anything nice to say to someone, don’t say anything at all,” and I think that adage certainly applies here.
I want to be a purveyor of good things in this world. Bright, illuminating things. Like love. Happy, cheerful things. Like acceptance and understanding. My tag line is, Childhood Should Be Magical, and I believe that with my whole heart.
I guess that’s a somewhat long introduction to say One Big Heart did not disappoint! In fact, the exact opposite.The theme. . .the incredibly adorable illustrations. . . the message. . .the sing-song lyrics, were all expertly woven together into a tapestry of love. . .and understanding. . .and acceptance of our differences as human beings.
I am thrilled to recommend One Big Heart, A Celebration of Being More Alike Than Different to parents and grands, churches and schools, after-school organizations and parachurch organizations and generally anybody who wants to gently wrap children in a cloth of understanding of God’s great big love for every person He’s created.
It is truly apparent that Ms. Davis, as a mom, finds it important to slow her busy days long enough to drink in the world through the eyes of her own child. And the great part for us? She has the gift to translate what she sees into enchanting, rhythmic verses for everyone to enjoy. Lovely!
The book is fun and whimsical and oh so sweet. It’s sure to be a family favorite. This is one I wish I’d had in our family library when my kids were littles.
And the illustrations? A great big thank you to Lucy Fleming for the darling artwork! Lucy captures the essence of childhood and translates it into brightly colored images for everyone to enjoy. Wonderful!
PS: My favorite character is the girl with the puff! I’ve got an idea as to who she might be. What do you think?


Epidemiologic findings on the effect of metabolic syndrome (MetS)
Background. Epidemiologic findings on the effect of metabolic syndrome (MetS) and its treatment on colorectal cancer (CRC) survival have been inconsistent and have not been previously studied in an Arab population such as the Omani population. Patients and Methods. Data from the hospital records of 301 CRC patients treated in Sultan Qaboos University (SQUH), Oman, from 2006 to 2014 were analyzed retrospectively to determine the effects of MetS and its treatment on CRC survival. Overall survival (OS) by MetS status and by medications for MetS components management was compared with Cox proportional models. Results. Of the 301 patients, 76 (25.2%) had MetS, 20.3% were on insulin, 23.9% were on metformin, 25.6% took statins, 17.9% were on either angiotensin converting enzyme inhibitors (ACEI) or angiotensin receptor blocker (ARB). Whereas metformin (HR, 0.46, 95% CI, 0.25-0.84) and statins (HR, 0.58; 95% CI, 0.35-0.96) had a protective effect on OS, insulin (HR 1.73, 95% CI, 1.02-2.97) had a detrimental effect. In subgroup analysis of diabetic subjects, a nonsignificant improvement in OS was observed in the metformin treated patients compared to those on other hypoglycemic agents (HR, 0.92, 95% CI, 0.55-1.55). Neither MetS nor antihypertensive drugs had any apparent effect on OS. Conclusions. Our result suggests that, among CRC patients with MetS, taking metformin and statins may improve overall survival, whereas being on insulin may negatively impact CRC prognosis. Further studies are warranted to determine the exact mechanism through which metformin, statins, and insulin exert their effects on CRC survival.
Journal of Tumor Research


Let me clarify something: structurally, Hamilton is as much Aaron Burr’s story as it is Hamiton’s. There’s a Vulture article that lists 20 inspirations for Hamilton and Jesus Christ Superstar is number 4. That might even be too low. The beauty of Hamilton is how well crafted the parallels are between the title character and his friend/rival Burr.
The first thing that is important to realize is how Hamilton and Burr’s stories intentionally mirror each other. Both are orphans (creating an immediate bond between the two), both fight for their country, both are interested in moving up Washington’s ranks to become war heroes, and both eventually get into law and politics after the war. The aspirations for the two men never differ.
The differences come in how they pursue these goals. Burr follows the rules while Hamilton breaks them. Every step of the way sees Hamilton a hair in front of Burr or above Burr because of his willingness to take a chance. While the interest in Hamilton’s plot comes from how he’s willing to do whatever it takes to succeed, Burr’s equally interesting story thrives on the budding jealousy within Burr. This is where an article like Adam Gopnik’s New Yorker article starts to bother me. The plot, or any analysis around the plot, of Hamilton cannot be discussed without Burr. He’s essential. Burr and Hamilton are foils to each other and their successes and failures mean more because of each other.
If Hamilton’s life is the equivalent of the American (or Immigrant) Dream, Burr’s life is the American Nightmare and a much more condemning look at society. Burr is well educated, hard working, and ambitious, but seeing the brash Hamilton consistently surpass him drives him insane. The song “The Room Where It Happened,” while being the most manic of Burr’s songs, indicates a major shift in his goals. He’s tired of following the rules when Hamilton doesn’t. He hates seeing Hamilton getting to be the one who makes major decisions. This eventually drives him to kill Hamilton.
With this, Lin-Manuel Miranda manages to simultaneously throw shade on those who feel entitled simply because of their background and upbringing while shining an overlooked light on the other end of the minorities-in-the-workforce spectrum. Hamilton represents the immigrant (in terms of the musical, a POC) who works hard and shows how great minorities and immigrants are for the country. Burr, on the other hand, represents the minorities still being slighted by the system. Burr is the black kid who does everything right, works hard in school, never gets in trouble, who is still passed over for a job because of the color of his skin or the sound of his name. Aaron Burr represents the frustrations felt by minorities when they feel like they just can’t win. He takes that frustration out in the form of a bullet.
Which, finally, brings me to the JCS parallels. Judas didn’t have to hate Jesus to lead him to his death, just like Burr didn’t have to hate Hamilton to pull that trigger. In both cases the men were friends and trusted allies at least at some point in their histories. In both musicals, the ‘killer’ (Judas and Burr) is the first voice heard by the audience (an intentional parallel by Miranda) and their thoughts/insights are used as framing devices throughout the shows. They double as characters and narrators. In both cases the popularity of their counterpart is both concerning and a bit bewildering. Both Judas and Burr see themselves as doing the right thing. Judas is just frustrated in Jesus’s hoopla and Burr is frustrated in his own lack of success compared to his counterpart. Both men, in impulsive, emotional moments, make a choice that directly leads to the death of their friend. Judas can’t live with himself afterwards while Burr spends the rest of his life trying to live with his choice.
But the most interesting parallel between the two musicals is found in answering Hamilton’s final question: “Who lives, who dies, who tells your story?” I’ll entertain arguments that the answer (and potential protagonist) is Hamilton’s wife Eliza. Considering how much of the show she’s not in during major events, it’s hard to actually agree, but there are valid arguments that after she decides to “put myself back in the narrative” she does actively make it her life’s mission to talk about and spread the legacy of her husband. I get that. But structurally, the answer is Burr.
Maybe it’s just because I listened to the album on repeat too much when the music came out, but hearing the soft, unison, full-cast line of “who lives, who dies, who tells your story” right before the sharp, punctuated hits of the top of the show and Burr’s boisterous voice starting to tell the tale of a “bastard, orphan, son of a whore” it’s easy to see that Burr is the one who is telling the story.
Miranda’s question to end the show becomes a reflection on Judas. Judas, one of Jesus’s closest friends, kills himself rather than live with what he did. Judas dies. Burr, on the other hand lives. In looking at Burr as the one who lives and who goes on to tell the story of Alexander Hamilton, it becomes clear that the entire musical is actually Burr’s reflection on his relationship with Hamilton. It’s Burr’s guiding hand that leads the audience through the historical events and (now here’s a real tell) shows Hamilton’s faults. Burr’s story shows how Hamilton’s impulsiveness both gave him great success, but also led to angering a lot of people, indirectly causing his son’s death, and having an affair. Sure, it’s possible that Eliza would have kept Hamilton’s flaws in her telling of the story, but Burr paints a picture that is much more critical of Hamilton, while showing himself as someone who just couldn’t catch a break—just as Judas paints a picture of Jesus that showed the fanaticism of Jesus’s followers as Judas saw them while Judas paints himself as someone who just didn’t know how to love Jesus.
All of that is to say that you can’t talk about Hamilton without Burr the same way that you can’t talk about Jesus Christ Superstar without Judas. They are both crucial to their respective plots and their perspectives give each story extra depth that’s missing from a simple view of Hamilton and Jesus as the protagonists of their respective musicals.


* I received this ebook for free in exchange for my honest review. All opinions are my own. *
Ann Hunter has already proven to be a great writer of fantasy fiction books and now I've had the chance to read and enjoy her book Born To Run, that will touch your heart and leave you remembering the story for a long time to come.
Here is a product description from the publisher:
"Alexandra Anderson is on the run from the law.
When the thirteen-year-old orphan can run no further, she collapses at the gates of the prestigious racing and breeding farm, North Oak. Horse racing strikes a deep chord in her. She hears a higher calling in the jingle jangle of bit and stirrup and in the thunder of hooves on the turn for home. It tells her she has a place in the world. But when the racing headlines find her on the front of every sports page, she realizes North Oak is no longer a safe haven.
Money can't buy love, but it just might secure Alex's future. Will everyone at North Oak still want to offer her a home when they learn of her unspeakable crime? " (Afterglow Productions)
Up to this point I had only read the fantasy fiction books from Ann Hunter, but what a treat to see what a versatile writer Ann is! I was drawn in with this story line of a young girl named Alex who is in the foster care system and who makes a choice that will alter her world. It is about her courage and determination and how true love can change a person's life. That not everyone will give up on you in hard times. Alex starts to learn about the world of racing and prized horses and she feels an instant connection to that life style and also to one of the horses. There's a secret unfolding in the story but you have to read it to find out what it is. Ann created characters that were so real and relatable, she is a gifted story teller and I am glad I have the opportunity to review these books. I look forward to reading more in the series and seeing what else unfolds. Overall was a great book to read!


Long-range PCR is generally employed for the analysis of disease-causing mutations in genes with homologous pseudogene copies. However, long-range PCR is challenging when performed on single cells, as in preimplantation genetic diagnosis (PGD) of monogenic disorders. PGD on single cells requires concurrent analysis of a mutation together with multiple linked polymorphic markers from closely related family members to prevent misdiagnosis. In PGD cases involving childless de novo mutation carriers, linkage cannot be performed based on family members but rather must first be identified in single gametes. This can be an especially difficult task if the mutation to be assayed lies in a duplicated genomic region because gene-specific long-range PCR must be coupled with short-range PCR analysis of genetic markers on single cells. Here, we describe a novel method by which accurate PGD of pseudogene-homologous mutations can be achieved. Essentially, we performed whole genome amplification on single sperm or blastomeres followed by haplotype construction and long-range PCR-based mutation analysis. This original and universal strategy was used to establish allelic association for two different mutations in genes with one or more pseudogene copies (IKBKG and PKD1). The method was also sensitive enough to detect unexpected germline mosaicism in one mutation carrier. This article describes an accurate method for the diagnosis of mutations in genes, with pseudogene copies, at the single cell level for preimplantation genetic diagnostic purposes. The method is sensitive enough to detect germline mosaicism in single gametes.
- Genetic diagnosis


Shelfari edited the description of Nine Stories Wednesday, December 9, 2009.
Since the publication of The Catcher in the Rye in 1951, the works of J.D. Salinger have been acclaimed for their humor, intensity, and their lack of phoniness. A collection of short fiction, Nine Stories contains works with those qualities that make Salinger such a well-loved author.
Shelfari edited the description of Nine Stories Friday, July 31, 2009.


Writing is a form of therapy, Graham Greene once mused, a means to "escape the madness, melancholia, the panic and fear which is inherent in a human situation".
There feels like a lot of writing as therapy in Nore Hoogstad's novel that draws expansively upon her time as a diplomat at the Australian embassy in Jakarta and at the time of East Timor's independence referendum in 1999.
The book comprises two intertwining stories. The first is about Ava Vuyk, junior diplomatic go-getter with a marriage on the rocks who assumes the embassy's East Timor brief. The second is centred on Isabel Cardoso, a young East Timorese woman captured by the pro-Indonesia militia and made to live with them as a slave. Their two stories connect in a surprising and poignant manner near the end.
Many of the East Timorese characters in the book are papery pseudonyms. Alexio, the resistance leader imprisoned in a Jakarta jail, is Xanana Gusmao, depicted as committed, extremely charismatic and little bit handsy. The militia leader who takes Isobel as his personal fief is modelled on Eurico Guterres, a man indicted for crimes against humanity and, in a dark irony, recent recipient of one of the Indonesian state's highest honours for his "distinguished service".
Presumably the same approach to thinly veiled portraiture applies elsewhere. Sleuthing the possible identities of the novel's diplomats, defence officials and others will be catnip for Canberra insiders. Many of the individual characters emerge poorly. It's hard to know how much that is rendered on the page is fact, fiction or reparative score-settling. The author portrays the ambassador as a thin-skinned, Latin-spouting chauvinist with an ego the size of the Jakarta metropolitan area. A quick Google search will settle any questions as to who "Adam Stretton", the high-handed Australian Foreign Minister, might be modelled on.
The novel flays the foibles, pomposities and value systems of public servants abroad. Greene - a writer of unstinting honesty himself - would have approved at seeing these motivations laid bare. Much time is taken up harrumphing over petty slights, obsessing over status, and anguishing over promotions. A shouting match between senior diplomats about an internal performance appraisal is mentioned three times! The novel's denouement involves a hardly life-or-death decision over taking a desk job in Canberra. Even though Ava bridles at the system, she remains in thrall to its baubles to the end.
The book may also constitute a therapeutic opportunity for Hoogstad to get a few things off her chest, including reflecting on some of the characters encountered during her posting. Ava has a relationship with a United Nations panjandrum from New York who is unable to work out whether he should stay with Ava or slink back to his wife. Her account of meeting pontifical activists in Dili is well done and presumably satisfying to write.
It's also an unflinchingly honest account of the difficulties of being a young woman in a cloistered man's world. Ava is humiliated and degraded as a "bimbo" in front of her embassy colleagues amidst a boisterous leaving speech. As Ava flees, the roly-poly defence officer she thought had been her platonic pal makes a ham-fisted and pathetic protestation of his ardour. It's one of the rawest, most viscerally upsetting pieces of prose I've ever read.
But sometimes the writing can be clunky and word choices hackneyed. Some descriptions, like of East Timor being "a land imbued with ancient power, the people bred from the fierce reptilian blood of their ancient relative, the crocodile" reads like something drafted by a bureaucrat hankering for a side hustle as a travel writer.
At the same time, Hoogstad handles certain scenes with aplomb that immobilise seasoned writers. She writes well about sex, both tender and forced. The build-up and climax to Ava's international relations with the Hamlet of the Hudson River is stirring in all senses of the word.
Should those less animated by Canberra parlour games read the book also? Very much so. It's an absorbing and well-told tale. Short chapters propel the narrative to its bleak conclusion, which hews closely to how events played out in real life. The prose is reminiscent of Judy Nunn, another writer who places roiling personal stories against the backdrop of historical events.
The book refocuses attention on a period of history - the East Timor referendum - fading from view. This was a time when Australia eventually did the right thing by its northern neighbour. Even a fictionalised account is revealing of the machinations at play.
Gunfire Lullabies is a worthy addition to the small shelf of titles written by protagonists and onlookers to the rebirth of this proud and resilient nation.
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March 11th, 2015
Episode 28 of 156 episodes
Four stories about parties--birthday parties, dinner parties, office parties—and what can go right and wrong. A small boy charms three old ladies in Lynda Sexson’s “Turning,” read by Christine Lahti. A generous father hides a secret at his daughter’s party, in Etgar Keret’s “Goody Bags,” read by Amber Tamblyn. A fireman gets pulled into a dangerous flirtation at a dinner party in Sherman Alexie’s “Faith,” read by Michael Cerveris, and an exploited secretary gets her groove back in an excerpt from David Rakoff’s Love, Dishonor, Marry, Die, Cherish, Perish, performed by Anika Noni Rose.


The nervous system is a primary target for animal venoms as the impairment of its function results in the fast
and efficient immobilization or death of a prey. There are numerous evidences about effects of crude snake venoms or
isolated toxins on peripheral nervous system. However, the data on their interactions with the central nervous system
(CNS) are not abundant, as the blood-brain barrier (BBB) impedes penetration of these compounds into brain. This
updated review presents the data about interaction of snake venom polypeptides with CNS. Such data will be described
according to three main modes of interactions:
- Direct in vivo interaction of CNS with venom polypeptides either capable to penetrate BBB or injected into the brain.
- In vitro interactions of cell or sub-cellular fractions of CNS with crude venoms or purified toxins.
- Indirect effects of snake venoms or their components on functioning of CNS under different conditions.
Although the venom components penetrating BBB are not numerous, they seem to be the most suitable candidates for the
leads in drug design. The compounds with other modes of action are more abundant and better studied, but the lack of the
data about their ability to penetrate BBB may substantially aggravate the potentials for their medical perspectives.
Nevertheless, many such compounds are used for research of CNS in vitro. These investigations may give invaluable
information for understanding the molecular basis of CNS diseases and thus lay the basis for targeted drug design. This
aspect also will be outlined in the review.


Harley Quinn #28 is published by DC Comics, written by Tini Howard, art and colors by Sweeny Boo, and letters by Steve Wands. There is a backup story by Erica Henderson with letters by Hassan Otsmane-Elhaou. A new arc begins as a long series of confrontations with Two-Face lands Harley in trouble with the law.
With a completely new creative team, Harley’s world must be recreated. This transition might be abrasive at first, but the energy and intensity of the comic can often be tricky. Howard’s introductory pages make it easy for those continuing the comic or just jumping on. It’s a fast beginning and a lot of exposition. The Two-Face element of Harley Quinn #28 is confusing, but I believe that is also intentional. Not even the characters in the book know what’s happening, but it is a lead into what seems to be one of the key plot points of Howard’s run going forward. Multiple threads are beginning here, including one at the end of the comic that is entirely unexpected. It shows the consequences of what happened in Phillips’ run and even before. It is nice to see that the previous 27 issues of this series will not be ignored.
The dialogue and the character dynamics have also shifted slightly. There are fewer captions and narration, except for the first page, which summarizes Harley’s circumstances directing her to that exact moment. After that, it is entirely dialogue. Howard brilliantly explores Harley’s intelligence and wit, tapping into the idea that everyone is just one step behind her when she’s on a diatribe. It is the characters around Harley that are taking time to get used to. Two-Face’s personalities makes him fun in this comic but extremely hard to pin down. Besides crashing in and being a nuisance, the role he plays in this book has not yet been clarified. And it was nice to see Howard use Kevin, Harley’s best friend. However, some of his actions seemed out of character for him and were just used to further the plot.
The art is spectacular. The redesign for Harley is stunning and very innovative. I love how her hair has become so much longer and falls around her instead of being in pigtails. She also has several outfits, from her heroics to being cozy at home. She is extremely fashionable, and her experimentation by Sweeney deserves a lot of praise. Likewise, it is always fascinating to see how the illustration of Kevin is approached. The locations can either be pleasantly clean and simple or filled with detail and madness. A lot of time could be spent pouring over each panel to see the textures and minute additions. That hectic energy that has been paramount to Harley Quinn still shines through in the fight scenes. The variety in the facial expression of Quinn is also interesting and beautifully expressive.
The colors by Boo are also terrific. Brilliantly bright and vibrant, there are color combinations that I have seen very rarely in comics. And much of the time, there are white or single-tone outlines around objects that help keep images clear in what can be busy panels. Some fantastic patterns and textures are implemented in clothing and the outsides of panels, giving life and spontaneity to the book. The lettering can be difficult to read sometimes due to large amounts of dialogue being tricky to place within the pages.
Harley Quinn #28 ultimately captures the main character’s soul but struggles to settle. The protagonist is superbly written and is in safe hands with Howard. But the other characters and the plot need some time to blend in with the new creative team. The chaos is part of the series, as it always has been, and that adjustment period is something that is almost required in a book with the humor of Harley Quinn.
Harley Quinn #28 is available now wherever comics are sold.
Harley Quinn #28
Harley Quinn #28 ultimately captures the main character’s soul but struggles to settle. The protagonist is superbly written and is in safe hands with Howard.
William is a screenwriter with a love of comics and movies. Once referred to Wuthering Heights as “the one with the Rabbits.”


Verticillium species are soilborne plant pathogens, responsible for big yield losses worldwide. Here, we report improved procedures to generate DNA from Verticillium species imbedded in farm soils. Using new genomic sequence information, primers for V. dahliae, V. albo-atrum, V. tricorpus, and V. longisporum were designed. In a survey of 429 samples from intensively farmed soil of two Swedish regions, only V. dahliae and V. longisporum were identified. A bias towards V. longisporum (40%) was seen in the south, whereas V. dahliae was more frequent in the western region (19%). Analyses of soil and leaf samples from 20 sugar beet fields, where foliar wilting had been observed, revealed V. dahliae DNA in all leaf and soil samples and V. longisporum in 18 soil samples, illustrating host choice and longevity of the V. longisporum microsclerotia. This study demonstrates the applicability of new molecular diagnostic tools that are important for growers of variable crops.
Keywords: Beta vulgaris; Brassica napus; Soilborne pathogens; Verticillium; qPCR.


Anti Inflammatory Potential of Euphoria Hirta L. Leaves In Jaipur Region
Introduction: Euphorbia hirta Linn. (E.hirta L.) is a medicinal herb belonging to the family Euphorbiaceae. It is commomly known as Asthma plant, Duddhi, Bara duddhi. It has been claimed for the various medicinal properties such as inflammation, diarrhoea, bronchitis, kidney stones, peptic ulcer, menstrual problems etc.
Objective: the goal of our research work is to assessing the anti inflammatory activity of E.hirta L. leaves in regards to phytochemical studies.
Methods: The method carragennan induced paw edema in rats was used to assess the anti inflammatory activity of aqueous extract of E.hirta L. leaves. The extract was obtained by maceration method and the analysis of phytochemicals was carried out by performing different chemical test in laboratory. Crude aqueous extract was given orally at different doses of 100mg/kg, 300mg/kg and 500mg/kg in wistar albino rats 30mins before carragennan injection. Ibuprofen (50mg/kg) was taken as reference drug. The volume of paw edema was measured by using plethysmometer at 1, 2 and 3 hr after carragennan administration.
Results: The preliminary phytochemical study reveals the availibility of flavonoids, terpenoids, sterols, glycosides, tannins etc in different solvents of crude drug extract. The anti inflammatory effect of crude drug extract was exhibited a remarkable dose dependent reduction in paw edema volume. The inhibitory effect was highest at 500mg/kg dose of drug. Extract and ibuprofen showed 52% and 66% inhibition of paw edema respectively, at 3hr after carragennan administration.
Conclusion: E.hirta L. leaves aqueous extract has a strong anti inflammatory activity. These consequences help in the traditional uses of the plants and in the development of new treatments.
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Texts not necessarily meant to be viewed as art
2016 (English)Collection (editor) (Other academic) [Artistic work]
Texts Not Necessarily Meant to be Viewed as Art explores how contemporary artists use text in their creative processes. The project and publication focuses on artists' writing and examines the thoughts, ideas, and techniques that structure an artwork. The publication features thirty Nordic and international contemporary artists and writers that have contributed examples of how text informs their processes. Texts Not Necessarily Meant to be Viewed as Art is a form of sourcebook for artistic writing, which provides deeper insight into artistic writing in general, and grants public access to otherwise closed rooms: artists’ physical and virtual notebooks, text documents, folders and drawers. These rooms contain unpolished, often unfinished artists’ writing, and illuminate what’s sometimes lost in the editing process. The pages of the publication contain good and bad ideas, and sketches for work both finished and unfinished (perhaps forgotten or discarded). It presents a snapshot of the stage in the artistic process when the work has not yet landed in its final form and still is in motion. Participating artists' and writers include, amongst others, Cory Archangel, Emily Wardill, Darren Bader, Lucie Fontaine, Kenneth Goldsmith, Tamara Henderson, Hanne Lippard, Tris Vonna Michel, Mara Lee Gerden, Magnus Bärtås and Audun Mortensen.
Place, publisher, year, edition, pages
Stockholm: Konstfacks Collection , 2016. , 134 p.
Research subject Arts
IdentifiersURN: urn:nbn:se:konstfack:diva-5645ISBN: 978-91-85549-23-8 (print)OAI: oai:DiVA.org:konstfack-5645DiVA: diva2:1047745
ProjectsKonstnärligt utvecklingsarbete (KU-projekt)
FunderHelge Ax:son Johnsons stiftelse


Macbeth tragic hero or monster essay
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Impact on Jesus Week 2
I cannot even begin to tell you how grateful I am to have taken on this challenge to share little snippets of what God is showing me in the Word each day. It truly has had a huge impact on me personally and pushes me to continue to look at how the stories of the OT impacted a young boy/man named Jesus. In return, it is causing me to consider the impact they should have on my own life and walk with Jesus through the Holy Spirit. Thanks for allowing me to share with you, here is week 2 of my challenge.
Continuing in the story of Joseph and its impact on Jesus. This morning I was struck by after Joseph revealed himself and sent for his entire family to be brought to Egypt, no one was left behind. His ENTIRE family was rescued from certain death and brought not only to a new land, but they were given the richest land for their needs, livestock. They were brought from the barren and placed in the bountiful. As Jesus learned of this story and moved into his role as the redeemer sent by God to save his family, he knew that NONE would be left behind, but all his family would be saved. And their redemption would be from certain death into a life placed in the center of abundance, perfect for their every need. How I love how God wrote these story lines so that a young boy named Jesus could learn them and thus learn the fullness of why He had been sent here on earth. #EnjoyTheShepherd
As Genesis 47 opens up we see Joseph standing before Pharaoh on behalf of his brothers. He is there to present them and speak on their behalf. He prepared them for this meeting (Genesis 46:31-34) and then he asked that the best of the land be given to them to dwell in. Having earned the favor of Pharaoh, Joseph asked with bold confidence that his family be ushered into a place in which they could thrive with their families and their livestock. Then he presented his brothers and father to Pharaoh who then gave them what Joseph asked for. Surely Joseph had made sure they were properly dressed and in full understanding as how to act and speak in front of the king. He did not just throw them in there, but prepared them to stand before the ruler of the land. What a glorious picture for Jesus as he learned how to enter the throne room of God on behalf of his brothers and family. Not only going in to speak on their behalf but also fully preparing them to stand before the King of Kings and to be given the absolute best for them and their families! What a treasure this story of Joseph must have been to Jesus, the one who stand before God on our behalf and what a treasure it is to us as we go and make disciples, boldly enabled to enter his thrown room and present them to Him through prayer that He might lavish the best them! #EnjoyTheShepherd
This morning I finished the story of Joseph and two things stood out to me. When his father Jacob passed away, his brothers returned to a state of fear. They assumed there was a grudge being held. When they approach Joseph with this concern, it says he wept! How could they possibly still think he intended them harm after all he went through to save their lives and put them in the best of all the land. As his tears dried he demonstrated his love for them again by saying "what you meant for evil, God intended for good!" How deeply this must have impacted his heart for those he had been sent to save. When we continuously show signs of unbelief in the fullness of his forgiveness and love, how much it must have pained his heart. We assume judgement even after our redemption and being brought into the paradise of God's kingdom. But even through this He reminded his disciples and continues to remind us, "What you did, your sins, mistakes, blemishes, and unbelief, our rejection and despising of him that we meant for evil, God had a plan from the beginning to restore us to full fellowship with Him, this even our evil plans God intended for our good! #EnjoyTheShepherd
This morning for me was a little on the overload side as I started looking at the life of Moses. There are SO MANY correlations to Jesus and his life. Being born and having your life threatened by death as an infant. Being rescued by the land of Egypt, Moses by Pharaohs daughter, Jesus by his parents fleeing to that land. So much to take in. But I had to resort to the question that is burning on my heart, "How did this story of Moses impact Jesus as a boy/young man?" To sum up in a text is not sufficient, as books can and have been written. However one chord struck me this morning. When Moses was overwhelmed by the oppression he witnessed against his people. He was so burdened by what he saw that he took action. Action that cost him his position, his comfort, his way of life. But to stand by and watch was not something he could do. He hoped that maybe he could bypass all the loss by hiding the body, but he took the risk anyway in order to rescue just one Hebrew slave! As I read Matthew 26 this morning, I see Jesus as he reflected on his decision to leave his position, his comfort, his life with the Father because he could no longer stand by and watch the oppression of his people at the hands of the Enemy. Yes, in the Garden he expressed a hope that maybe he could bypass the cost of the cross, as it was a great burden to bear, but he made the choice in eternity past and he took the risk in order to save one, his chosen people who make up one body, his bride. As he pondered these things that night, how he must have thought of Moses who led the people of Israel out of bondage by the power of God and then he said, "Not my will Father, You do Your Will by Your Power!"
So many things from today's reading that I find it hard to summarize one point. Exodus 3 we see Moses tending sheep, learning to lead them before leading people. (I can't help but wonder if Jesus tended sheep as a boy, how else would he know so much about being a good shepherd?) while Moses is tending sheep, God speaks to him and gives him direction and guidance (a personal favorite of mine as He has been teaching me in my fields, also leads me to wonder if Jesus watched sheep how much did he learn about being the Lamb of God from his lambs?) So many other things, but the "impact" moment for me today was when God told Moses that Pharaoh would not let the Israelites go until the firstborn of their nation had died! God gave Moses signs and wonders to do in order to convince the people, but God knew Pharaoh would hold on to his slaves until blood was shed. As Jesus heard this story as a child and read it and studied it as a young boy/man, how moved he must have been when he realized the bondage of His Father's people would not be released until the firstborn had died. This time though, it would not be the firstborn of the enemy who would pay the price, but it would be the firstborn of God who would have to suffer death in order for the Prince of the World to lose his grip on God's chosen people. His signs and wonders he performed touched the heart of the people, like Moses', but it was not enough to convince the Enemy to loose his grip! Jesus began to understand that he was Gods firstborn and that through his death, the Enemy would be forced to "Let His People Go!" I wander if Jesus wrestled with this even as a boy? Maybe he asked like Moses, as he did later in the Garden, "is there any other way?" But, like Moses, he knew the job ahead of him and in the Garden he embraced the task set before him out of love for His Father and a desire to set me free! What a Savior! #EnjoyTheShepherd
Today has been a full day! Many great things from His hands. In Exodus 5 we see the first time Pharaoh is told to let the people go worship God. His response is "Who is this God?" His immediate reaction was to increase the burden on the people so they would fear asking again. It seemed to work. They caved under the heaviness of their bondage. Their excitement from Exodus 4 is gone and now they are angry at God for increasing their burdens. Making life more difficult. How Jesus allowed this to sink in to his life and then passed it on to those who followed him. He learned from this story that obedience does not always lead to instant earthly peace or gain. In fact, he knew that stepping forward to follow his Father would lead to trouble before the victory. Just look into the wilderness scene and then throughout his life. Then, in his God given wisdom, he told his disciples and us that obeying the Father would lead to trouble in this world. Yet, he backed it up just like God did at the end of Exodus 5 by stating what He would do because of who He is! Therefore we can move forward in obedience with boldness knowing that in the end He will secure the victory and His will will be accomplished. #EnjoyTheShepherd
Exodus 7 starts out with an alarming word! God declares he is going to do signs and wonders, then He says "But I will harden his (Pharaoh's) heart." After each sign Moses and Aaron did, Gods word was fulfilled and Pharaoh's heart grew harder and he refused to let Gods people go. A few times he committed to give in and let them go worship outside the town, only to change his mind once relief had come. Jesus was clearly impacted by the truth that signs and wonders do not change the heart. In Mark 1 alone he shut up a demon in the temple and cast him out. He healed a leper, only to tell him to keep it quiet and go obey the law. As word spread about his miracles, he retreated to pray. His disciples found him and wanted to take him back where crowds were searching for him because they wanted to see more miracles. But Jesus knew that miracles only attach to emotions and that their hearts were not truly with him. His heart wanted them to hear the message and experience real life, not just a show! He knew from Pharaoh's story that miracles only lead to a half hearted commitment, but when relief came their hearts would be hardened and turned away. Jesus was looking for devoted followers, not fad chasers. He was interested in obedience to His Father, not fame and fortune. He desired true deliverance for his people, which would only come once the firstborn had given his life. I am amazed at the impact these stories had on Jesus, and how they are to impact me. #Impact #EnjoyTheShepherd
So I tried to ignore it, but this same point of #Impact keeps leaping at me today. Notice how God tells Moses "I will harden Pharaoh's heart, and then throughout the plagues Moses writes, "and Pharaoh hardened his heart Just as the Lord said." In other words, the heart of the king was in the Lords hands. And what was God's reasoning for hardening Pharaohs heart? "So that all of Egypt will know that I am the Lord!" God had a plan to reveal His glory not to only his people, but to all those in the world. What is beautiful here is that what God said He would do, He accomplished! How this story made its way into a young Jesus' heart and as he drew near to the accomplishment of His purpose, he could be assured that what His Daddy had said he would accomplish through Him, it would come to pass! #EnjoyTheShepherd


Fibromyalgia was found to contribute to a poorer perceived quality of life (QoL) related to physical function in patients with undifferentiated connective tissue diseases (UCTDs). Overall, patients with UCTDs perceived both their physical and mental health as inferior compared to how the general population perceived it.
The study, “Longitudinal analysis of quality of life in patients with undifferentiated connective tissue diseases,” was published in the journal Patient Related Outcome Measures.
UCTDs are autoimmune diseases in which the body damages its own tissues, resulting in the injury of major organs. Chronic autoimmune diseases are often accompanied by fibromyalgia, a disorder characterized by chronic widespread pain.
The study followed 46 patients (95.6% were female) with UCTDs, 16 of whom also had fibromyalgia. Participants filled out the Short-Form 36 (SF-36) Health Survey questionnaire at the beginning of the study and one and two years later.
The majority of the UCTD patients scored lower on the physical component summary (PCS) — related to physical well-being — and mental component summary (MCS) — related to mental well-being — than did the general population, both at the beginning and at the end of the study.
While about one-third of the patients with UCTD patients improved their scores over the course of the study, only 26% reached levels higher than the average seen in the general population for the PCS, and 13% for the MCS.
Fibromyalgia was found to have a negative impact on PCS scores, indicating a worse perceived QoL related to physical problems among patients with UCTDs and fibromyalgia, compared to those without fibromyalgia. Having fibromyalgia did not appear to influence MCS scores in patients with UCTDs.
“We have pointed out that UCTD patients perceive a worse physical and mental QoL compared to general population and that it remains stable in the majority of patients over a two-year follow-up period,” the team concluded.
“Fibromyalgia is one of the major contributors of physical QoL, whereas no factor influencing mental component has been identified,” they added. “An improvement in QoL can be observed in less than half of patients [with UCTDs] over a two-year follow-up.”
The authors said larger studies are needed to identify factors influencing quality of life and to define the role of drug treatments for these patients.


Welcome to re:Virals, The Haiku Foundation’s weekly poem commentary feature on some of the finest haiku ever written in English. This week’s poem was
I chucked the urn too — R. P. Carter, Frogpond 33:3 (2010)
Paul Miller offers some food for thought about the poem:
I think this poem illustrates the importance of the haiku’s two-part structure, because this poem feels like half a haiku, and after reading it, I feel a bit unfulfilled.
The poem suggests that after spreading someone’s ashes (at least that’s how I read it) the poet then “chucks” the urn as well. Yet, I don’t know how the poet feels about it. Is the poet happy by the deceased’s demise, as perhaps suggested by the choice of “chuck?” Or is the mood somber, and the discarding of the urn meant to remind us of all that was lost by the deceased’s death, the “chucking” done in frustration?
This is where an additional element (say, a seasonal reference) could help guide the reader.
Garry Eaton finds the poet eschewing ceremonial tradition:
There’s urns, and then there’s urns, Carter seems to be saying. There was the Grecian urn memorialized by Keats. The ashes it may have contained were unimportant, and receive no mention in the poem. There was also the jar in Wallace Stevens’ “Anecdote of the Jar,” probably just a Mason canning jar, which the poet co-opted for a different type of ritual, placing it on a hill in Tennessee so it stands out, not for its beauty in representing a grand tradition of mourning, but for a utilitarian plainness that “made the slovenly wilderness surround that hill.”
Carter’s effort is more candid. It brings us to a moment just after the ashes have been ritually poured, when the bearer needs to decide how to dispose of the urn, perhaps a Mason jar, or a tomato tin. Clearly, this is not an expensive urn, or one with any particular sentimental associations, despite the recent death. And it reminds us that we are sometimes asked to do things that we would not otherwise do, and do not always perform them according to protocol, though they seem to call for a more respectful treatment, either in poetry or in disposal of the corpse. From this perspective, I am also reminded of W. C. Williams’ poem, “Tract,” in which the poet urges citizens to eschew the ceremonial tradition of mourning that emphasizes the wealth or importance of the deceased, and to let the bones of the human condition plainly show by taking the plain pine coffin to the cemetery on a rough, open, wooden wagon drawn by an ordinary carthorse.
By these comparisons, one can clearly relate this haiku, in all its honest plainness, to a long and complex tradition of memorial poetry, including elegy, which like a good haiku it plainly contradicts, to black, humorous effect. For contrast who remembers Lycidas?
Yet once more, O ye laurels, and once more
Ye myrtles brown, with ivy never sere,
I come to pluck your berries harsh and crude,
And with forc’d fingers rude
Shatter your leaves before the mellowing year.
Bitter constraint and sad occasion dear
Compels me to disturb your season due;
For Lycidas is dead, dead ere his prime,
Young Lycidas, and hath not left his peer.
Who would not sing for Lycidas? he knew
Himself to sing, and build the lofty rhyme.
He must not float upon his wat’ry bier
Unwept, and welter to the parching wind,
Without the meed of some melodious tear.
Lycidas, by John Milton
Robert Kingston encounters a touch of suspense and amusement:
It could be a key line from a “some mother’s do ‘ave em” scene.
Ah yes! Here are images of the lovable character of Frank Spencer played by the exceptionally talented Michael Crawford. An accident prone husband who, though trying to be the master tradesman, inevitably ends in or with a pile of mess.
In this scenario, I could visualize him standing among the broken pieces, with an array of facial expressions of both confusion and befuddlement, attempting to piece the urn together in front of a disgruntled crowd.
Alas, I think R. P. Carter has intended a touch of suspense and amusement to what for many is a serious moment. The “aha” moment, I believe, is tucked away in the discarding of the urn along with the ashes. Carter captures well the fakeness of symbolism and materialism, choosing instead to harness the most precious things from a loving relationship in the safest of places: our heart and mind.
Cezar-Florin Ciobîcă discovers emptiness in the moment:
This is a disturbing scene that upsets the reader. The urn keeps the remains of a loved one, a relative or a close friend. Before scattering ashes, the people present at the funeral take their farewell for the last time from the one who has passed away, patting the urn. Somewhat upside-down, the poet seems to say that he chucked the urn too, but nothing happened, because he felt nothing, he heard nothing to give him any sign that things would be otherwise; hence, the great disappointment of one who hoped for a miracle in receiving a subliminal message.
What remains behind are the memories that such a moment triggers in each participant. The soul of the dead one is not there, it cannot be held captive in a container, because it flew to another realm.
The final adverb “too” accentuates, on a phonetic level, the impression of emptiness, and reminds us of an old biblical quote: “vanitas vanitatum, omnia vanitas” (Ecclesiastes 1.2)
Lynne Rees uncovers a sense of story:
I’m initially hard-pushed to call this a haiku, at least in the traditional sense. Where’s the kigo? Where’s the juxtaposition? Is the single declarative sentence too direct a statement for the subtle understatement we associate with haiku poetry?
But what I do respond to is the powerful sense of story in Carter’s five words. I’m reminded of the “alleged” Hemingway six word short story: “For Sale, Baby Shoes, Never Worn.” It has the same compressed power that can be unpicked to unravel a family story of a complicated parent/child, or spousal, relationship, a story of death, of saying goodbye, of anger or resentment or indifference. This compression would allow me to write a 1,000 word story to precede this handful of words. I can fill in the spaces with a whole gamut of behavior and gripping human emotion.
But Carter chose not to do that. He/she gives us the final bow. And it’s here that the haiku moment resides: with a brutal honesty.
Margherita Petriccione is impressed by the brevity of the line:
Even if, in contrast to the poetics of a haiku, this writing is expressed in a past time, it still presents itself with the immediate impact of a moment really lived. There is makoto (“authenticity”) in this experience, and there is karumi (“lightness”) in the thrift and simplicity of words. The extreme brevity of a monoku appears as the only possible form; one cannot imagine this haiku otherwise expressed. But what makes it a work that remains impressed, one of those haiku that you would like to have written, is the way, after a moment of skidding, it hits you violently in the heart. It is like a thin blade that penetrates deeply and lets the spirit of the reader and writer find a communion without words, the sharing of an uncontainable pain. A gesture so immense in its agony, so indescribable, is there in the detached simplicity of a few words. Because what makes this work even more valuable is the detachment in narrating the dispersion of loved ashes, and the impotent launch of the now empty urn.
As this week’s winner, Margherita gets to choose next week’s poem, which you’ll find below. We invite you to write a commentary to it. It may be as long or short, academic or spontaneous, serious or silly, public or personal as you like. We will select out-takes from the best of these. And the very best will be reproduced in its entirety and take its place as part of the THF Archives. Best of all, the winning commentator gets to choose the next poem for commentary.
Anyone can participate. A new poem will appear each Friday morning. Simply put your commentary in the Contact box by the following Tuesday midnight (Eastern US Time Zone). Please use the subject header “re:Virals” so we know what we’re looking at. We look forward to seeing some of your favorite poems — and finding out why!
no telegram today only more leaves fell — Jack Kerouac, Book of Haikus (2003)