ellauri024.html on line 418: The New Criticism made the literary work the center of critical attention, and denied, or at least greatly devaluated, the relevance of facts about the origin of literary works, their effects upon individual readers, and their personal, social, and political influence. Close reading is what is required of a critic, not biographical information about the author, a rundown of the state of society at the time the work was written,
ellauri029.html on line 918: The passage sounds sarcastic. It says one thing while meaning another in a way that makes the hearers look foolish. But Paul’s method was not meant as a personal insult. The goal was to grab the readers’ attention and correct a false way of thinking. In other words, Paul’s words are satirical, but not sarcastic. They are spoken in love to “beloved children.”
ellauri048.html on line 926: Goethe plucks the flower although it tells him not to do so. He takes it to his house and plants it in his garden. He wants to tell us, viewers or readers, look how noble I am, he because he takes it home. He doesn't realize that by taking the flower home he is taking her wild life away and domisticating it in his factory (garden). In that he is not different from industrialists and people who practise green house raising. It is like enslaving his flower and on top of that he wants to be applauded and praised because he doesn't kill it. However, he does't listen to what his flower says: do not pluck me or I will die.
ellauri048.html on line 1078: Given that no one has ever doubted that Tennyson had some sort of "disembodied, spiritualized passion" for Hallam, this conclusion comes as rather a painful anticlimax. Admittedly, Alf named his son Hallam after Hallam, the one who went to Australia. Of course, the fact that members of Tennyson´s family succumbed to madness, alcoholism, and drug addiction already has made some readers aware that, like so many other Victorians, he should be taken down from a pedestal and join the rest of us. But think of the stir if one the greatest poems of the nineteenth century, one which has major influence on poets as different as Whitman and Eliot, turned out to be chiefly a gay lover's lament! (What's wrong with that? There are zillions of others, better yet.) Tän apologian kirjoitti on George P. Landow, Professor of English and the History of Art, (fittingly) from Brown University.
ellauri052.html on line 64: A week before the novel appeared in book stores, Saul Bellow published an article in the New York Times titled “The Search for Symbols, a Writer Warns, Misses All the Fun and Fact of the Story.” Here, Bellow warns readers against looking too deeply for symbols in his piece of shit. This has led to much discussion among critics as to why Bellow warned his readers against searching for symbolism just before the symbol-packed Rain King hit the shelves. Because there ain't any, its just Solomon's idea of fun and fact. The ongoing philosophical discussions and ramblings between Henderson and the natives, and inside Henderson's own head, prefigure elements of Bellow's next novel Herzog, which includes many such inquiries into life and meaning. And which is an even worse piece of narcissisim than this one.
ellauri052.html on line 352: If you haven't been introduced to Desperate Ambrose, Old Timer, Willie and Pop Wimpus you've been missing a lot of good, clean American humor. C. M. Payne has found the real underlying humor in home life and brings it to you in this favorite of comic strip readers everywhere. "S'Motter Pop". Charles M. Payne (1873–1964) was an American cartoonist best known for his popular long-running comic strip S'Matter, Pop?[2]. He signed his work C. M. Payne and also adopted the nickname Popsy. In 1964, Payne died in poverty.
ellauri052.html on line 932: Oddly, Greg expresses frustration with a father “whose deepest desire was to keep his thoughts and his feelings strictly to himself,” as if Bellow did not spend nearly 70 years sharing those thoughts and feelings with millions of readers.
ellauri052.html on line 940: Greg had made a career out of his own childhood misery—a nasty dig given that Saul was as much the author of that misery as he was of his novels. Greg noted, with shrugging disapproval, that his father “felt a duty of truth to his readers that was stronger than to his family,” but indicated he still didn’t understand or accept this about his father. Perhaps he can’t be expected to. “All significant human business is transacted inside,” was Saul’s lesson to Greg, who doesn’t seem to have forgiven his father for it being true.
ellauri055.html on line 74: Zweig oli kova Rolland fan. Eikaine vaan homostellu keskenään? Sitä oli paljon liikkeellä jetset piireissä. Bertie ja Conrad. Proust ja Bourget. Epäilyttäviä tapauxia pisteessä on läjittäin. Zweig nyt takuulla oli vähintään bi. Se ja sen vaimo teki seppukut brasseissa. What did Zweig have that brought him the fanatical devotion of millions of readers, the admiration of Hermann Hesse, the invitation to give the eulogy at the funeral of Sigmund Freud? Sas se. Freud teki suusyöpäisenä seppukun Lontoossa 1939. Ei ois kannattanut vetää tupakkaa. Henkilääkäri otti sen hengiltä morfiinipiikillä kuin vanhan koiran. Koiran iässä se oli 12-vuotias.
ellauri062.html on line 208: Oprah taitaa olla samaa perua kuin Ephraim eli vasa. See the full list here. The Forward's independent journalism depends on donations from readers like you.
ellauri069.html on line 483: An article recently came out in the LA Times about Pynchon’s Great American Novel. The article begins by stating that Mason and Dixon is actually the most obvious candidate for the Great American Novel, and it instead suggests that Gravity’s Rainbow is perhaps the Great European Novel. The article then questions whether or not the Great American Novel even exists, and if it does if it is of a singular form or if it takes on many forms at once. After considering this question, the article finally claims that the Great American Novel is actually made up of all of Pynchon’s works fused together “into one epic Pynchoverse.” The Great American Novel certainly does not need to take place in America, but still many will argue that Gravity’s Rainbow by itself can never be considered as the Great American Novel because of its non-American setting and its wide array of characters. This is definitely debatable, but I do enjoy the idea of a “Pynchoverse” or a Pynchon Compilation being considered as the true Great American Novel. That being said, I do think most readers and Pynchonerds would undoubtedly say that Gravity's Rainbow is the Greatest Pynchon Novel.
ellauri071.html on line 40: Kenosha Kid: Thomas Pynchon's novel Gravity's Rainbow possesses an image which has intrigued readers of the novel since its introduction. Many readers come away from the novel failing to find the answer to one question: What is the Kenosha Kid? Critics have argued about the identity of the Kenosha Kid. Some have argued that it does not really exist. Instead, it is only the result of Tyrone Slothrop´s hallucinations brought on by sodium amytal (or "truth serum"). Ironically, the idea that the Kenosha Kid comes out during a dose of "truth serum" proves to be even more confusing for readers (given it may or may not really exist). Other critics have denoted the Kenosha Kid as a dance (likening it to the "Charleston" or the "Big Apple" dances).
ellauri072.html on line 178: “A lot of biographers didn’t want to go into that subject,” Hart said, shrugging. “Maybe they thought they would turn away readers.”
ellauri073.html on line 175: Why are many of the most successful people plagued by feelings of emptiness and alienation? This wise and profound book has provided millions of readers with an answer--and has helped them to apply it to their own lives.
ellauri077.html on line 602: narcissistic, anhedonic culture elements of itself: “If readers simply believe the world is stupid and shallow and mean, then [Bret Easton] Ellis can write a mean shallow stupid novel that becomes a mordant deadpan commentary on the badness of everything”. (Ei ihme että amerikan psyko vähän suutahti.)
ellauri078.html on line 147: Dickinson found the conventional religious wisdom the least compelling part of these arguments. From what she read and what she heard at Amherst Academy, scientific observation proved its excellence in powerful description. The writer who could say what he saw was invariably the writer who opened the greatest meaning to his readers. While this definition fit well with the science practiced by natural historians such as Hitchcock and Lincoln, it also articulates the poetic theory then being formed by a writer with whom Dickinson’s name was often later linked. In 1838 Emerson told his Harvard audience, “Always the seer is a sayer.”
ellauri089.html on line 145: Even more surprising, the sociological aspects of these books have also stood up well over the years. Boys today may not be quite as innocent about girls as they appear to be in most of Heinlein’s juveniles (perhaps at the request of Scribner’s editor Alice Dalgliesh), but the various interpersonal relationships (boy-girl, parent-child, sibling-sibling) do still ring quite true. Today’s young readers may have to ask what a “soda jerk” is, but they will have no trouble understanding why Kip, the hero of Have Space Suit—Will Travel, tosses a chocolate milkshake all over his tormentor.
ellauri089.html on line 159: For average readers, Heinlein tells a good story; for better readers, Heinlein has challenges; and for the best readers, there is a kind of shared inside knowledge, a delight the reader feels when Heinlein makes a passing reference to Schiaperelli (sic) and the reader knows, without Heinlein’s ever explaining, who Schiaperelli was.
ellauri089.html on line 170: No wonder that Heinlein’s juveniles still enthrall the juvenile readers discovering them for the first time and enchant the older readers, like myself, who discovered them first in the 1950s. (C. W. Sullivan III is Distinguished Research Professor of English at East Carolina University.)
ellauri093.html on line 909: The above words came fresh in my mind in writing. They were often used by my beloved father, when he led his children to the throne of grace in family worship. If they find an echo in the hearts of the readers I shall be deeply thankful.
ellauri095.html on line 186: He uses many archaic and dialect words but also coins new words. One example of this is twindles, which seems from its context in Inversnaid to mean a combination of twines and dwindles. He often creates compound adjectives, sometimes with a hyphen (such as dapple-dawn-drawn falcon) but often without, as in rolling level underneath him steady air. This use of compound adjectives, similar to the Old English use of compounds nouns, concentrates his images, communicating to his readers the instress of the poet´s perceptions of an inkscape.
ellauri095.html on line 198: The meaning of “inscape,” that conundrum of Hopkins’s readers. A common misconception of the word is that it signifies simply a unique particular, the unusual feature, the singular appearance.
ellauri095.html on line 514: Nevertheless, although The Wreck of the Deutschland was a great breakthrough to the vision of God immanent in nature and thus to the sacramentalism that was to be the basis of the great nature poems of the following years, when Hopkins sent the poem to his friend Robert Bridges, Bridges refused to reread it despite Hopkins’s pleas. The poem was also rejected by the Jesuit magazine the Month, primarily because of its new “sprung” rhythm, and many subsequent readers have had difficulty with it as well.
ellauri095.html on line 522: In addition to specific inspirations such as these, the father communicated to his son a sense of nature as a book written by God which leads its readers to a thoughtful contemplation of Him, a theme particularly evident in Manley and Thomas Marsland Hopkins’s book of poems, Pietas Metrica. Consequently, Gerard went on to write poems which were some of the best expressions not only of the Romantic approach to nature but also the older tradition of explicitly religious nature poetry.
ellauri096.html on line 144: The resemblance between the preface paradox and the surprise test paradox becomes more visible through an intermediate case. The preface of Siddhartha Mukherjee’s The Emperor of All Maladies: A Biography of Cancer warns: “In cases where there was no prior public knowledge, or when interviewees requested privacy, I have used a false name, and deliberately confounded identities to make it difficult to track.” Those who refuse consent to be lied to are free to close Doctor Mukherjee’s chronicle. But nearly all readers think the physician’s trade-off between lies and new information is acceptable. They rationally anticipate being rationally misled. Nevertheless, these readers learn much about the history of cancer. Similarly, students who are warned that they will receive a surprise test rationally expect to be rationally misled about the day of the test. The prospect of being misled does not lead them to drop the course.
ellauri097.html on line 802: Robert Frost, often regarded as a folksy farmer-poet, was also a more profound, even terrifying, creator. His poem "The Road Not Taken" reveals his delight in multiple meanings, his ambivalence, and his penchant for misleading his readers. He denied that the poem proclaimed his striving for the unconventional and asserted that it was meant to tease his friend Edward Thomas for his compulsive indecisiveness. This essay also notes the unconscious meanings of the poem, including Frost's reactions to losing his close friend, his own indecisiveness, his conflict between heterosexual and homosexual object choices, his need for a "secret sharer," and his attachments. J Glenn. Psychoanal Study Child. 2001.
ellauri099.html on line 125: | Hilja Haahti | haahka | lima | Pykniker | |   readers_images/2019/06/F8806750-6507-45C7-9A0D-B14F6B2B01AA-2000x1333.jpeg" height="100px" /> |
ellauri101.html on line 158: The readers of Follow Your Inner Heroes To The Work You Love relate to heroes because most of them had heroes growing up. Now it is time for them to realize that they, too, have special qualities within themselves to achieve their heart's desire and be a success.
ellauri102.html on line 678: Because we only accept certain advertising, our readers have a high level of trust in our advertisers and sponsors. Our readers are deeply loyal to the Ms. brand and our uncompromising principles, and they know that our advertisers have the Ms. seal of approval.
ellauri106.html on line 627: in 1974’s My Life as a Man, an instance of domestic abuse is described in a manner so laconic that it comes across as indefensibly vicious to many modern readers.
ellauri106.html on line 631: No one can accuse Roth of ever hiding who he was: American, Jewish, obsessed with sex, obsessed with death, funny, angry, wise, profane, imaginative, cruel. That is what cruel readers always liked about him.
ellauri109.html on line 474: Translations of the fable were familiar enough in Britain but the subject of male bonding left some readers uneasy (as it very obviously did Elizur Wright). Eventually there appeared an 18th-century version in octosyllabic couplets that claimed to be ‘improved from Fontaine’. Here the couple are a male and female named Columbo and Turturella.
ellauri110.html on line 1075: Welcome! ‘Conversations with Dostoevsky’ is a blog written to mark the 200th anniversary year of Dostoevsky’s birth. It takes the form of a series of conversations between a twenty-first century academic and the writer himself. The topics centre on ‘the big questions’, including God, immortality, faith, nationality, and the power of literature. Blogs will be published weekly, though readers may wish to save them up for a monthly visit.
ellauri110.html on line 1077: I hope that a revised version of these conversations will eventually appear in book form. This published version will include extensive accompanying notes, indicating the sources of the views ascribed to Dostoevsky and, where relevant, references to secondary literature. This will especially be in cases where, for example, the views spoken by Dostoevsky may involve controversial points of interpretation or where his own documented views may require comment for twenty-first century readers. However, this is primarily a work of fiction and although it is supported by scholarship and, I hope, raises questions that are of interest to scholars, it is to be read in the way we might read any work of fiction, where whatever instruction the work may offer is accompanied by a element of entertainment.
ellauri110.html on line 1079: The blog is intended to develop in a dialogical fashion and I hope that readers will contact me with any critical comments, whether these relate to style or content. Despite what I have just said about fiction, it is my wish that the eventual book will present an interpretation of Dostoevsky’s thought discussed that is fully defensible with regard to the available sources and I welcome any comments drawing attention to actual errors or significant misrepresentations. In this way, the blog itself will, I hope, set in motion a kind of conversation, alongside all the other amazing conversations about Dostoevsky that are happening in reality, in print, and online. This is work in progress and I hope not only to entertain and instruct but also to learn.
ellauri111.html on line 241: “It’s strange,” he said, almost as if he was talking to himself. “My English and American readers don’t seem to read it very much. Of course, I do say some rude things about England in it and I know what they say in return—that’s it’s full of Russian jingoism, all very retrograde and reactionary. In my own view, though, it has some of the best things I’ve ever written in it. In fact, that’s where you’ll find this story we’re talking about right now.”
ellauri112.html on line 926: Last, but not least, the about page offers a downloadable brochure, suitable for mass distribution and for anyone wanting a very brief summary of the subject of wine in the Lord´s Supper. Some readers may want a few copies for their church´s book table.
ellauri131.html on line 884: And then right towards the end of the book she informs her readers that she is 37. That was a shock. I thought I was reading the emotional turmoil, flakey actions and life disarray of someone at least 10 years younger than that.
ellauri133.html on line 63: The most important sentence of your novel is the first one. The most important paragraph is the first one. The most important page... well, you get the idea. Without a great opening, no-one will read your book. Fuck you! If your readers are so wimpy fuck them too!
ellauri133.html on line 470: Plenty of readers have defended this scene—check out the StephenKing.com board for a lively debate on its merits. Yeah, no.
ellauri133.html on line 855: "The persona that Jackson presented to the world was powerful, witty, even imposing," wrote Zoë Heller in the New Yorker. "She could be sharp and aggressive with fey Bennington girls and salesclerks and people who interrupted her writing. Her letters are filled with tartly funny observations. Describing the bewildered response of New Yorker readers to 'The Lottery,' she notes, 'The number of people who expected Mrs. Hutchinson to win a Bendix washing machine at the end would amaze you.'"
ellauri133.html on line 866: After graduating, Jackson and a guy named Hyman married in 1940. Jackson began writing material as Hyman established himself as a critic. In the backwoods town where Hyman managed to get a job, which Shirley hated as much as him, Jackson and Hyman were known for being colorful, generous hosts who surrounded themselves with literary talents, including Ralph Emerson. They were both enthusiastic readers whose personal library was estimated at $ 25,00.
ellauri133.html on line 870: Jackson´s most famous story, "The Lottery", first published in the New Yorker on June 26, 1948, established her reputation as a master of the horror tale. The story prompted over 300 letters from readers, many of them outraged at its conjuring of a dark aspect of human nature, characterized by, as Jackson put it, "bewilderment, speculation, and just plain old-fashioned abuse".
ellauri133.html on line 872: "Explaining just what I had hoped the story to say is very difficult. I suppose I hoped, by setting a particularly brutal ancient rite in the present and in my own village, to shock the story's readers with a graphic dramatization of the pointless violence and general inhumanity in their own lives." No wonder stones flew through her window.
ellauri145.html on line 516: Condemned by ill health and abysmal eyesight to convey his philosophy in short, aphoristic bursts, Nietzsche knew the power of raising a bubble of laughter, only to puncture it as you ponder the further meaning: “Is man God’s mistake, or is God man’s mistake?” “Man does not strive for happiness; only the Englishman does that” – a dig at Jeremy Bentham and John Stuart Mill. “Possession usually diminishes the possession.” “Never trust a thought that occurs to you indoors.” He even makes fun of his readers: “The worst readers are those who behave like plundering troops: they take away a few things they can use, dirty and confound the remainder, and revile the whole.” Vittu miten säälittäviä on yrityxet osoittaa että jyrkät tyypit olis jotenkin humoristisia. Ei ne vaan ole.
ellauri145.html on line 551: Although there is certainly a bias toward “masculinity” in Nietzsche’s works, this does not necessarily mean what it is presumed to mean. “Masculinity” is not, for instance a code word for “male”. It does not apply as a broad category to those who have a certain set of genitals. In fact what the term means is having the sort of virtues that one might have typically related to the masculine virtues that were considered admirable at various times in the past. These include courage, transcendence of petty emotional concerns, fearlessness in the face of death, and so on. Intellectual courage was a particular attribute that Nietzsche was trying to encourage in his readers though his appeal to the term, “masculinity”.
ellauri145.html on line 1059: This paper offers a detailed reading of Rimbaud´ s "obscure" prose pom "Dévotion" from the Illuminations. The reading is based on the central principle that the text is modelled on the form of devotional prayer, a model that Rimbaud adopts only to parody it and transgress against it. Kaikki lukijat on yhtä mieltä että tää on Rimbaudin sepustuxista sekopäisin. Vaik kyllä se aina varoo olemasta selväsanainen, se on epädekadenttia. R. is extremely fond of mystifying his readers.
ellauri147.html on line 75: Ale Tyynni was a poet, author, literary and theatre critic, translator and Olympian. Tyynni won the gold medal in the literature category at the 1948 Olympic Games in London. In addition to her poetry collections, she published children’s fiction and essays. With her translations she acquainted a Finnish readership with lyrics from other countries, most notably France.
ellauri150.html on line 588: If any of my readers, visiting Rome, will make a subway trip on Rome he will see what became of the fortune of Ben-Hur, and give him thanks.
ellauri151.html on line 130: Gide was, by general consent, one of the dozen most important writers of the 20th century. Moreover, no writer of such stature had led such an interesting life, a life accessibly interesting to us as readers of his autobiographical writings, his journal, his voluminous correspondence and the testimony of others. It was the life of a man engaging not only in the business of artistic creation, but reflecting on that process in his journal, reading that work to his friends and discussing it with them; a man who knew and corresponded with all the major literary figures of his own country and with many in Germany and England; who found daily nourishment in the Latin, French, English and German classics, and, for much of his life, in the Bible; [who enjoyed playing Chopin and other classic works on the piano;] and who engaged in commenting on the moral, political and sexual questions of the day. Monsters lead an interesting li-i-fe.
ellauri152.html on line 79: To lend authenticity to the forgery, Louÿs in the index listed some poems as "untranslated"; he even craftily fabricated an entire section of his book called "The Life of Bilitis", crediting a certain fictional archaeologist Herr G. Heim ("Mr. C. Cret" in German) as the discoverer of Bilitis' tomb. And though Louÿs displayed great knowledge of Ancient Greek culture, ranging from children's games in "Tortie Tortue" to application of scents in "Perfumes", the literary fraud was eventually exposed. This did little, however, to taint their literary value in readers' eyes, and Louÿs' open and sympathetic celebration of lesbian sexuality earned him sensation and historic significance.
ellauri152.html on line 741: Isaac Leib Peretz (Polish: Icchok Lejbusz Perec, Yiddish: יצחק־לייבוש פרץ) (May 18, 1852 – April 3, 1915), also sometimes written Yitskhok Leybush Peretz was a Yiddish language author and playwright from Poland. Payson R. Stevens, Charles M. Levine, and Sol Steinmetz count him with Mendele Mokher Seforim and Sholem Aleichem as one of the three great classical Yiddish writers. Sol Liptzin wrote: "Yitzkhok Leibush Peretz was the great awakener of Yiddish-speaking Jewry and Sholom Aleichem its comforter.... Peretz aroused in his readers the will for self-emancipation, the will for resistance against the many humiliations to which they were being subjected."
ellauri153.html on line 813: Many ancient customs are strange to modern readers of the Bible, especially those of us who have never lived in cultures embracing polygamy or absolute monarchy. The incident of Abishag sleeping—chastely—in David’s bed is definitely a puzzling story. We’ll start with the Scripture passage in which Abishag is brought to David:
ellauri155.html on line 760: Calvin then goes on to speak of a deeper dimension of predestination, that in the Old Testament we see a more special election still of God saving certain ones out of the nation of Israel. Calvin says that his readers must see how “the grace of God was displayed in a more special form, when of the same family of Abraham God rejected some.” He then refers to Malachi 1:2-3 which explicitly states, “Was not Esau Jacob’s brother? saith the Lord: yet I loved Jacob, and I hated Esau.”
ellauri155.html on line 769: He does so by warning his readers not to make anything else but God’s will their ultimate trust.
ellauri155.html on line 795: What was Calvin’s answer? He reminds his readers what the predestinated are predestined to do! He points out what the Apostle Paul said in Ephesians 1:4, where he reminds us that the end for which we are elected is “that we should be holy, and without blame before him.” “If the end of election is holiness of life, it ought to arouse and stimulate us strenuously to aspire to it, instead of serving as a pretext for sloth.” He develops how predestination should lead us to fear God all the more, and consequently should both comfort us and spur us on even in the worst of times to greater holiness.
ellauri156.html on line 209: A second reason may be boredom. Something you my dear remaining readers know by now. It is one thing to fight battles in which the enemy is quickly overcome. But the besieging of Rabbah is a whole different kind of war. This battle will not be won so quickly. It will take time to starve the Ammonites to the point that they surrender. It is not a very exciting kind of war to wage. And while they wait, the Israelite soldiers (which includes David) have to pitch their tents outside the city, living in the open field. This is no picnic, and David knows it. David's attitude seems reflected in the advertising slogan of a major hamburger chain, “You deserve a break today.”
ellauri156.html on line 533: Comic strips typically dealt with northern urban experiences before Capp introduced Li'l Abner, the first strip based in the South. The comic strip had 60 million readers in over 900 American newspapers and 100 foreign papers in 28 countries. Capp "had a profound influence on the way the world viewed the American South."
ellauri158.html on line 44: Spinoza’s views on necessity and possibility, which he claimed were the “principal foundation” of his Ethics (Ep75), have been less than well received by his readers, to put it mildly. From Spinoza’s contemporaries to our own, readers of the Ethics have denounced Spinoza’s views on modality as metaphysically confused at best, ethically nihilistic at worst. Kristityt on aina vihanneet Spinozaa, mutta niin on juutalaisetkin. Siili ressu.
ellauri159.html on line 1055: View writing as a form of personal expression. Often write about topics you care about, although you may not let their own beliefs shine through. Prefer to present the facts, which you may do in great detail, then let readers make up their own mind!
ellauri159.html on line 1081: At your best, you produce a report, article, or paper that reads like a dry listing of facts. To ensure this, consider overusing statistics or citing even more experts. No need to incorporate real-world examples to engage your readers.
ellauri159.html on line 1101: Try to consider the audience if at all possible. Where appropriate, incorporate a human element into your writing to help human readers connect to the topic. (Analogously if you write to chickens.) Use your powers of persuasion to sway others to your point of view. Ask someone you trust to review your writing to make sure you’ve achieved the desired effect, i.e. swayed them.
ellauri159.html on line 1163: You should have a natural sense of the harmony of language and ideas (if not, consider one of the other 15 types we have on store). If you are schizoid at all, you may hear in your mind how combinations of words sound together. Get attuned to the tone and implications. Use these qualities to incorporate your unique voice and perspective into your writing. Ultimately, that’s what readers respond to.
ellauri159.html on line 1179: You focus your writing on received values and ideals. You use polished language to persuade. You want to influence people’s lives for the betterment of the individual and society. If you’re a technical writer, you focus your talent on expressing a complex idea simplistically so school kids understand it. Recognize that this gift benefits your readers by helping them perform their menial tasks more effectively.
ellauri159.html on line 1185: You naturally have little interest in subjects that offend your sensibilities, because your thinking and writing is extremely conventional. Seek input from other teachers if you feel stuck. Consider how your audience feels about the subject. Find something to believe in, and advocate your position. Use anecdote and humor to connect to your students, I mean your readers.
ellauri159.html on line 1201: You enjoy colorful and figurative language, and like to infuse your work with images of your personal underware. At the same time, however, your writing may be too abstract for their readers, they want to see you inside them. During revision, add concrete details. In creative writing, appeal to the five senses and the 9 mortal sins. In freelance writing, include specifics like percentages and dollar amounts to get the audience´s attention. In technical writing, find out whether the customer needs to use a flat-head or a cross-head screwdriver (our dishwasher installer guys did not have a flathead anymore, I had to loan them one), and what the recommended torque is. These may be boring details to you, but they’re essential for your male reader. Wrong head, no screw.
ellauri159.html on line 1219: You prefer writing about your own personal topics. You may lose your creative drive if the subject isn’t about you. If so, try taking an angle that allows you to write about your feelings on the topic, if not you yourself. If you’re a technical writer, look for ways to connect with readers by anticipating and meeting their needs. Or you can use your tech knowledge to write another Gravity´s Rainbow. But don´t expect your employer to like it.
ellauri159.html on line 1224: You make the mistake to write in purely abstract terms. That just won´t do these days. You must communicate values and personal television through your writing. Nobody is interesting in abstractions. They search for the meaning behind the facts, and so consider the facts themselves to be of marginal importance. This is true; however, throw in some facts to dazzle your readers, like Bob Heinlein. During revision, add concrete details like the size of Peewee´s bra. Appeal to the five senses. Include Peeweeś vital statistics. Incorporate other points of view for balance. Make sure your research backs up your conclusion.
ellauri159.html on line 1240: With the desire for efficiency, you must sometimes be terse. Be sure to consider audience reaction. "Shut up!" is a good terse riposte. You already know how ideas relate to one another. Unless you’re writing for an audience of experts, assume readers know nothing about the topic. They don´t. Include faked data if necessary to support your conclusions. In your eagerness to finish, don’t skimp on those touches that will elevate your writing from good to great. You want to be great, not just good. Alexander the Good? Friedrich the Good? Catherine the Good? Naaw.
ellauri159.html on line 1295: If they write anything but checks, their writing can have a sense of inevitability, presenting an orderly progression of facts and ideas that can lead to only one possible conclusion. Their authoritative voice can instill a sense of comfort and trust in readers. Make sure that trust is warranted—use your natural skepticism to seek out possible flaws in your reasoning and research. Steer clear of the anti-trust laws, they can cut your earnings.
ellauri162.html on line 762: Richard Dawkins does not make the head of our list. Since this may disappoint some of our readers. we have, after our ranking, also ordered the atheists on our list by the number of Google hits that their names obtain.
ellauri162.html on line 823: More importantly, Pharyngula can also refer to a blog written and posted by P.Z. Myers. See Pharyngula (blog). Pharyngula is a blog by atheist and evolutionist PZ Myers, who is a biologist and associate professor at the University of Minnesota, Morris. Pharyngula was hosted 2005-2011 at Scienceblogs in full, and 2011-present, in part. Since 2011, Pharyngula has been hosted at Freethought Blogs. The atheist biologist Massimo Pigliucci said of Myers and his blog audience, "one cannot conclude this parade without mentioning P.Z. Myers, who has risen to fame because of a blog where the level of nastiness (both by the host and by his readers) is rarely matched anywhere else on the Internet...".
ellauri164.html on line 372: I blew through this novel myself, which in retrospect was somewhat of a grave mistake, as the book alternates between compelling and highly engaging dialogues to unrealistically long monologues which to me resemble a Rimbaud poem in translation than anything else, which is to say: hard to parse. That they got more than what they bargained for is what the ordinary reader will be struck by first when they read this. The complexity of each of the conversations cannot be overstated, which I think will inevitably result in readers just mechanically scanning the sentences rather than internalizing the arguments, with the final result being the great part of the novel sliding off like rain, leaving only vague impressions like it did with me unfortunately, but the parts that did affect me left me very humbled. And chiefly this impression will not be helped by another one of the defining features of the novel, which is its vagueness. It deliberately leaves a lot of key details unheard and leaves a lot to the ability to infer events by the reader. Though sometimes frustrating to a reader like me who reads history and biography, I recognize that it should be so for this novel, for the main conflict in it is a psychological one, so I wouldn't have it any other way.
ellauri164.html on line 374: For readers unfamiliar with the culture context of France between the two wars, it might be helpful to first watch Robert Bresson's movie of the same name which has been hailed as a masterpiece by such diverse critics as Ingmar Bergman and Jean-Luc Godard. I read the book first. After seeing the movie, I read the book a second time and got much more out of it. As Canadian and a native speaker of French, I can assure any Anglophone that the culture of France is at times very murky to the outsider who must at times go to extra efforts to fully enjoy French literature.
ellauri171.html on line 1053: Although the readers know that God has killed two of Judah’s sons, Judah does not. This is known as dramatic irony. He suspects that Tamar is a “lethal woman,” a woman whose sexual partners are all doomed to die. So, Judah is afraid to give Tamar to his youngest son, Shelah, the inventor of Shelah quantifiers. So doing, Judah wrongs Tamar. According to Near Eastern custom, known from Middle Assyrian laws, if a man has no son over ten years old, he could perform the Levirate marriage (yibbum) obligation himself; if he does not, the woman is declared a “widow,” free to marry again. Judah, who is perhaps afraid of Tamar’s lethal character, could have set her free. But he does not—he sends her to live as “a widow” in her father’s house. Unlike other widows, she cannot remarry and must stay chaste on pain of death. She is in limbo.
ellauri180.html on line 345: Seek feedback from beta readers. ...
ellauri182.html on line 115: Some reviewers thought Kitchen was superficial in style and substance, and overly sentimental. Todd Grimson in the Los Angeles Times Book Review wrote that, ‘“Kitchen’ is light as an invisible pancake, charming and forgettable ... The release of information to the reader seems unskilled, or immature, weak in narrative or plot.” Elizabeth Hanson of the New York Times Book Review took issue with the overall effect of the book, writing that “the endearing characters and amusing scenes in Ms. Yoshimoto’s work do not compensate for frequent bouts of sentimentality.” Hanson added that the book’s main appeal for English-language readers “lies in its portrayal of the lives of young Japanese who are more into food and death than sex. EAT! KILL! but do not FUCK!".
ellauri183.html on line 168: In Fear and Trembling, Kierkegaard follows Kant in emphasising that Abraham's decision is morally repugnant and rationally unintelligible. However, he also shows that one consequence of Kant's view is that, if nothing is higher than human reason, then belief in God becomes dispensable. Unlike both Kant and Luther, Kierkegaard does not promote a particular judgment about Abraham, but rather presenz his readers with a dilemma: either Abraham is no better than a murderer, and there are no grounds for admiring him; or moral duties do not constitute the highest claim on the human being. Fear and Trembling does not resolve this dilemma, and perhaps for a religious person there is no entirely satisfactory way of resolving it.
ellauri183.html on line 170: The dilemma is not unique to Abraham's situation. Kierkegaard was writing for 19th-century readers who regarded themselves as Christians – that is to say, as people who believed in the authority and goodness of God. By emphasising the difficulty of understanding Abraham's response to the divine command, he emphasises the difficulty of faith izelf. Implicit in his analysis of the story of Abraham is the question: would you do what Abraham did? How could you do such a thing? It seems unlikely that anyone who really thinx about these questions would conclude that he or she would have acted as Abraham did. Just as Abraham's faith is tested by God in the Book of Genesis, so the reader's own faith is tested by personal reflection on the biblical story.
ellauri183.html on line 172: Kierkegaard's point in Fear and Trembling is not to recommend blind faith in God, but to unsettle his readers' blind faith in themselves. That is to say, he seex to challenge their complacent assumption that they are Christians. Only when this assumption was abandoned, he thought, could people embark on the task of becoming a Christian.
ellauri184.html on line 84: In 1980, The Executioner's Song, Mailer's "real-life novel" of the life and death of murderer Gary Gilmore, won the Pulitzer Prize for fiction. Joan Didion reflected the views of many readers when she called the novel "an absolutely astonishing book" at the end of her front-page review in the New York Times Book Review.
ellauri184.html on line 219: Modern readers of the NT often know little about the geopolitical world of first-century Palestine. It is commonly assumed that “the Jews” were an undifferentiated community living amicably in the part of the world we now call “the Holy Land” united in their resentment of the political imposition of Roman rule to which all were equally subject.
ellauri184.html on line 346: The town is cited in all four gospels (Matthew 4:13, 8:5, 11:23, 17:24, Mark 1:21, 2:1, 9:33, Luke 4:23, 31,7:1, 10:15, John 2:12, 4:46, 6:17, 24, 59) where it was reported to have been the hometown of the tax collector Matthew (aka Leevi, eri kuin evankelista), and located not far from Bethsaida, the hometown of the apostles Simon Peter, Andrew, James and John. Some readers take Mark 2:1 as evidence that Jesus may have owned a home in the town, but it is more likely that he stayed in the house of one of his followers here. He certainly spent time teaching and healing there. One Sabbath, Jesus taught in the synagogue in Capernaum and healed a man who was possessed by an unclean spirit (Luke 4:31–36 and Mark 1:21–28). This story is notable as the only one that is common to the gospels of Mark and Luke, but not contained in the Gospel of Matthew (see Synoptic Gospels for more literary comparison between the gospels). Afterward, Jesus healed Simon Peter´s mother-in-law of a fever (Luke 4:38–39). According to Luke 7:1–10 and Matthew 8:5, this is also the place where Jesus healed the boyfriend of a Roman centurion who had asked for his help. Capernaum is also the location of the healing of the paralytic lowered by friends through the roof to reach Jesus, as reported in Mark 2:1–12 and Luke 5:17–26.
ellauri189.html on line 128: As already pointed out, many readers were susceptible to the particular emotional aura, by which Maria seems to be pervaded, and connected it with the Ukrainian
ellauri191.html on line 276: "in appreciation of his many-sided literary activities, and especially of his dramatic works, which are distinguished by a wealth of imagination and by a poetic fancy, which reveals, sometimes in the guise of a fairy tale, a deep inspiration, while in a mysterious way they appeal to the readers' own feelings and stimulate their imaginations"
ellauri192.html on line 898: "One-Story America" was a hit with American readers and received a lot of praise in the press, including:
ellauri197.html on line 106: The second stanza is very similar to the first. There are several examples of repetition. The speaker begins by describing himself standing with his love “In a field by the river” rather than in the “salley garden”. Either way, the setting is natural and likely beautiful. The scene is made even more pleasing by the fact that he was with someone he loved and she was touching his shoulder with her “snow-white hand”. Here, readers should notice the repetition of “snow-white”. This time rather than describing her feet he’s thinking about her hand. He remembers how she asked him at that moment to “take life easy”. This is almost exactly the same as in the first stanza. But, now it’s revealed that the speaker’s inability to take it “easy” stretches to his life beyond his relationship with this woman.
ellauri197.html on line 112: Readers who enjoyed ‘Down By the Salley Gardens’ should also consider readings some of Yeats’ other love-based poems. For instance, a good way to go on are ‘He Wishes His Beloved Were Dead’ and ‘Never Give All the Heart’. Other similar poems by other poets about love include ‘How Happy I Was If I Could Forget’ by Emily Dickinson and ‘Love’s Organ's Growth’ by John Donne. Lady readers might also be interested in ‘Memory’ by Christina Rossetti and ‘In Memory of a Happy Day in February’ by Anne Brontë.
ellauri197.html on line 216: The third stanza reminds readers/listeners that civilization come and go, that the story of humankind is replete with societies rising and falling, like waves in the ocean. While the thought may provoke gloom, it remains a fact that those civilization have indeed been stamped out, and what a good thing it is.
ellauri198.html on line 344: A footnote in the Penguin Classics edition (Robert Browning Selected Poems) advises against allegorical interpretation, saying “readers who wish to try their hand should be warned that the enterprise strongly resembles carving a statue out of fog." This sentiment is echoed by many critics, who believe any quest for interpretation will ultimately fail, due to the dreamlike, illusionary nature of the poem.
ellauri198.html on line 831: His several boring plays featured fictional heroic ancient Irish warrior Cuchulain. A later poem concludes with a brash announcement: “There’s more enterprise in walking naked.” This indecent departure from a conventional 19th-century manner disappointed his contemporary readers, who preferred the pleasant musicality of such familiar poems as “The Lake Isle of Innisfree,” which he wrote in 1890. "I think all happiness depends on the energy to assume the mask of some other person, on strutting as somebody else but yourself", he said. Yeats and his lamentable wife held more than 400 sessions of automatic writing, producing nearly 4,000 pages that Yeats avidly and patiently studied and organized. What an idiot.
ellauri206.html on line 61: Show, don't tell is a technique used in various kinds of texts to allow the reader to experience the story through actions, words, thoughts, senses, and feelings rather than through the author's exposition, summarization, and description. It avoids adjectives describing the author's analysis, but instead describes the scene in such a way that readers can draw their own conclusions. The technique applies equally to nonfiction and all forms of fiction, literature including haiku and Imagism poetry in particular, speech, movie making, and playwriting.
ellauri206.html on line 71: In 2017, Vietnamese-American writer Viet Thanh Nguyen (n.h.) questioned the validity of continuing to teach "show, don't tell" in creative writing classes in a New York Times op-ed on the subject. His position was that such teaching is biased against immigrant writers, who may describe emotions in ways readers from outside their culture might not understand, rendering "tell" necessary. Like the squeaky smiley that shows just raised eyebrows and no smiling mouth. Because a smile does not count for anything out there. Everybody smiles all the time.
ellauri207.html on line 87: informs readers that it was published by Harvard University Press, the book has been impossible to find. Until now. We’re very excited to announce the long-awaited publication of Parnault’s Dimensions in Mathematics.
ellauri207.html on line 89: Like no work since the Arithmetica of Diophantus two millennia before, L. C. Parnault’s Dimensions in Mathematics presents the fullness of mathematical knowledge attained by man. From Thales to Turing, Pythagoras to Euclid, Archimedes to Newton, the Riemann Hypothesis to Fermat’s Last Theorem, Parnault escorts both serious mathematicians and the non-mathematical mind through the deepest mysteries of mathematics. Along the way he offers the greatest expositions yet of number theory, combinatorial topology, the analytics of complexity, and his own groundbreaking work on spherical astronomy. Dimensions equips even elementary readers with the tools to solve the logical puzzles of the perfect universe that can exist only in the mind of a mathematician.
ellauri207.html on line 95: In addition to being a milestone for the field, the publication of Dimensions in Mathematics is a true publishing event, a crowning achievement in our centennial year. We’re extremely proud to finally satisfy the millions of Millennium readers who’ve sought out the book, and are deeply humbled by the experience of working with the legendary Dr. Parnault.
ellauri207.html on line 357: Zalachenko got involved with Agneta Sjolander, who changed her own name to match his, but he refused to marry her, calling her a whore. Regardless he fathered two children with her, Lisbeth and her twin sister, Camilla. So they must have had their moments... Zalachenko brutally beat and abused Agneta, who tried to shelter her daughters from the brutality, and the two girls reacted differently. Camilla didn´t care at all for her mother, and Lisbeth did. At age twelve, Lisbeth Salander, set Zalanchenko, her father, on fire to stop his brutal beatings of her mother. We find out in The Girl Who Played with Fire, that because of the damage to his body, he had to have his leg amputated and suffers from chronic pain. I can relate to that! Constant pain is enough to turn one into a psychopath. This act is used as evidence to support claims that Lisbeth Salander is mentally ill, and remains a topic of debate for readers and characters.
ellauri214.html on line 74: J.K. Rowling did not limit herself to being racist, she also included anti-semitic stereotypes in her books. Many readers have noticed how the descriptions of the goblins in the Harry Potter series bear striking resemblance to anti-semitic stereotypes. The goblins are hooked-nosed creatures who work at the wizarding bank Gringotts and are obsessed with gold and money.
ellauri214.html on line 76: J.K. Rowling has also included plenty of sexism in her writing, indicative of her internalised misogyny. Cho Chang was Harry Potter’s love interest throughout books 4 and 5. However, Cho was in a relationship with another student in the fourth book, and unfortunately this student was killed by Lord Voldemort at the end of the book. This leaves Cho rightfully distraught. Though still in emotional turmoil, she develops a crush on Harry and they begin dating. During their first kiss, Cho is crying because she is thinking of her dead boyfriend. Harry and Cho break up after multiple arguments later in the book. Later on in the series, Harry develops feelings for his best friend’s sister, Ginny Weasley. Rowling periodically writes how Harry prefers Ginny to Cho because Cho was too emotional after the death of her boyfriend. Harry preferred Ginny, who was stronger and could contain her emotions, supposedly because she had grown up with 6 brothers (no, 5, Ronny is a sissy). This comparison of the two girls demonstrates Rowling’s internalized feelings that women exist for the purpose of pleasing men. The thinly veiled idea that women who are too emotional or too much drama queens are not desirable is evident in Rowling’s writing. Fleur Delcore is another example of this feeling. Fleur is a student at a French wizarding school who competes against Harry in a difficult tournament in the fourth book. Fleur is part veela, who are magical beings of extreme beauty but can turn monstrous when angered. Fleur eventually marries Ron Weasley’s older brother, Bill. Hermionie, Harry’s other best friend, and Ginny constantly complain about Fleur. However, the only thing their animosity can be traced back to is that Fleur is a beautiful Frenchy woman and she is confident in that, whilst they are just snubnosed Brits. This further develops Rowling’s internalized misogyny. She views women who are confident in their beauty as annoying, and has the idea that women should seek male validation. Though these portions of the book were likely unintentional, speaking from personal experience, it has to be said that Rowling’s writing of women in her book have had a lasting effect on her female readers.
ellauri214.html on line 86: Whereas Rowling’s shepherding of readers was, in the Harry Potter juvenile series, an essential asset, in The Casual Vacancy her firm hand can feel constraining. She leaves little space for the peripheral or the ambiguous; hidden secrets are labeled as hidden secrets, and events are easy to predict. We seem to watch people move around Pagford as if they were on Harry’s magical parchment map of Hogwarts.
ellauri214.html on line 535: Halfway through her fifth novel Flights, Olga Tokarczuk asks her readers to take pity on the poor souls for whom English is their “real language”. “Just imagine!” teases Poland’s most widely translated female author. “They don’t have anything to fall back on or turn to in moments of doubt. How lost they must feel in the world, where all instructions, all the lyrics of the stupidest possible songs, all the excruciating pamphlets and brochures — even the buttons in the lift! — are in their private language . . . they are accessible to everyone and everything!”
ellauri222.html on line 193: And it got even better. Jack Ludwig reviewed the novel. He informed readers of Holiday that “the book is a major breakthrough.” By no means should it be read as autobiography—“as if an artist with Bellow’s enormous gifts were simply playing at second-guessing reality, settling scores.” No, in this book, Ludwig wrote, “Bellow is after something greater.” The greater something turns out to be “man’s contradiction, his absurdity, his alienation,” and so on. It was pretty chutzpadik, as even Bellow had to admit. But by then he was laughing all the way to the bank.
ellauri222.html on line 709: Through his Wonder Woman comics, he aimed to condition readers to becoming more readily accepting of loving submission to loving authorities rather than being so assertive with their own destructive egos. About male readers, he later wrote: "Give them an alluring woman stronger than themselves to submit to, and they'll be proud to become her willing slaves!"
ellauri236.html on line 188: I have already outlined the plot, but the subject-matter is much more sordid and brutal than this suggests. The book contains eight full-dress murders, an unassessable number of casual killings and woundings, an exhumation (with a careful reminder of the stench), the flogging of Miss Blandish, the torture of another woman with red-hot cigarette-ends, a strip-tease act, a third-degree scene of unheard-of cruelty and much else of the same kind. It assumes great sexual sophistication in its readers (there is a scene, for instance, in which a gangster, presumably of masochistic tendency, has an orgasm in the moment of being knifed - I can relate to that!), and it takes for granted the most complete corruption and self-seeking as the norm of human behaviour. The detective, for instance, is almost as great a rogue as the gangsters, and actuated by nearly the same motives. Like them, he is in pursuit of ‘five hundred grand’. It is necessary to the machinery of the story that Mr. Blandish should be anxious to get his money back, but apart from this, such things as affection, friendship, good nature or even ordinary politeness simply do not enter. Nor, to any great extent does normal sexuality. Ultimately only one motive is at work throughout the whole story: the pursuit of power. (Well, there is also the pursuit of spaghetti and some twat.)
ellauri236.html on line 198: There exists in America an enormous literature of more or less the same stamp as No Orchids. Quite apart from books, there is the huge array of ‘pulp magazines’, graded so as to cater for different kinds of fantasy, but nearly all having much the same mental atmosphere. A few of them go in for straight pornography, but the great majority are quite plainly aimed at sadists and masochists. Sold at threepence a copy under the title of Yank Mags(4), these things used to enjoy considerable popularity in England, but when the supply dried up owing to the war, no satisfactory substitute was forthcoming. English imitations of the ‘pulp magazine’ do now exist, but they are poor things compared with the original. English crook films, again, never approach the American crook film in brutality. And yet the career of Mr. Chase shows how deep the American influence has already gone. Not only is he himself living a continuous fantasy-life in the Chicago underworld, but he can count on hundreds of thousands of readers who know what is meant by a ‘clipshop’ or the ‘hotsquat’, do not have to do mental arithmetic when confronted by ‘fifty grand’, and understand at sight a sentence like ‘Johnny was a rummy and only two jumps ahead of the nut-factory’. Evidently there are great numbers of English people who are partly americanized in language and, one ought to add, in moral outlook. For there was no popular protest against No Orchids. In the end it was withdrawn, but only retrospectively, when a later work, Miss Callaghan Comes to Grief, brought Mr. Chase's books to the attention of the authorities. Judging by casual conversations at the time, ordinary readers got a mild thrill out of the obscenities of No Orchids, but saw nothing undesirable in the book as a whole. Many people, incidentally, were under the impression that it was an American book reissued in England.
ellauri236.html on line 384: In 1947, the sado-eroticism in Chase's book was parodied by Raymond Queneau in his pastiche novel, We Always Treat Women Too Well. In 1961, the novel was extensively rewritten and revised by the author because he thought the world of 1939 too distant for a new generation of readers (confusion can result if readers of the Orwell essay refer his quotations and references to the 1962 edition).
ellauri241.html on line 1593: and the same to you my impatient readers too!
ellauri244.html on line 435: Mia Faye is a romance addict who lives for the joy of entertaining her readers with her novels. She loves to hear from you via social media or via mail: miafayebooks@gmail.com ... "On His Desk" from bestselling author Mia Faye is a stand-alone second chance romance, between enemies who become lovers, with a baby surprise and a guaranteed HEA ...
ellauri245.html on line 155: I received something in Sweden’s Svenska Dagbladet that I don’t think I ever had before: an unqualified trouncing by a reviewer who felt that the book sensationalized violence. The review seemed so emotionally charged that I could only conclude that The Leopard not only wasn’t everyone’s cup of tea, but a brew that really stuck in some readers’ craws, a book whose brutality and scenes of violence could truly alienate readers.
ellauri248.html on line 125: And the worst part? The mystery from twenty years ago that causes this entire fucking BOOK and that was way more interesting than the normal mystery? Literally no fucking resolution. Who did it? How did they do it? What is up with that hair clip in the forest and the blood inside Rob’s shoes? NO ONE FUCKING KNOWS. I’m sure this is framed in the minds of many readers as some kind of deeper meaning about memory. You know what I thought, honestly? Tana French wrote herself into a corner with a fucking ridiculous case and then ran out of time on her deadline and decided to leave it open. [krimi, whodunit]
ellauri248.html on line 134: I am eager to lose myself in her subsequent novels, which I hope are just as riveting. [Don't get fooled by Matt, he is a review professional fishing clueless readers to his own little pond. Bet he has not even read the book.]
ellauri254.html on line 813: True, until death us part, that is. Cough cough. He argued that too many Russian writers were lazy and self-satisfied; they were barbarians who needed to study plot and structure from Western masters. Again, he asserted that plot, action and good composition would win the approval of proletarian readers and theatergoers sooner than would a proper political message. He provided a survey of Russian literature from the point of view of the development of plot. No bestsellers without spoilers, that is what the rubbernecks expect.
ellauri257.html on line 419: Upon the 2009 American release (of the book, after the film of course, this is America), Michael Dirda wrote in The Washington Post that Pornografia "seems as sick, as pathologically creepy a novel as one is ever likely to read. In some ways, it resembles a rather more polymorphously perverse version of Les Liaisons Dangereuses or one of those disturbing fictions by European intellectuals that blend the philosophical with the erotic: Think of Georges Bataille's The Story of the Eye or Pierre Klossowski's Roberte Ce Soir. ... Through its sado-masochistic material and its almost Henry Jamesian analyses of human motives, Pornografia underscores Gombrowicz's lifelong philosophical obsession: the quest for authenticity." Dirda continued: "Certainly, most readers will find Pornografia perturbing, or worse: repulsive, confusing, ugly. As Milosz once said of Gombrowicz: 'He had no reverence whatsoever for literature. He derided it as a snobbish ritual, and if he practiced it, he attempted to get rid of all its accepted rules.'"
ellauri262.html on line 222: The books contain Christian ideas intended to be easily accessible to young readers. In addition to Christian themes, Lewis also borrows characters from Greek and Roman mythology, as well as traditional British and Irish fairy tales.
ellauri272.html on line 326: Weyland notes how readers are likely
ellauri277.html on line 236: Gibran did not have the training to imitate the old masters of Arabic literature: his education had been haphazard and was as much in English as in Arabic, and there is little evidence of the influence of classical Arabic literature in his works. Instead, his Arabic style was influenced by the Romantic writers of late 19th-century Europe and shows obvious traces of English syntax. His allegorical sketches of exile, oppression, and loneliness spoke to the experiences of immigrants and had none of the rhetorical decoration that made high Arabic literature difficult for ordinary readers. Gibran’s haphazard education meant that his Arabic, like his English, was never perfect.
ellauri300.html on line 831: We hope you enjoyed this article. Today is Giving Tuesday, an international day of giving, and we are asking our readers to support our ministry.
ellauri309.html on line 268: writer and her readers, or the power of an ugly insinuation posted on
ellauri309.html on line 285: publisher, to create a community with other writers, and to show readers I
ellauri309.html on line 293: readers from calling me a l7iar, and worse. We reached out again, asking her
ellauri309.html on line 307: this to escalate any more than it has. I don’t want my readers to go on the
ellauri365.html on line 579: There are many reasons why Heidenstams poetry should appeal particularly to American readers. the Swedish genius is closely akin to us; it has the same seriousness, the same vigor, the same nobility of feeling. Theodore Roosevelt in his Autobiography tells us that he found time to read and enjoy the works of Topelius. But we have to face the truth that most other well-informed American persons have never heard the name of a single Swedish poet.
ellauri368.html on line 325: Revealer of Secrets merits immense respect among readers of Judaic literature. With it Perl not only inaugurated a new branch of Hebrew writing but also entered the fray that was raging between enlightened maskilim and inspired hasidim , taking aim against corruption through sophisticated comic parodies. According to tradition, Perl's parody was so convincing that hasidic readers initially assumed that Revealer of Secrets was a genuine hasidic work. This impression was furthered by the presence of innumerable scholarly and pseudo-scholarly footnotes adorning the text.
ellauri390.html on line 588: Shortly after his return, he had a stream of conscious typing experience that lasted for 21 days. What flowed through him became a little book called, The Cafe on the Edge of the World. The inspirational story went on to be translated into 44 languages, win Bestseller of the Year nine times, and inspire millions of readers around the world. This despite being rejected by fifty-four publishers.
ellauri405.html on line 236: 1Analysis (ai): This simple yet profound poem by Robert Louis Stevenson captures the essence of contentment and appreciation. Its concise language belies a depth of meaning that encourages readers to find joy in the abundance of life's offerings. The poem's structure is as straightforward as its message. Two rhyming couplets emphasize the simplicity of Stevenson's message: that the world is full of blessings we often overlook. The repetition of "number" and "things" reinforces the idea of abundance, inviting readers to pause and notice the countless sources of happiness that surround them. This poem stands in stark contrast to the grim realities of Victorian England, where Stevenson lived. The Industrial Revolution had brought both progress and poverty, and many people struggled to find happiness amidst the harsh conditions. Stevenson's message of finding joy in simplicity and gratitude may have been a source of solace during challenging times. Compared to Stevenson's other works, such as "Treasure Island" and "The Strange Case of Dr. Jekyll and Mr. Hyde," this poem is a departure in terms of tone. It is not an adventure story or a psychological thriller but rather a quiet meditation on the beauty of life. However, it shares the same optimistic spirit that permeates much of Stevenson's writing, reminding readers that even in the face of adversity, there is always something to be grateful for.
ellauri408.html on line 302: The Bible warns its readers sternly about false prophets, but some of falsest of the false ended up with their lies enshrined in the Bible. For instance…
xxx/ellauri091.html on line 489: are really enviable and which ones just a little. We’re wholly certain many readers will be astonished by our conclusions. Which is to say, we fully
xxx/ellauri103.html on line 229: I’m hoping that crime writers, for example, don’t all have personal experience of committing murder. Me, I’ve depicted a high school killing spree, and I hate to break it to you: I’ve never shot fatal arrows through seven kids, a teacher, and a cafeteria worker, either. We make things up, we chance our arms, sometimes we do a little research, but in the end it’s still about what we can get away with – what we can put over on our readers. And it is surprisingly easy, you wouldnt believe what the idiots are ready to swallow, especially if it agrees with their own prejudice.
xxx/ellauri113.html on line 89: On the Fourfold Root of the Principle of Sufficient Reason (German: Ueber die vierfache Wurzel des Satzes vom zureichenden Grunde) is an elaboration on the classical Principle of Sufficient Reason, written by German philosopher Arthur Schopenhauer as his doctoral dissertation in 1813. The principle of sufficient reason is a powerful and controversial philosophical principle stipulating that everything must have a reason or cause. Schopenhauer revised and re-published it in 1847. The work articulated the centerpiece of many of Schopenhauer's arguments, and throughout his later works he consistently refers his readers to it as the necessary beginning point for a full understanding of his further writings.)
xxx/ellauri113.html on line 93: The Principle of Reason, the text of an important and influential lecture course that Martin Heidegger gave in 1955-56, takes as its focal point Leibniz's principle: nothing is without reason. Heidegger shows here that the principle of reason is in fact a principle of being. Much of his discussion is aimed at bringing his readers to the "leap of thinking," which enables them to grasp the principle of reason as a principle of being. This text presents Heidegger's most extensive reflection on the notion of history and its essence, the Geschick of being, which is considered on of the most important developments in Heidegger's later thought. One of Heidegger's most artfully composed texts, it also contains important discussions of language, translation, reason, objectivity, and technology as well as remarkable readings of Leibniz, Kant, Aristotle, and Goethe, among others. And lots of black-and-white pictures of scantily dressed women.
xxx/ellauri120.html on line 35: Novelist Bulwer-Lytton was a friend and contemporary of Charles Dickens and was one of the pioneers of the historical novel, exemplified by his most popular work, The Last Days of Pompeii. He is best remembered today for the opening line to the novel Paul Clifford, which begins "It was a dark and stormy night..." and is considered by some to be the worst opening sentence in the English language. However, Bulwer-Lytton is also responsible for well-known sayings such as "The penis mightier than the sword" from his play Richelieu. Despite being a very popular author with 19th-century readers, few people today are even aware of his prodigious body of literature spanning many genres. In the 21st century he is known best as the namesake for the Bulwer-Lytton Fiction Contest (BLFC), sponsored annually by the English Department at San Jose State University, which challenges entrants "to compose the opening sentence to the worst of all possible novels", and the township of Lytton, or Camchin until the British nosey parkers came, saw and beat the copper-colored nlaka'pamuxes. Now their village got burned to ashes thanx to the industrial revolution.
xxx/ellauri122.html on line 777: His book is where the idea of Big Brother originated, and his messages of a restrictive government remain as insightful today as they did when they were originally written more than 60 years ago. Orwell presents readers with a vision of a haunting world that remains captivating from the beginning to end. Good sturdy Rifle Association stuff. Orwell eli Blair on reposteltu täällä.
xxx/ellauri122.html on line 782: Huxley's enthralling tale takes readers through a frightening and thought-provoking take on society. This one should vaccinate you against communism for life.
xxx/ellauri122.html on line 787: Left tormented and in isolation, the innocent creature turns on his creator in this eloquent Gothic thriller, which touches the hearts of readers with its messages of the dangers of science and human judgment. This helps appreciate pro life ideas: do not meddle with what belongs to Mighty Mouse territory.
xxx/ellauri122.html on line 818: A frighteningly prophetic novel, 'Fahrenheit 451' is set in a dystopian future where there are no books, just smart phones. For the protagonist, Montag, it all seems normal -- until the day he gets a glimpse of the past. With a riveting plot and solid characters, the book draws readers into its imagined world. Totally outdayed. Books are being yurned inyo lampshades as we speak. Who wants them anyway, TLDR.
xxx/ellauri122.html on line 892: The novel challenges readers to consider how they think, including monitoring their reactions, judgments, and choices. Daniel Kahnemann is a sleazy customer whose antics have been taken under the lupe elsewhere.
xxx/ellauri122.html on line 956: Often considered the gateway title to other graphic novels like 'V for Vendetta' and 'Batman: The Dark Knight Returns,' the series dissects the entire concept of the superhero in a way that sticks with readers for years. Fucking superheroes, why the heck do Americans get so hot about them? Well it's all part of the American dream.
xxx/ellauri123.html on line 767: But as Lance Olsen writes: "The first 13 chapters of the text, culminating with the oft-cited scene of Lo unwittingly stretching her legs across Humbert's excited lap ... are the only chapters suggestive of the erotic." Nabokov himself observes in the novel´s afterword that a few readers were "misled by the opening of the book ... into assuming this was going to be a lewd book ... expecting the rising succession of erotic scenes; when these stopped, the readers stopped, too, and felt bored." Preee-cisely!
xxx/ellauri124.html on line 348: Bustle is an online American women's magazine founded in August 2013 by Bryan Goldberg. It positions news and politics alongside articles about beauty, celebrities, and fashion trends. By September 2016, the website had 50 million monthly readers.
xxx/ellauri125.html on line 485: With Walton's support, he began Call It Sleep in about 1930, completed the novel in the spring of 1934, and it was published in December 1934, to mostly good reviews. Yet the New York Herald Tribune's book critic Lewis Gannett foresaw that the book would not prove popular with its bleak depiction of New York's Lower East Side, but wrote readers would "remember it and talk about it and watch excitedly" for Roth's next book. Call It Sleep sold slowly and poorly, and after it was out-of-print, critics writing in magazines such as Commentary and Partisan Review kept praising it, and asking for it to be reprinted. After being republished in hardback in 1960 and paperback in 1964, with more than 1,000,000 copies sold, and many weeks on the New York Times bestseller list, the novel was hailed as an overlooked Depression-era masterpiece and classic novel of immigration. Today, it is widely regarded as a masterpiece of Jewish American literature. With Walton's support, he began Call It Sleep in about 1930, completed the novel in the spring of 1934, and it was published in December 1934, to mostly good reviews. Yet the New York Herald Tribune's book critic Lewis Gannett foresaw that the book would not prove popular with its bleak depiction of New York's Lower East Side, but wrote readers would "remember it and talk about it and watch excitedly" for Roth's next book. Call It Sleep sold slowly and poorly, and after it was out-of-print, critics writing in magazines such as Commentary and Partisan Review kept praising it, and asking for it to be reprinted.[ After being republished in hardback in 1960 and paperback in 1964, with more than 1,000,000 copies sold, and many weeks on the New York Times bestseller list, the novel was hailed as an overlooked Depression-era masterpiece and classic novel of immigration. Today, it is widely regarded as a masterpiece of Jewish American literature. After Muriel's death in 1990, Roth moved into a ramshackle former funeral parlor and occupied himself with revising the final volumes of his monumental work, Mercy of a Rude Stream. It has been alleged that the incestuous relationships between the protagonist, a sister, and a cousin in Mercy of a Rude Stream are based on Roth's life. Roth's own sister denied that such events occurred. Roth attributed his massive writer's block to personal problems such as depression, and to political conflicts, including his disillusion with Communism. At other times he cited his early break with Judaism and his obsessive sexual preoccupations as probable causes. Roth died in Albuquerque, New Mexico, United States in 1995. The character E. I. Lonoff in Philip Roth's Zuckerman novels (The Ghost Writer and Exit Ghost in this case), is a composite of Roth, Bernard Malamud and fictional elements.
xxx/ellauri127.html on line 297: Stratton-Porter wrote several best-selling novels in addition to columns for national magazines, such as McCall's and Good Housekeeping, among others. Her novels have been translated into more than twenty languages, including Braille, and at their peak in the 1910s attracted an estimated 50 million readers. Eight of her novels, including A Girl of the Limberlost, were adapted into moving pictures. Stratton-Porter was also the subject of a one-woman play, A Song of the Wilderness. Two of her former homes in Indiana are state historic sites, the Limberlost State Historical Site in Geneva and the Gene Stratton-Porter State Historic Site on Sylvan Lake, near Rome City, Indiana.
xxx/ellauri137.html on line 662: Alok Mishra is a literary entrepreneur as well as a literary philanthropist who has been active in this field almost for a decade now (adding the individual capacity as well as organisational). He is currently active as the founder of BookBoys PR, a dedicated company which works for authors and publishers and help them reach the target readers. Alok has been in this field, promotions and author branding, for more than 4 years now.
xxx/ellauri137.html on line 773: The one stand-out annoyance for me was unexpectedly hitting upon yet another plot relying upon "rescuing" a female character from her sordid life of sex (or nearly-sex) work: hostessing, in this case. She's told she's "better" than that which means she should make less money doing something more honorable. It makes me want to write to the author and say she could do so much BETTER than write a book that hooks readers immediately with an erotically-charged story of sexual assault on a crowded train. I´m not mad at her, though, for giving the majority of readers what they want; just a pet peeve of mine.
xxx/ellauri167.html on line 592: To his advantage, however, was the fact that he had microphone access whenever he wanted it. But at a key moment, he pointedly chose not to take the mic. When Ribicoff made his crack about “Gestapo tactics in the streets of Chicago” from the dais, Daley stood up and shouted from the floor “Fuck you, you Jew son of a bitch, you lousy motherfucker, go home!” The forceful exclamation, shown on live TV, was later deciphered by lip readers. Friends said Daley called Ribicoff not a “fucker,” but a “faker.” Enemies suggested he had called him not a “Jew” but a “kike.” The CBS newsman who was closest simply reported that Daley had gone bright red with anger.
xxx/ellauri168.html on line 276: And here is where dissociation comes in. We know empirically from DID that consciousness can give rise to many operationally distinct centers of concurrent experience, each with its own personality and sense of identity. Therefore, if something analogous to DID happens at a universal level, the one universal consciousness could, as a result, give rise to many alters with private inner lives like yours and ours. As such, we may all be alters—dissociated personalities—of universal consciousness! God is schizophrenic, and you and me are His split personalities! Well he does strike readers of the "good book" as somewhat paranoid.
xxx/ellauri170.html on line 729: Ok. So I am simplifying their argument, but I don’t care. I know this is the most you my dear readers can wrap your simian brains around. Their argument is silly in the first place. They found a shoulder blade from a 3-year-old “Lucy” or Australopithecus, and from this shoulder blade they determined that our human ancestors spent a lot of time in trees. Actually, this kind of logic is par for the course with these scientists. In fact, many of their other suppositions from Ramapethicus to Nebraska Man to Piltdown Man and Java Man have begun with either part of a skull, a jaw, or some teeth. It is amazing the creativity they possess when they can develop an entire ape-like man, complete with long wavy hair and hunch-backed appearance from a few teeth.
xxx/ellauri176.html on line 882: Contains discussion of topics such as politics, anti-Semitism, child abuse and suicide that some readers may find upsetting.
xxx/ellauri178.html on line 153: The trouble with reviewing The Ghost Writer a few weeks late is that Roth has already explained it for us. He is ever explaining. Like David Susskind, he can’t shut up. The Ghost Writer, he told readers of The New York Times, “is about the surprises that the vocation of writing brings,” just as My Life as a Man “is about the surprises that manhood brings” and The Professor of Desire is “about the surprises that desire brings.”
xxx/ellauri179.html on line 290: The posthumously published novels, such as Islands in the Stream (1970) and The Garden of Eden (1986), have disappointed many of the old Hemingway readers. However, rather than bearing witness to declining literary power, (which, considering the author’s declining mental health is indeed a rather trivial observation) the late works confront us with a reappraisal and reconsideration of basic values. Well they needed one to be sure.
xxx/ellauri179.html on line 988: “The Sun Also Rises” is, for many readers, their introduction to Hemingway. It is taught in our schools. In writing it, Hemingway felt no need to censor himself, assuming, apparently, that readers shared his prejudice or at the very least did not object to it — indeed, that it added color to his story.
xxx/ellauri187.html on line 137: Well, so what if Rilke happened to be homosexual? I don't see what Freedman thinks he is gaining by making a near-assertion and then failing to prove it. If there are readers who might be obscurely benefited by the revelation of Rilke's homosexuality, they'll be disappointed. If there are readers whose identity rests on the affirmation of Rilke's heterosexuality, they will be shaken and then cheered. If there are readers who couldn't care less about the whole matter, they'll be bored. Meanwhile, Rilke's ghost drums its fingers on some eternal windowsill, waiting patiently to be evoked.
xxx/ellauri187.html on line 178: In 2002 Siegel received the National Magazine Award in the category "Reviews and Criticism". Jeff Bercovici, (alias sprezzatura), writing in Media Life Magazine, quoted the award citation, which called the essays "models of original thinking and passionate writing... Siegel's tough-minded yet generous criticism is prose of uncommon power—work that dazzles readers by drawing them into the play of ideas and the enjoyment of lively, committed debate".
xxx/ellauri187.html on line 182: In September 2006, Siegel was suspended from The New Republic after an internal investigation determined he was participating in misleading comments in the magazine's "Talkback" section in response to criticisms of his blog postings at The New Republic's website. The comments were made through the device of a "sock puppet" dubbed "sprezzatura", who, as one reader noted, was a consistently vigorous defender of Siegel, and who specifically denied being Siegel when challenged by another commenter in "Talkback". In response to readers who had criticized Siegel's negative comments about TV talk show host Jon Stewart, 'sprezzatura' wrote, "Siegel is brave, brilliant, and wittier than Stewart will ever be. Take that, you bunch of immature, abusive sheep". The New Republic posted an apology and shut down Siegel's blog. In an interview with the New York Times Magazine, Siegel dismissed the incident as a "prank". He resumed writing for The New Republic in early 2007.
xxx/ellauri193.html on line 436: Many readers prefer the more disciplined, elegant craft of Gordimer’s short stories to the more epic, often convoluted style of her novels. I can relate to that.
xxx/ellauri212.html on line 413: The painter — whose real name was Balthasar Klossowski de Rola and who died in 2001 — has been a controversial figure in the art world for decades. Many of his paintings show highly sexualized depictions of young girls. His 1934 work "The Guitar Lesson" was one of his first to scandalize his peers. When it was displayed along with "Thérèse Dreaming" and other Balthus paintings at a special exhibit in the Met in 2013, a plaque warned readers that the paintings were disturbing in nature.
xxx/ellauri225.html on line 277: Several of Le Guin´s works have featured stylistic or structural features that were unusual or even subversive. The heterogeneous structure of The Left Hand of Darkness, described as "distinctly post-modern" (eek!), was unusual for the time of its publication. This was in marked contrast to the structure of (primarily male-authored) traditional science fiction, which was straightforward and linear. The novel was framed as part of a report sent to the Ekumen by the protagonist Genly Ai after his time on the planet Gethen, thus suggesting that Ai was selecting and ordering the material, consisting of personal narration, diary extracts, Gethenian myths, and ethnological reports. Earthsea also employed an outlandishly unconventional narrative form described by scholar Mike Cadden  (Princeton U Senior Lecturer in Theater) as "free indirect discourse", in which the feelings of the protagonist are not directly separated from the narration, making the narrator seem sympathetic to the characters, and removing the skepticism towards a character´s thoughts and emotions that are a feature of more direct narration. Cadden suggests that this method leads to younger readers sympathizing directly with the characters, making it an effective technique for young-adult literature like Flaubert or Zola.
xxx/ellauri225.html on line 353: In his newest book, “Possessed by Memory: The Inward Light of Criticism,” Bloom promised to shake off the polemical battles that have shadowed him for years. He pledged to include never-revealed autobiographical snippets. He wanted to share with his readers his recent reevaluations of some of his most beloved writers. He only partially delivers.
xxx/ellauri235.html on line 444: Of course, most readers will want to learn about Hornblower (one of the few fictional characters with a biography), where that name came from, and what mechanism the father used to develop the many characters in his novels. But who would be startled to learn that Forester played an important role in the propaganda used by the UK to encourage the US’s entrance into WW2?
xxx/ellauri261.html on line 665: Lewis's argument, now known as Lewis's trilemma, has been criticized for, among other things, constituting a false trilemma, since it does not deal with other options such as Jesus being mistaken, misrepresented, or simply mythical. Philosopher John Beversluis argues that Lewis "deprives his readers of numerous alternate interpretations of Jesus that carry with them no such odious implications". Bart Ehrman stated it is a mere legend that the historical Jesus has called himself God; that was unknown to Lewis since he never was a professional Bible scholar, just an Oxbridge apostle. Taisi vetää perään myös katolista J.R.R. Tolkienia.
xxx/ellauri265.html on line 448: Lenore and I cofounded an organization to help families give their children healthier childhoods, like camping in the park with their PTSD dad. I hope your readers will visit LetGrow.org.
xxx/ellauri268.html on line 349: Many argue that the pervasive nature of antisemitic tropes means the Gringotts goblins and their ilk do no harm. Most children watching the “Harry Potter” films wouldn’t have picked up on the reference. The British charity Campaign Against Antisemitism, for example, tweeted a statement arguing that there are “centuries of association of Jews with grotesque and malevolent creatures in folklore” and that “those who continue to use such representations are often not thinking of Jews at all” but are innocently thinking “of how readers or viewers will imagine goblins to look.”
xxx/ellauri292.html on line 47: In Rahab, Woman of Jericho, readers discover a Rahab who is a descendent of the tribe of Ephraim, one of the ten lost tribes of Israel. Her clan left Egypt and settled in Canaan before the Hebrews were enslaved. Although they did not wander in the desert with Moses for forty years, nor did they hear the laws that the Lord gave to His people, they still worshipped the one true God, though without the fringes.
xxx/ellauri304.html on line 466: Tätä on noudatettava, koska se toimii - se on toiminut maailman sivu, samalla konstilla on meidät kaikki nussittu. The structure itself puts tension and action and drama into everything it touches — and that’s what you want your book to do. And that’s what your readers will also want your book to do. Readers have a comfort zone and this structure will put them in it.
xxx/ellauri304.html on line 515: There is a hierarchy of character. Minor characters, you let vanish. Usually you bring them alive for a moment by using stereotypes. Stereotypes are not necessarily evil or bad; they are boring characters who are typical members of a group and your readers know the group… Cabbie, cop, waitress, nigger, telephone operator, prostitute, lawyer, doctor, politician, drunken Irishman (What? Are there still some of those?), Italian who talks with his hands. We might not like stereotypes of groups to which we belong but as writers they work. These are place-holding characters; they do their job and disappear into the night. Writers of pulp fiction, say.
xxx/ellauri304.html on line 571: Basically, I’m not a big fan of Raymond Chandler's Big Sleep. Well, why pussyfoot around? Actually I think the book is stupid; however, Raymond Chandler is a particular favorite of artsy-fartsy mystery readers and critics and this rather bizarre genre mystery featuring the private eye Philip Marlowe is often ranked as one of the 100 best novels of all time. I just don't see why, I think my Remo Vanha Vainooja is 10x more fascinating.
xxx/ellauri304.html on line 588: James Mallahan Cain (1892-1977) was an American novelist, journalist and screenwriter. He is widely regarded as a progenitor of the hardboiled school of American crime fiction. His novels The Postman Always Rings Twice, Double Indemnity, Serenade, Mildred Pierce and The Butterfly brought him critical acclaim and an immense popular readership in America and abroad.
xxx/ellauri304.html on line 610: Dialogue is the easiest, fastest and best way to involve your readers with your subject, your story, your characters, your writing. The fanciest long description of the snow storm slowly cresting the nearby mountain may indeed be beautiful writing but meh, who cares? My advice: leave out the nature shit and get back to the real world; give us this instead:
xxx/ellauri304.html on line 636: I was going to write about research but I hate research, research sucks. So maybe this can be about theme because “big books” frequently have a theme, although it’s not absolutely necessary. See, themes are about ideas and some writers, very skillful and very successful, have never had an idea in their lives. Still and all, books and stories are made better when they have a strong theme, some underlying message that can resonate with your readers.
xxx/ellauri306.html on line 66: Why do so many people (especially philosophers) hate Ayn Rand? She’s almost unknown in the UK - so much so that when there was a documentary about her on TV, The Daily Telegraph - a right-wing paper by British standards - felt obliged to explain to its readers who she was. She was, it said, “An unpleasant Russian-American fruitcake.” What was Ayn Rand? Cod philosopher, bad writer and deeply narcissistic, severely socially impaired person.
xxx/ellauri320.html on line 53: What is real, lasting happiness? How does one achieve it? And why are so many people holding themselves back? At the heart of this profound, simple, beautiful book is the wisdom of Mildred Newman and Bernard Berkowitz, married psychoanalysts who encourage readers to both love themselves and to confront life's hardest truths.
xxx/ellauri354.html on line 165: T.S. Eliot was the poet who perhaps had a permanent place in Kai’s personal literary cosmos – he introduced Eliot’s poetry to Finnish readership in the late 1940s. This passage, from Little Gidding, might well serve as his epitaph.
xxx/ellauri354.html on line 271: In 1907, Notari (1878–1950) was already a best-selling journalist, polemicist, biographer, novelist, and dramatist. All told, he would write more than thirty books, in six of which he examines the position of women in society, most notably with a 1903 exegesis of prostitution in high and low places called Signore sole: Interviste con le più belle e le più celebri artiste (Single women: Interviews with the most beautiful and famous artists) that sold 21,000 copies and was denounced as immoral and obscene and taken to court, which inevitably increased its readership. It was followed by Quelle signore: Scene di una grande città moderna (Those women: Scenes of a great modern city; ca. 1904), which was set in a house of prostitution and whose main character, Ellere, was recognizably based on Notari’s good friend Filippo Tommaso Marinetti (1876–1944), an Egyptian-born Italian poet, editor, firebrand, and founder of the Futurist movement.
xxx/ellauri354.html on line 273: Notari’s novel sold 80,000 copies in six months and sales only increased when it was accused of offending public morality; it and its author were acquitted, with Marinetti serving as witness for the defense. “It was Notari’s good fortune,” one scholar writes, “to be accused of obscenity by a court in Parma.... Marinetti, who attended and clearly relished the trial, wrote a detailed account of it for Parisian readers... and then translated his account into Italian, appending a brief, self-congratulatory introduction” (Adamson 97). Marinetti bragged that the trial “gave an extraordinary boost to the book’s sales such that, today, one finds it in all the elegant parlors, in all the bedrooms, under the virginal bedlinens of all the convent-school girls and inside the prayer benches of all the new brides” (qtd. in Adamson 97–98). Notari quickly produced a sequel, Femmina: Scene di una grande capitale (1906), which became a best seller before it too was seized and banned. Notari proudly listed these three books’ sales figures and legal histories in the front matter of his next book, The Black Pig (1907).
xxx/ellauri379.html on line 123: One of the most resoundingly Modernist elements of Conrad’s work lies in this kind of early post-structuralist treatment of language—his insistence on the inherent inability of words to express the real, in all of its horrific truth. Marlow’s journey is full of encounters with things that are “unspeakable,” with words that are uninterpretable, and with a world that is eminently “inscrutable.” In this way, language fails time and time again to do what it is meant to do—to communicate. It’s a phenomenon best summed up when Marlow tells his audience that “it is impossible to convey the life-sensation of any given epoch of one’s existence—that which makes its truth, its meaning—its subtle and penetrating essence… We live, as we dream—alone.” Kurtz—as “eloquent” as he may be—can’t even adequately communicate the terrifying darkness he observed around him.“The horror! The horror!” is all he can say. Some critics have surmised that part of Heart of Darkness’s mass appeal comes from this ambiguity of language—from the free rein it gives its readers to interpret. Others posit this as a great weakness of the text, viewing Conrad’s inability to name things as an unseemly quality in a writer who’s supposed to be one of the greats. Perhaps this is itself a testament to the Heart of Darkness’s breadth of interpretability.
xxx/ellauri420.html on line 273: With scandals reverberating throughout news outlets due to unconscionable behavior of pastors and priests within the Southern Baptist Church and Roman Catholicism, and the public repudiation of biblical theology by the Evangelical Lutheran Church of America, the once unquestionably trusted office of holy ministry is now the object of suspicion and derision, which makes this book a timely resource. With the public feeling that they need to be protected from predator priests and heretical pastors, Senkbeil brings his readers—more pointedly, pastors and priests themselves—back to God’s purpose for the pastoral office (to manifest and distribute God’s love, care, and gifts to nubile boys and girls), the heart of pastoral formation (proximity and devotion to posteriors), and the source of all spiritual care—the gracious and merciful Jejune God. Senkbeil accomplishes all this without a hint of angst or edginess, but rather with the heart of a butt-a-loving predatory pastor.
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