It was wonderful—I loved him & I think he liked me. He talked a great deal about his work & life & aims, & about sother writers. Then we went for a little walk, & somehow grew very intimate. I plucked up courage to tell him what I find in his work—the boring down into things to get to the very bottom below the apparent facts. He seemed to feel I had understood him; then I stopped & we just looked into each other's eyes for some time, & then he said he had grown to wish he could live on the surface and write differently, that he had grown frightened. His eyes at the moment expressed the inward pain & terror that one feels him always fighting. Then he talked a lot about Poland, & showed me an album of family photographs of the 60's—spoke about how dream-like all that seems, & how he sometimes feels he ought not to have had any children, because they have no roots or traditions or relations.
ellauri008.html on line 815: However, according to other biographers such as Frederick Karl, Jessie provided what Conrad needed, namely a "straightforward, devoted, quite competent" companion. Similarly, Jones remarks that, despite whatever difficulties the marriage endured, "there can be no doubt that the relationship sustained Conrad's career as a writer", which might have been much less successful without her.
ellauri011.html on line 943: In 2005, when he was already a world-famous writer, Paulo went to Amsterdam to give an important talk. On the morning o the talk, he was interviewed on one of Holland's principal TV shows at his old hostel - since converted to a hotel for nonsmokers, expensive and with a small and well-regarded high-end restaurant.
ellauri014.html on line 89: Pamela; or, Virtue Rewarded is an epistolary novel by English writer Samuel Richardson, a novel which was first published in 1740. It tells the story of a 16-year-old maidservant named Pamela Andrews, whose employer, Mr. B, a wealthy landowner, makes unwanted and inappropriate advances towards her after the death of his mother. Pamela strives to reconcile her strong religious training with her desire for the approval of her employer in a series of letters and, later, journal entries, addressed to her impoverished parents. After various unsuccessful attempts at seduction, a series of sexual assaults, and an extended period of kidnapping, the rakish Mr. B eventually reforms and makes Pamela a sincere proposal of marriage. In the novel's second part, Pamela marries Mr. B and tries to acclimatize to her new position in upper-class society. The full title, Pamela; or, Virtue Rewarded, makes plain Richardson's moral purpose. A best-seller of its time, Pamela was widely read but was also criticized for its perceived licentiousness and disregard for class barriers.
ellauri014.html on line 1621: In Adone, Marino quotes and rewrites passages from Dante´s Divine Comedy, Ariosto, Tasso and the French literature of the day. The aim of these borrowings is not plagiarism but rather to introduce an erudite game with the reader who must recognise the sources and appreciate the results of the revision. Marino challenges the reader to pick up on the quotations and to enjoy the way in which the material has been reworked, as part of a conception of poetic creation in which everything in the world (including the literature of the past) can become the object of new poetry. In this way, Marino also turns Adone into a kind of poetic encyclopaedia, which collects and modernises all the previous productions of human genius.
ellauri014.html on line 1675: A female blogger, another wannabe famous poetess or novelist, writes about LM Montgomery as follows:
ellauri014.html on line 1688: And write upon its shining scroll Kirjoittaisin tulostauluun maineen
ellauri014.html on line 1766: And write upon its shining scroll Kirjoittaisin tulostauluun maineen
ellauri014.html on line 1973: "Thanatopsis" remains a milestone in American literary history. "Poems" was considered by many to be the first major book of American poetry. Nevertheless, over five years, it earned Bryant only $14.92. Poet and literary critic Thomas Holley Chivers, who often accused other writers of stealing poems, said that the only thing Bryant "ever wrote that may be called Poetry is ´Thanatopsis´, which he stole line for line from the Spanish."
ellauri019.html on line 414: Wants me to marry, get a home, settle down, write a book

ellauri020.html on line 342: “In fifty years Donald and I will be considered old money like the Vanderbilts,” she once told the writer Dominick Dunne. Aku on muka kaikessa ykkönen. Oikea the Don on kärkeä vaan kerskailussa. Akkari lähettää Iinexelle 72 ruusua, "tietenkin" Mynhhenin kalleimmasta kukkakaupasta. Mix se on näille rahantunteville niin "tietenkin", et ne syö ja ostaa izelleen aina kalleinta? Se on se sama killer instinct joka ajaa ne ryöstämään vastustajat, asiakkaat ja alaiset putipuhtaixi. Iivana koittaa selittää ettei 72 kukkaa näytä extravagantilta, mut kun seuraavat 72 tulee, ne on "another extravagant arrangement". Pääpointti on just tää tuhlailu, Aku mezo näyttää koppelolle et sillon kapassiteettiä, niinkuin riikinkukolla. Vittu apinat on eläimellisiä. Mut mixei olis, nehän ON eläimiä.
ellauri020.html on line 648: In her new book, Raising Trump, Ivana writes about the time in December 1989 when she was confronted by Maples at a ski resort in Aspen, per AP. "This young blonde woman approached me out of the blue and said ´I´m Marla and I love your husband. Do you?´ I said ´Get lost. I love my husband.´ It was unladylike but I was in shock." Apparently it was in this moment she realized her marriage with Donald was over.
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Why is H.P Lovecraft considered a poor writer?

You cannot write an answer

ellauri063.html on line 75: You aren't allowed to write answers to questions.

ellauri063.html on line 295: Screenwriter Deborah Moggach initially attempted to make her script as faithful to the novel as possible, writing from Elizabeth's perspective while preserving much of the original dialogue. Joe Wright, who was directing his first feature film, encouraged greater deviation from the text, including changing the dynamics within the Bennet family. Wright and Moggach set the film in an earlier period and avoided depicting a "perfectly clean Regency world", presenting instead a "muddy hem version" of the time. Chickenbutt Knightley was well-known in part from her role in the Pirates of the Caribbean film series. It was marketed to a younger, mainstream audience; promotional items noted that it came from the producers of 2001's romantic comedy Bridget Jones's Diary before acknowledging its provenance as an Austen novel.

ellauri066.html on line 247: According to producer Bruce Miller, Margaret Atwood had to ask the scriptwriters to explain the meaning of the term "carpet munchers."

ellauri066.html on line 366: To shorten a long story of searching for sources: the essay ‘The Control System of the V-2’ by Otto Müller includes an ‘equation for control in yaw’ (Müller, 1957: 90), and in exactly the same notation as Gravity’s Rainbow’s equation ‘describ[ing] motion under the aspect of yaw control’ (GR 284). We can conclude that this is the searched-for template for Pynchon’s Second Equation (see appendix, Figure 8). Müller’s paper is part of History of German Guided Missiles Development by Theodor Benecke and August W. Quick, published in 1957, which is based on the First Guided Missiles Seminar in Munich that took place a year earlier. The seminar was organised by the American Advisory Group for Aeronautical Research and Development (AGARD) to collect information about the V-2 from German scientists and engineers to use in American research on guided missiles. Pynchon might have had access to this book and further material on rocketry in the Boeing Company for which he worked as a technical writer in the early 1960s.

ellauri066.html on line 524: Rabbi Harold S. Kushner in his book When Bad Things Happen to Good People describes schadenfreude as a universal, even wholesome reaction that cannot be helped. "There is a German psychological term, Schadenfreude, which refers to the embarrassing reaction of relief we feel when something bad happens to someone else instead of to us." He gives examples and writes, "[People] don't wish their friends ill, but they can’t help feeling an embarrassing spasm of gratitude that [the bad thing] happened to someone else and not to them." onkohan tää rabbi trumpin vävyn setä?

ellauri067.html on line 79:       Turmiolan Tommi. Tommi Nieminen. 15 June 1973. Also known as; English: Tommi Kinnunen. Finnish teacher and writer. place of birth: Kuusamo. Educated at: University of Turku. Award received: Thanks for the book award. Twitter followers: 15,701. Hän on äidinkielen ja kirjallisuuden opettaja Luostarivuoren lukiossa ja koulussa.

ellauri067.html on line 298:     Called today "the Father of Connecticut", Rev. Thomas Hooker was a towering figure in the early development of colonial New England. He was one of the great preachers of his time, an erudite writer on Christian subjects, the first minister of Cambridge, Massachusetts, one of the first settlers and founders of both the city of Hartford and the state of Connecticut.

ellauri067.html on line 304: Preterition is a rhetorical device wherein the speaker or writer brings up a subject by either denying it, or denying that it should be brought up. Accordingly, it can be seen as a rhetorical relative of irony. The device is also called apophasis, paraleipsis, occupatio, not to mention parasiopesis.

ellauri067.html on line 307:     William develops heretical religious ideas, and he writes "a long tract about it ... called On Preterition." In some Protestant doctrines, Christians are divided into "the elect," those chosen by God, and "the preterite," those not chosen, passed over by God. William champions the preterite, and he argues Judas is the savior of the preterite. The narrator then wonders if William´s ideas were "the fork in the road America never took."

ellauri067.html on line 493:     Book reviewers have a long history of attacking Pynchon for his flat characters. Roger and Jessica are susceptible to this criticism. Neither is given much of a history. We don’t know where they grew up or who their parents were. This is one of the great failings of... what to call it? "middlebrow" is antiquated... anyway, a very common kind of criticism (common in the Anglo-American world, anyway), and it affects how authors write (which is one reason I read mainly Russian literature these days). I don't need to know "where they grew up or who their parents were" and I don't much care, unless, of course, you write about it brilliantly because that´s truly what you want to focus on, as opposed to "welp, better provide a plausible background for my characters so the reader will believe they're behaving this way." Just write good sentences in a good and surprising order. Two people have fallen out of love? I don't care if it's because one of them has mommy issues or the other was bullied as a child—people fall out of love all the time, for any reason or none, just tell me what they do about it, and in language that makes me want to keep reading! Teoxet on tärkeät, vähät elämästä. En jaxa luontokuvauxia, hyppään ne heti yli.

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ellauri067.html on line 544: Gravity´s Rainbow is a 1973 novel, first published by Viking Press, by American writer Thomas Pynchon. The narrative is set primarily in Europe at the end of World War II, and centers on the design, production and dispatch of V-2 rockets by the German military. In particular, it features the quest undertaken by several characters to uncover the secret of a mysterious device named the "Schwarzgerät" ("black device"), slated to be installed in a rocket with the serial number "00000". 


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ellauri067.html on line 581: From early on, Prokosch sought to surround himself with a veil of mystification and cast his life into a hopeless riddle. Approaching his sixtieth year, he boasted that no person had succeeded in knowing him as an integral personality: "I have spent my life alone, utterly alone, and no biography of me could ever more than scratch the surface. All the facts in Who’s Who, or whatever, are so utterly meaningless. My real life (if I ever dared to write it!) has transpired in darkness, secrecy, fleeting contacts and incommunicable delights, any number of strange picaresque escapades and even crimes, and I don't think that any of my 'friends' have even the faintest notion of what I'm really like or have any idea of what my life has really consisted of. . . .With all the surface 'respectability,' diplomatic and scholarly and illustrious social contacts, my real life has been subversive, anarchic, vicious, lonely, and capricious."

ellauri067.html on line 583: The publication of Voices: A Memoir in 1983, advertised as a record of his encounters with some of the century´s leading artists and writers, returned Prokosch to the limelight. His early novels The Asiatics and The Seven Who Fled were reissued to much public acclaim. In 2010, Voices was shown to be almost wholly fictitious and part of an enormous hoax.  

ellauri069.html on line 54: Barthelme was a Texan. He grew up in Houston, where his father, also named Donald, was a prominent local architect. Donald the writer was the first of five children. Four were boys, and three of them became professional writers.

ellauri069.html on line 72: The combination of melancholia, compulsive typing, and too much alcohol might describe a lot of writers.

ellauri069.html on line 76: A couple of years after Barthelme took the apartment, the writer Kirkpatrick Sale and his wife, Faith, an editor, moved in downstairs and became close friends. They had been students at Cornell with Pynchon, and Pynchon would write part of “Gravity’s Rainbow” (1973) in their apartment.

ellauri069.html on line 78: What was he doing? Daugherty is right to claim that Barthelme conceived of himself as an heir of the modernist tradition—in particular, of Beckett. He encountered Beckett’s work for the first time in 1956, when he picked up a copy of Theatre Arts at Guy’s Newsstand, in Houston, and read the text of “Waiting for Godot.” “It seemed that from the day he discovered ‘Godot,’ Don believed he could write the fiction he imagined,” the woman who was his wife at the time, Helen Moore Barthelme, says in her memoir, “Donald Barthelme: The Genesis of a Cool Sound” (2001).

ellauri069.html on line 97: The visual artist can deal with almost every kind of material, even sound, but the writer deals with only one kind of material: sentences. The solution, therefore, was to treat sentences as though they were found objects.

ellauri069.html on line 127: Sidney Joseph "S.J." Perelman (February 1, 1904 – October 17, 1979) was an American humorist and screenwriter. He is best known for his humorous short pieces written over many years for The New Yorker. He also wrote for several other magazines, including Jude, as well as books, scripts, and screenplays. Perelman received an Academy Award for screenwriting in 1956.

ellauri069.html on line 178:       Hoagy Carmichael: Hoagland Howard " Hoagy " Carmichael (November 22, 1899 - December 27, 1981) was an American singer, songwriter, and actor. American composer and author Alec Wilder described Carmichael as the "most talented, inventive, sophisticated and jazz-oriented of all the great craftsmen" of pop songs in the first half of the 20th century.

ellauri069.html on line 477: Before I write this answer, I should put it out there that it took me two reads and a guide to understand what’s going on in Gravity’s Rainbow. After all that, I feel I have a proper grasp of Pynchon’s Magnum Opus. Apparently, Pynchon once said he doesn’t know how he wrote the book.

ellauri069.html on line 697: Drake is a sort of modern-day Robin Hood. He donates the proceeds of his latest robbery to fund the stalled construction of the "New Social Institute". He even writes a book, "Crackerjack": The true story of my exploits, which becomes a bestseller.

ellauri069.html on line 714: American poet, novelist, essayist, songwriter, playwright, editor and publisher. Known for his satirical works challenging American political culture. Perhaps his best-kĺnown work is Mumbo Jumbo (1972), a sprawling and unorthodox novel set in 1920s New York that has been ranked among the 500 most important books in the Western canon. Reed´s work has often sought to represent neglected African and African-American perspectives; his energy and advocacy have centered more broadly on neglected peoples and perspectives, irrespective of their cultural origins.

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ellauri071.html on line 93: Roger’s antipathy to Coward´s comedies of manners echoes the comments about Blithe Spirit in the Advent passage at 134 and passim. Pynchon’s own antipathy to the composer, writer and actor goes all the way back to "Lowlands," one of his first published stories.

ellauri071.html on line 111: By 1929 Coward was one of the world's highest-earning writers, with an annual income of £50,000, more than £2,800,000 in terms of 2018 values. Coward thrived during the Great Depression, writing a succession of popular hits.

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ellauri071.html on line 121: Another of Coward's wartime projects, as writer, star, composer and co-director (alongside David Lean), was the naval film drama In Which We Serve. The film was popular on both sides of the Atlantic, and he was awarded an honorary certificate of merit at the 1943 Academy Awards ceremony. Coward played a naval captain, basing the character on his friend Lord Louis Mountbatten.

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ellauri071.html on line 134:   One of Coward's best-known songs is "A Room with a View". A Room with a View is a 1908 novel by English writer E. M. Forster, about a young woman in the restrained culture of Edwardian era England. Set in Italy and England, the story is both a romance and a humorous critique of English society at the beginning of the 20th century. Merchant Ivory produced an award-winning film adaptation in 1985.

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ellauri072.html on line 501: Wallace has given as much to literature as any contemporary American writer. Whether you like him or not, you hear American language, and experience American thinking, differently because of him. Wallace’s ­oeuvre is internally varied but also of a piece.

ellauri072.html on line 505: Rivka Galchen is an award-winning fiction writer and journalist who loves noodles and numbers and modest-sized towns in Oklahoma where her meteorologist dad and computer data entry mom might have worked.

ellauri072.html on line 524: We don’t always find ourselves asking whether a writer is nice. I’ve never heard anyone wonder this at length about, say, Haruki Murakami or Jennifer Egan.

ellauri072.html on line 532: To some extent, his subject matter invites the ad or pro hominem fallacy. Wallace’s lonelies, wastoids and number crunchers are, often, trying to find ways to live well. One understandably slips from reading something concerned with how to be a good person to expecting the writer to have been more naturally kind himself. That thinking is perfectly wrong, though. Alec Baldwin surely has more to teach us than most about how to hold one’s temper; the co-founder of A.A., Bill W., is a guru of sobriety precisely because sobriety was so difficult for him.

ellauri072.html on line 548: But yes, Wallace was extremely competitive, even to the point of competing about not being competitive. One of the wincing pleasures of Max’s biography is reading excerpts from Wallace’s correspondence, especially with his close friend and combatant Jonathan Franzen, but also with just about every white male writer he might ever have viewed as a rival or mentor. Aggressive self-abasement, grandstanding, veiled abuse, genuine thoughtfulness, thin-skinned pandering — it’s all there. As the correspondents compete about who is making genuine human connections and who and what is really nice and good, they seem to be in some realm far from most kinds of human connection save for that of heated testosteronic battle.

ellauri072.html on line 566: Let’s disagree. Wallace’s writing is not as difficult to read as it is famed to be, nor as pandering to entertain as he worried it was. Wallace writes in grammatically correct sentences; he tells jokes; and his work, if you are wired a certain way, will affect you emotionally.

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ellauri073.html on line 448: I’m a writer, and write for money, (as in "a private dancer, a dancer for money", Tina Turner) although I will also accept acclaim. I also teach writing. How are you?

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ellauri074.html on line 57: ONAN was a canary owned by writer Dorothy Parker, so named because he constantly spilled his seed.

ellauri074.html on line 58: Dorothy Parker (née Rothschild; August 22, 1893 – June 7, 1967) was an American poet, writer, critic, and satirist based in New York; she was best known for her wisecracks.

ellauri074.html on line 73: Yes, they know they could write. Conventions stifle them.

ellauri074.html on line 649:   Wallace was deeply suspicious of the media infrastructure that was, when he died, still largely known as “the Net”—“I allow myself to Webulize only once a week now,” he once told a grad student—and he remarked to his wife, as they were moving computer equipment into their house, “thank God I wasn't raised in this era.” Having written his first big stories on a Smith Corona typewriter, Wallace disliked digital drafts and e-publishing in general. He took particular pleasure in the fact that his house in Indiana, the one recreated in The End of the Tour, had the elegantly atavistic address of “Rural Route 2.” He preferred to file his students’ work not on computers, but in a pink Care Bears folder. 

ellauri077.html on line 209: To determine precisely what forces have determined the globalization of David Foster Wallace’s magnum opus, I spoke to writers, translators, and publishers in eight countries familiar with the work and its multiple manifestations. This is what they told me (2016).

ellauri077.html on line 220:     The French attributed the book’s great success to the French love of the “écrivain maudit” archetype, Wallace’s acerbic critique of America, and the myth that has grown up around the author: “A writer who seems to have been sacrificing his life on the altar of literature is seen as a hero.”

ellauri077.html on line 329: Another aspect that defined his thoughts was the concept that would later inspire the work of other great writers such as Kafka, Unamuno, or philosopher Ludwig Wittgenstein. We’re talking about "anxiety", the feeling that never disappears. This is because it also helps us become aware that there are more options in life, that we’re free to jump into the void or take a step back and seek other solutions, like happy homosexuality. There’s always an alternative to suffering, but suffering itself helps "it" grow.

ellauri077.html on line 544:     With  irony  as  our  environment,  we  have  been  raised  and  conditioned to  “distrust  strong  belief,  open  conviction,”  writes Wallace.

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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.)

ellauri077.html on line 613: Wallace saw this (psycho) kind of writing as simply an example of self-love. Like the Onan whose name is another Wallu acronym-pun, these writers were working out of “the part that just wants to be loved” (i.e. the wiener) rather than “out of the part [. . .] that can love,” that is the “art’s heart”. 

ellauri077.html on line 796: Foreign words and expressions such as cul de sac, ancien régime, deus ex machina, mutatis mutandis, status quo, gleichschaltung, weltanschauung , are used to give an air of culture and elegance. Except for the useful abbreviations i.e., e.g. , and etc. , there is no real need for any of the hundreds of foreign phrases now current in the English language. Bad writers, and especially scientific, political, and sociological writers, are nearly always haunted by the notion that Latin or Greek words are grander than Saxon ones, and unnecessary words like expedite, ameliorate, predict, extraneous, deracinated, clandestine, subaqueous, and hundreds of others constantly gain ground from their Anglo-Saxon numbers. (Number on latinaa hei pahvi!)

ellauri077.html on line 804: Meaningless words. In certain kinds of writing, particularly in art criticism and literary criticism, it is normal to come across long passages which are almost completely lacking in meaning. Words like romantic, plastic, values, human, dead, sentimental, natural, vitality , as used in art criticism, are strictly meaningless, in the sense that they not only do not point to any discoverable object, but are hardly ever expected to do so by the reader. When one critic writes, "The outstanding feature of Mr. X's work is its living quality," while another writes, "The immediately striking thing about Mr. X's work is its peculiar deadness," the reader accepts this as a simple difference opinion. If words like black and white were involved, instead of the jargon words dead and living, he would see at once that language was being used in an improper way. 

ellauri078.html on line 143: In an early poem, she chastised science for its prying interests. Its system interfered with the observer’s preferences; its study took the life out of living things. In “‘Arcturus’ is his other name” she writes, “I pull a flower from the woods - / A monster with a glass / Computes the stamens in a breath - / And has her in a ‘class!’” At the same time, Dickinson’s study of botany was clearly a source of delight. She encouraged her friend Abiah Root to join her in a school assignment: “Have you made an herbarium yet? I hope you will, if you have not, it would be such a treasure to you.” She herself took that assignment seriously, keeping the herbarium generated by her botany textbook for the rest of her life. 

ellauri078.html on line 145: Behind her school botanical studies lay a popular text in common use at female seminaries. Written by Almira H. Lincoln, Familiar Lectures on Botany (1829) featured a particular kind of natural history, emphasizing the religious nature of scientific study. Lincoln was one of many early 19th-century writers who forwarded the “argument from design.” She assured her students that study of the natural world invariably revealed God. Its impeccably ordered systems showed the Creator’s hand at work.

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.”

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ellauri080.html on line 791: In the words of the Indian writer Khushwant Singh, "nine-tenths of the violence and unhappiness in this country derives from sexual repression". Gandhi isn't singularly to blame for India's deeply problematic attitudes to sex and female sexuality. But he fought, and succeeded, to ensure the country would never experience sexual freedom while his legend persevered. Gandhi's genius was to realise the great power of non-violent political revolution. But the violence of his thoughts towards women has contributed to countless honour killings and immeasurable suffering.

ellauri082.html on line 45:   Elizabeth Lee Wurtzel (July 31, 1967 – January 7, 2020) was an American writer and journalist, known for the confessional memoir Prozac Nation, which she published at the age of 27. Her work often focused on chronicling her personal struggles with depression, addiction, career, and relationships. Wurtzel's work drove a boom in confessional writing and the personal memoir genre during the 1990s, and she was viewed as a voice of Generation X. In later life, Wurtzel worked briefly as an attorney before her death from breast cancer.

ellauri082.html on line 54: When David Foster Wallace committed suicide in 2008, it was clear he had been profoundly depressed. But the first major biography of the writer, D.T. Max’s Every Love Story Is a Ghost Story, out on August 30th, reveals an even more troubled mind than anyone realized. From the time he was in college, the brilliant author of Infinite Jest was in and out of institutions as he struggled with depression and addictions to alcohol and marijuana. But the book is also full of all kinds of other strange surprises, painting the most complete, and warmest, portrait of Wallace yet.

ellauri082.html on line 62: Obsessed with the writer Mary Karr, Wallace planned to shoot her husband with a gun he tried to buy from a guy he met in recovery. She found out about the scheme, but believed him when he blamed it on his buddy. Wallace and Karr eventually became a couple, but Wallace stalked her kid in an ugly manner after she chucked him. 

ellauri082.html on line 101: The biography by Tyrannosaurus Max paints a less than flattering portrait of Wallace. That’s not to say it’s a vicious takedown—it’s probably about as even-handed as a biography about the author is going to be, and I can imagine books about him in the future being a lot less level-headed in either direction. Basically, DFW was an extremely troubled individual and probably not a very awesome person qua person. He was often misanthropic, violent, cruel (especially to women), and self-absorbed. But what’s great about the biography is how it allows these rather hideous characteristics to disgust as well as inform; knowing the uglier aspects of DFW’s personality is extremely enlightening with regard to his work. It seems to me that the writer was extremely aware of his immense character flaws and sought in his work (his novels and his non-fiction particularly) to overcome them, and in his work he was able to occupy a wholly different realm than he was in his actual life. Well actually not at all that different. The books project a rather nasty person too. 

ellauri082.html on line 502: This mind as society hypothesis has outward advantages which make it almost irresistibly attractive to the intellect, and yet it is inwardly quite unintelligible. Of its unintelligibility, however, half the writers on psychology seem unaware.

ellauri082.html on line 738:     They found that young women with more dating experience and a greater desire for marriage were more attracted to narcissistic men. They write, “Despite future long-term mating desires which are unlikely to be achieved with a narcissistic male and possession of substantial mate sampling experience, females view the narcissistic male as a suitable partner.”

ellauri083.html on line 52: During the Cultural Revolution, Buck, as a preeminent American writer of Chinese village life, was denounced as an "American cultural imperialist".

ellauri083.html on line 82: The writer Pearl S. Buck emerged into literary stardom in 1931 when she published a book called "The Good Earth." That story of family life in a Chinese village won the novelist international acclaim, the Pulitzer, and eventually a Nobel Prize. Her upbringing in China as the American daughter of missionaries served as inspiration for that novel and many others. By her death in 1973, Pearl Buck had written around 100 books.

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ellauri083.html on line 376: Farrow has steadfastly supported her daughter throughout the years—but in Allen v. Farrow, she says she has also grown accustomed to Allen attacking her character and parenting skills in the press. (For decades Allen has claimed that Farrow coached Dylan, goading her into accusing Allen after Allen left Farrow for Previn.) Farrow explains her conflicting feelings to the cameras, saying that she wholeheartedly supported Dylan’s decision to write a 2014 op-ed for The New York Times outlining the abuse she claims to have suffered. But privately, Farrow admits in the docuseries, she “crumpled up inside,” knowing that Allen would likely resume his media attacks on her. “He couldn’t go after Dylan, because she was a child at the time, so he’d come after me.”

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ellauri088.html on line 547:     His 1908 play The Passing of the Third Floor Back introduced a more sombre and religious Jerome. The play was a tremendous commercial success. It was twice made into film, in 1918 and in 1935. However, the play was condemned by critics – Max Beerbohm described it as "vilely stupid" and as written by a "tenth-rate writer".

ellauri089.html on line 48: Robert Anson Heinlein (/ˈhaɪnlaɪn/; July 7, 1907 – May 8, 1988) was an American science-fiction author, aeronautical engineer, and Naval officer. Sometimes called the "dean of science fiction writers", he was among the first to emphasize scientific accuracy in his fiction, and was thus a pioneer of the subgenre of hard science fiction. His published works, both fiction and non-fiction, express admiration for competence and emphasize the value of critical thinking. His work continues to have an influence on the science-fiction genre, and on modern culture more generally.

ellauri089.html on line 101: That made him the first science fiction writer to break out of the "pulp ghetto". He also wrote for Boys' Life in 1952.

ellauri089.html on line 138: Growing up Mr. Heinlein was and still is one of my favorite writers...He is old school none of this sodomite loving and liberal rectum kissing for him he was a TRUE Flag Waving AMERICAN Patriot! And we need MEN like him today and NOT that COMMIE Sodomite Rag Head Zebera occupying OUR White House today!

ellauri089.html on line 151: Certainly his best-known and most successful books came after the decision to write entirely for an adult audience, with Stranger in a Strange Land in 1961 and The Moon Is a Harsh Mistress in 1966. And in such books as Farnham's Freehold (1964), he clearly felt freer to express the libertinism that had been implicit in all his earlier published work.

ellauri089.html on line 347:       "It is easy to see why Robert Heinlein ranks at the top among science fiction writers ... he adds a delightful sense of humor and a deft sense of timing and suspense." (Chicago Sunday Tribune 1958)

ellauri089.html on line 546:         § 68. Metaphysics, as dealing with a "supersensible reality" may have a bearing upon practical Ethics (1) if its supersensible reality is conceived as something future, which our actions can affect; and (2) since it will prove that every proposition of practical Ethics is false, if it can shew that an eternal reality is either the only real thing or the only good thing. Most metaphysical writers, believing in a reality of the latter kind, do thus imply the complete falsehood of every practical proposition, although they fail to see that their Metaphysics thus contradicts their Ethics. …

ellauri089.html on line 578:         § 84. The fact that the metaphysical writers who, like Green, attempt to base Ethics on Volition, do not even attempt this independent investigation, shows that they start from the false assumption that goodness is identical with being willed, and hence that their ethical reasonings have no value whatsoever. …

ellauri090.html on line 103: Quincas Borba is a novel written by the Brazilian writer Machado de Assis. It was first published in 1891. It is also known in English as Philosopher or Dog? The novel was principally written as a serial in the journal A Estação from 1886 to 1891. It was definitively published as a book in 1892 with some small but significant changes from the serialized version.

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ellauri094.html on line 698:   If you write a school or university poetry essay, you should include in your explanation of the poem:

ellauri095.html on line 86: Gerard Manley Hopkins SJ (28 July 1844 – 8 June 1889) was an English poet and Jesuit priest, whose posthumous fame established him among the leading Victorian poets. His manipulation of prosody – particularly his concept of sprung rhythm – established him as an innovative writer of verse, as did his technique of praising God through vivid use of imagery and nature. Only after his death did Robert Bridges begin to publish a few of Hopkins's mature poems in anthologies, hoping to prepare the way for wider acceptance of his style. By 1930 his work was recognised as one of the most original literary accomplishments of his century. It had a marked influence on such leading 20th-century poets as T. S. Eliot, Dylan Thomas, W. H. Auden, Stephen Spender and Cecil Day-Lewis. 

ellauri095.html on line 135:     A short fellow of 5’2 or 3”, he was enthusiastic, had a high-pitched voice, loved to sketch and write poems, was close to his family, and had warm, lifelong friends from Oxford, fellow Jesuits, and Irish families.  For recreation he visited art exhibitions and old churches, and enjoyed holidays with his family, friends, and fellow Jesuits in Switzerland, Holland, the Isle of Wight, the Isle of Man, Whitby on the North Sea, Wales, Scotland, and the West of Ireland.  During these holidays, he loved to hike and swim.  His passions were nature (especially trees), ecology, beauty, poetry, art, his family and friends, his country, his religion, and his God.  His curse was a lifelong “melancholy” (his word) which in 1885 in Dublin became deep depression and a sense of lost contact with God.

ellauri095.html on line 184: Hopkins was a supporter of linguistic purism in English. In an 1882 letter to Robert Bridges, Hopkins writes: "It makes one weep to think what English might have been; for in spite of all that Shakespeare and Milton have done... no beauty in a language can make up for want of purity." He took time to learn Old English, which became a major influence on his writing. In the same letter to Bridges he calls Old English "a vastly superior thing to what we have now."

ellauri095.html on line 244: He continued to write a detailed prose journal in 1868–1875. Unable to suppress a desire to describe the natural world, he also wrote music, sketched, and for church occasions, wrote "verses", as he called them. He later wrote sermons and other religious pieces.

ellauri095.html on line 246: In 1874 Hopkins returned to Manresa House to teach classics. While studying in the Jesuit house of theological studies, St Beuno´s College, near St Asap in North Wales, he was asked by his religious superior to write a poem to commemorate the foundering of a German ship in a storm. So in 1875 he took up poetry once more to write a lengthy piece, "The Wreck of the Deutschland", inspired by the Deutschland incident, a maritime disaster in which 157 people died, including five Franciscan nuns who had been leaving Germany due to harsh anti-Catholic laws (see Kulturkampf). The work displays both the religious concerns and some of the unusual metre and rhythms of his subsequent poetry not present in his few remaining early works. It not only depicts the dramatic events and heroic deeds, but tells of him reconciling the terrible events with God´s higher purpose. The poem was accepted but not printed by a Jesuit publication. This rejection fed his ambivalence about his poetry, most of which remained unpublished until after his death.

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ellauri095.html on line 508: This potential for a new sacramental poetry was first realized by Hopkins in The Wreck of the Deutschland. Hopkins recalled that when he read about the wreck of the German ship Deutschland off the coast of England it “made a deep impression on me, more than any other wreck or accident I ever read of,” a statement made all the more impressive when we consider the number of shipwrecks he must have discussed with his father. Hopkins wrote about this particular disaster at the suggestion of Fr. James Jones, Rector of St. Beuno’s College, where Hopkins studied theology from 1874 to 1877. Hopkins recalled that “What I had written I burnt before I became a Jesuit and resolved to write no more, as not belonging to my profession, unless it were by the wish of my superiors; so for seven years I wrote nothing but two or three little presentation pieces which occasion called for [presumably ‘Rosa Mystica’ and ‘Ad Mariam’]. But when in the winter of ’75 the Deutschland was wrecked in the mouth of the Thames and five Franciscan nuns, exiles from Germany by the Falck Laws, aboard of her were drowned I was affected by the account and happening to say so to my rector he said that he wished someone would write a poem on the subject. On this hint I set to work and, though my hand was out at first, produced one. I had long had haunting my ear the echo of a new rhythm which now I realized on paper.”

ellauri095.html on line 512: The Wreck of the Deutschland became the occasion for Hopkins’s incarnation as a poet in his own right. He broke with the Keatsian wordpainting style with which he began, replacing his initial prolixity, stasis, and lack of construction with a concise, dramatic unity. He rejected his original attraction to Keats’s sensual aestheticism for a clearly moral, indeed a didactic, rhetoric. He saw nature not only as a pleasant spectacle as Keats had; he also confronted its seemingly infinite destructiveness as few before or after him have done. In this shipwreck he perceived the possibility of a theodicy, a vindication of God’s justice which would counter the growing sense of the disappearance of God among the Victorians. For Hopkins, therefore, seeing more clearly than ever before the proselytic possibilities of art, his rector’s suggestion that someone write a poem about the wreck became the theological sanction he needed to begin reconciling his religious and poetic vocations.

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.    

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ellauri096.html on line 69:     The Moving Finger writes; and, having writ,

ellauri096.html on line 267: Third, the principle of reflection may need more qualifications than Binkley anticipates. Binkley realizes that an ordinary agent foresees that he will forget details. That is why we write reminders for our own benefit. An ordinary agent foresees periods of impaired judgment. That is why we limit how much money we bring to the bar.

ellauri096.html on line 589: Les Chants de Maldoror (The Songs of Maldoror) is a French poetic novel, or a long prose poem. It was written and published between 1868 and 1869 by the Comte de Lautréamont, the nom de plume of the Uruguayan-born French writer Isidore Lucien Ducasse. The work concerns the misanthropic, misotheistic character of Maldoror, a figure of evil who has renounced conventional morality.

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ellauri097.html on line 95: Mencken admired the German philosopher Friedrich Nietzsche (he was the first writer to provide a scholarly analysis in English of Nietzsche´s views and writings) and Joseph Conrad. His humor and satire owed much to Ambrose Bierce and Mark Twain. He did much to defend Dreiser despite freely admitting his faults, including stating forthrightly that Dreiser often wrote badly and was a gullible man. Mencken also expressed his appreciation for William Graham Sumner in a 1941 collection of Sumner´s essays and regretted never having known Sumner personally. In contrast, Mencken was scathing in his criticism of the German philosopher Hans Vaihinger, whom he described as "an extremely dull author" and whose famous book Philosophy of 'Als ob' he dismissed as an unimportant "foot-note to all existing systems."

ellauri097.html on line 292: Patrick White (1912–1990) was raised in Sydney’s well-to-do Rushcutter’s Bay, and was sent to England at 13. He attended boarding school, then Cambridge, and during the war was stationed in North Africa. It was there, in 1941, that White met Manoly Lascaris, the Greek officer who he would love for the rest of his life. By the time White and Lascaris returned to Australia. in 1947 White had written three tepidly received novels, and a play. It took coming home to Sydney to transform his writing and elevate it to the level of genius. White produced The Tree of Man, in 1955, his first novel to be written in Sydney. He went on to write a string of masterpieces in quick succession: Voss, Riders in the Chariot, The Vivisector. He received the Nobel Prize for Literature in 1973. The Nobel committee credited White “for an epic and psychological narrative art which has introduced a new continent into literature.”

ellauri097.html on line 298: In 2006, the Weekend Australian newspaper conducted an experiment. They submitted chapter three of The Eye of the Storm (1973) to twelve publishers and agents around Australia under an anagram of White’s name, Wraith Picket. Nobody offered to publish the book. One responded, “the sample chapter, while reply (sic) with energy and feeling, does not give evidence that the work is yet of a publishable quality.” Notwithstanding that the chapter was not White’s finest writing, and the unfairness of submitting a chapter out of narrative sequence, the hoax prompted a minor crisis in Australian literature: if the industry couldn’t recognize the greatness of our sole Nobel winner, how unenlightened must the country’s publishing industry be now? Shortly thereafter, the ABC launched an online portal called Why Bother With Patrick White? The portal always struck me as sad. What other major writer would need a website dedicated to convincing his countrymen to give him another go? The link to the website is dead now. It would seem, in the end, that nobody could be bothered with Patrick White.

ellauri097.html on line 302: In some respects this reflects a national pathology. Unlike an American or British child, an Australian student can go through thirteen years of education without reading much of their country’s literature at all (of the more than twenty writers I studied in high school, only two were Australian). This is symptomatic of the country’s famed “cultural cringe,” a term first coined in the 1940s by the critic A.A. Phillips to describe the ways that Australians tend to be prejudiced against home-grown art and ideas in favor of those imported from the UK and America. Australia’s attitude to the arts has, for much of the last two centuries, been moral. “What these idiots didn’t realize about White was that he was the most powerful spruiker for morality that anybody was going to read in an Australian work,” argued David Marr, White’s biographer, during a talk at the Wheeler Centre in 2013. “And here were these petty little would-be moral tyrants whinging about this man whose greatest message about this country in the end was that we are an unprincipled people.”

ellauri097.html on line 416:     Nietzsche meant that Kant established the validity of Christian morality by making philosophical arguments that didn’t rely on Christian beliefs. In The Gay Science, Nietzsche writes (in German though): 

ellauri098.html on line 347: Applied Phlebotinum - kumma nimi. No ei se ole muuta kuin vanha kunnon deus ex machina. "Any sufficiently advanced technology is indistinguishable from a completely ad-hoc plot device." According to Joss Whedon, during the DVD commentary for the pilot episode of Buffy the Vampire Slayer, the term "phlebotinum" originates from Buffy writer (and Angel co-creator) David Greenwalt's sudden outburst: "Don't touch the phlebotinum!" apropos of nothing. Flebotomia on suonenisku. 

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ellauri099.html on line 44:     The remains of Oscar Wilde lie in Père Lachaise Cemetery in Paris. His sleek, modern tomb, designed by the British sculptor Jacob Epstein and commissioned by Wilde’s lover and executor, John Robert "Haj" Ross, is one of the most frequently visited and recognizable graves in a cemetery notable for the many famous writers, artists, and musicians buried there (Balzac, Chopin, Proust, Gertrude Stein, Jim Morrison). The surface of Epstein’s massive monolith is covered with hundreds of lipstick kisses, some ancient and faded, others new and vibrant. (“The madness of kissing” is what Wilde said Lord Alfred Douglas’s “red-roseleaf lips” were made for.)...

ellauri099.html on line 148: KafkapikkulepakkopernaDysplastikerINTP – Arkkitehti/INFP - Parantainenwriter-franz-kafka-in-a-suit-with-his-hair-picture-id52375026?s=2048x2048" height="100px" />

ellauri100.html on line 637: 70th birthday poems are quite hard to write

ellauri100.html on line 1397:     The (awesome but not painful) idea that she had not been everything to me. Otherwise I would never have written a work. Since my taking care of her for six months long, she actually had become everything for me, and I totally forgot of ever have written anything at all. I was nothing more than hopelessly hers. Before that she had made herself transparent so that I could write.... Mixing-up of roles. For months long I had been her mother. I felt like I had lost a daughter.

ellauri101.html on line 44: Since the publication of The Hero with a Thousand Faces, Campbell's theories have been applied by a wide variety of modern writers and artists. His philosophy has been summarized by his own often repeated phrase: "Follow your bliss." He gained recognition in Hollywood when George Lucas credited Campbell's work as influencing his Star Wars saga.

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ellauri101.html on line 556:   The Lost Generation was the social generational cohort that came of age during World War I. "Lost" in this context refers to the "disoriented, wandering, directionless" spirit of many of the war's survivors in the early postwar period. The term is also particularly used to refer to a group of American expatriate writers living in Paris during the 1920s. Gertrude Stein is credited with coining the term, and it was subsequently popularized by Ernest Hemingway who used it in the epigraph for his 1926 novel The Sun Also Rises: "You are all a lost generation".

ellauri102.html on line 370: Popcornia ja Petersiä tärkeämpi minä-brändin sanansaattaja on kuitenkin Daniel H. Pink (ent. Prick). Hän on huomannut tilapäisen työn, alihankintasopimusten ja itsensä työllistämisen yleistymisen ja puhuu 'vapaiden agenttien maasta". Pink kirjoitti kirjaa nimeltä Free Agent Nation ja on ylpeä tästä uudesta isänmaastaan. Hän jätti arvostetun työpaikkansa Al Goren puhemyllynä. Hänen kaltaisensa kuikelot ovat markkinointikonsultteja, copywritereitä, headhuntereita  ja ohjelmistosuunnittelijoita, jotka kokeilevat 🧘‍♂️ jooga-asentoja verkotetuissa kotitoimistoissa. Sisäileviä sankareita kuten "Jjarrii!" Headhuntteri oli epämiellyttävä lankoni Iso-Masa, ennenkuin sen päässä naxahti. Ja se pikkiriikkinen suonikohjuinen AHDH oli konsultti, se joka pyöri perskärpäsenä mun kimpussa Kouvolan aikoina. "Nimeä ei löydy", sanoo päänsisäinen Contacts-ohjelma. Ne oli narsisteja kumpikin. 

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ellauri106.html on line 46: Philip Roth has not had much luck with biographers. Late in his life, furiously aggrieved after the failure of his marriage to the actress Claire Bloom and the publication of Bloom’s incendiary memoir of their years together, he asked a close friend, Ross Miller, an English professor at the University of Connecticut, to take on the task. Roth sent Miller lists of family members and friends he wanted to be interviewed, along with the questions that he felt should be asked. (“Would you have expected him to achieve success on the scale he has?”) It didn’t work out, for various reasons. Roth had wanted Miller to refute a familiar charge, “this whole mad fucking misogynistic bullshit!” that he felt flattened his long erotic history into one false accusation. But Miller came to his own conclusion. “There is a predatory side to both Sandy and Philip,” he told a cousin of Roth’s. (Sandy was Roth’s older brother.) “They look at women—I’m not gonna write about this—but they are misogynist. They talk about women in that way.”

ellauri106.html on line 58: 	LOL mikä setämiehennielijä tää Alexandra Schwartz, hasbeen staffwriter at The New Yorker since 2016. Se koittaa asettua Philipin ja Sandyn osaan. Ymmärtää Rothin poikia. Baileytä ei tarvi ymmärtää, ymmärrettävästi kyllä. Sen nyt ymmärtää kuka vaan. Se on tavis ahnas apina mela mekossa, ei se ole laulun arvoinen.

ellauri106.html on line 67: In October 1956, Philip Roth met the secretary Margaret Martinson Williams in Chicago, whom he married in February 1959. The divorced mother of two children of completely different social origins, who was four years older than him, initially gave Roth the feeling of both a challenge and a liberation. Later, however, the problems and arguments in their relationship increased, which the writer dealt with in retrospect in works such as When She Was Good ( Lucy Nelson or Die Moral, 1967) or My Life As a Man (Mein Leben als Mann, 1974). In his autobiography The Facts (The Facts, 1988) Margaret even advanced as Josie Jensen to the “counter-self”, to the “arch enemy and nemesis ” of the author. The couple separated in 1963, but Margaret Roth refused to consent to a divorce. Five years later she died in a car accident.

ellauri106.html on line 73: Roth's skandalumwitterter bestselling novel Portnoy's Complaint (Portnoy's Complaint) was promoted in 1969 to a bang that made the writer widely publicized and also the discussion of literary pornography in American literary criticism.

ellauri106.html on line 76: In 1987, in the loneliness of Connecticut, Roth experienced a breakdown caused by a sleeping pill with hallucinatory side effects. He made the experience, as well as the trial of the concentration camp guard John Demjanjuk in Jerusalem, whom he had followed as an observer, the starting point of the 1993 novel Operation Shylock, the encounter between a fictional Philip Roth and his doppelganger. The writer also felt increasingly isolated in London and returned to New York, where he moved into an apartment on the Upper West Side. He took over from 1988 to 1991 a professor of literature at Hunter College of the City University of New York. In 1990 he married his longtime partner Claire Bloom, but the marriage was divorced in 1994 after Roth's growing estrangement and severe depression, including a stay in a psychiatric clinic. Bloom dealt with the problematic relationship two years later in her memoir Leaving a Doll's House .

ellauri106.html on line 92: Roth's work is summed up by the simple denominator: “Philip Roth always writes about Philip Roth.”

ellauri106.html on line 93: Roth's protagonists are similar to each other. They are almost always male, almost always Jewish, often writers, and usually either Newark, New Jersey or the Berkshires with a few trips to Israel.

ellauri106.html on line 106: 	That same year, rather than wait to be drafted, Roth enlisted in the army. Roth enlisted in the Army that year to avoid being drafted and assigned to unpleasant duty like the infantry. Fortunately he suffered a back injury during basic training and was given a medical discharge. Who knows. He returned to Chicago in 1956 to study for a PhD in literature but dropped out after one term. It was a yeasty environment for a young writer.  Saul Bellow was a contemporary and with some what similar backgrounds and interests they could not avoid being rivals. During that year he met a lovely shiksa waitress Margaret Martinson, a single woman with a small child.  He was smitten.  An intense, but often troubled relationship ensued.  At the end of the year he dropped out of the U of C and headed to the University of Iowa to teach in its creative writing program. None the less, whatever he may have said, Roth was not happy there, perhaps because the semi-rural Midwesterness of Ames was alien to him.  After a while with Martinson in tow he moved on to a similar position at Princeton, another WASP bastion but one with even more prestige.  Everyone who knew him recognized Roth as an early comer. He later continued his academic career at the University of Pennsylvania, where he taught comparative literature before retiring from teaching in 1991. Roth started teaching literature in the late 1960s at the University of Pennsylvania. The 1969 feature film adaptation of Goodbye, Columbus coincided with the publication of Portnoy’s Complaint, which soon became a best-seller amid controversy for its prurient content. (Those who've read it will likely not forget Portnoy's "love affair" with mom´s slab of liver in the fridge.)

ellauri106.html on line 128: In a private note about Bloom’s book, Roth asserted, “Another writer my age awaiting a biography and awaiting death (which is worse?) might not care. I do.” Roth put enormous efforts into finding a biographer who could contest Bloom’s account. His first choice was the academic Ross Miller, but the novelist had a falling out with his biographer as the would-be James Boswell resisted the imperious dictates of the modern Dr. Johnson. Roth ended up describing his relationship with Miller as “my third bad marriage.” After unsuccessfully trying to rope in friends such as Hermione Lee and Judith Thurman to tell his life story, Roth settled on Blake Bailey, the author of highly regarded biographies of troubled male American writers, notably Richard Yates and John Cheever.

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ellauri106.html on line 162: In addition to his wife and sons, Mr. Roth is survived by his brother, the well-known writer Philip Roth, and two grandchildren.

ellauri106.html on line 184: “The comedy is that the real haters of the bourgeois Jews, with the real contempt for their everyday lives, are these complex intellectual giants,” Zuckerman snorts. “They loathe them, and don’t particularly care for the smell of the Jewish proletariat either. All of them full of sympathy suddenly for the ghetto world of their traditional fathers now that the traditional fathers are filed for safekeeping in Beth Moses Memorial Park. When they were alive they wanted to strangle the immigrant bastards to death because they dared to think they could actually be of consequence without ever having read Proust past Swann’s Way. And the ghetto—what the ghetto saw of these guys was their heels: out, out, screaming for air, to write about great Jews like Ralph Waldo Emerson and William Dean Howells. But now that the Weathermen are around, and me and my friends Jerry Rubin and Herbert Marcuse and H. Rap Brown, it’s where oh where’s the inspired orderliness of those good old Hebrew school days? Where’s the linoleum? Where’s Aunt Rose? Where is all the wonderful inflexible patriarchal authority into which they wanted to stick a knife?”

ellauri106.html on line 195: Thomas Wolfe (1900–1938) was born in Asheville, North Carolina, and educated at the University of North Carolina and Harvard University. He taught English at New York University and traveled extensively in Europe and America. Wolfe created his legacy as a classic American novelist with Look Homeward, Angel; Of Time and the River; A Stone, a Leaf, a Door; and From Death to Morning. Wolfe's influence extends to the writings of Beat Generation writer Jack Kerouac, and of authors Ray Bradbury and Philip Roth, among others. He remains an important writer in modern American literature, as one of the first masters of autobiographical fiction, and is considered North Carolina's most famous writer. Ei mitään pientä. 

ellauri106.html on line 243: The women in the writer´s life provided inspiration for characters in his novels both positive and negative. PHILIP Roth was famed for his observations on life - some of which he gathered from his own relationships with his ex-wives.

ellauri106.html on line 336: In 1860, he visited Boston and met with writers James T. Fields, James Russell Lowell, Oliver Wendell Holmes, Sr., Nathaniel Hawthorne, Henry David Thoreau, and Ralph Waldo Emerson. He became a personal friend to many of them, including Henry Adams, William James, Henry James, and Oliver Wendell Holmes, Jr.

ellauri106.html on line 341: Howells was a Christian socialist whose ideals were greatly influenced by Russian writer Leo Tolstoy. These influences led him to write on issues of social justice from a moral and egalitarian point of view, being critic of the social effects of industrial capitalism. He was, however, not a Marxist. Phew. 

ellauri106.html on line 388: In a private note about Bloom’s book, Roth asserted, “Another writer my age awaiting a biography and awaiting death (which is worse?) might not care. I do.” Roth put enormous efforts into finding a biographer who could contest Bloom’s account. His first choice was the academic Ross Miller, but the novelist had a falling out with his biographer as the would-be James Boswell resisted the imperious dictates of the modern Dr. Johnson. Roth ended up describing his relationship with Miller as “my third bad marriage.” After unsuccessfully trying to rope in friends such as Hermione Lee and Judith Thurman to tell his life story, Roth settled on Blake Bailey, the author of highly regarded biographies of troubled male American writers, notably Richard Yates and John Cheever.

ellauri106.html on line 403: Religion was a lie that he had recognized early in life, and he found all religions offensive, considered their superstitious folderol meaningless, childish, couldn´t stand the complete unadultness — the baby talk and the righteousness and the sheep, the avid believers. No hocus-pocus about death and God or obsolete fantasies of heaven for him. There was only our bodies, born to live and die on terms decided by the bodies that had lived and died before us. If he could be said to have located a philosophical niche for himself that was it - he'd come upon it early and intuitively, and however elemental, that was the whole of it. Should he ever write an autobiography, he'd call it The Life and Death of a Male Body.

ellauri106.html on line 434:     Roth’s works have no Talmud, no Jewish philosophy, no mysticism, no religion, and as a self-professed atheist, Roth has consistently opted against reinforcing the tenets of Judaism as an author such as eg Cynthia Ozick does (whodat?). Roth writes out of hatred more often than not, and his work is open to the charge of anti-Semitism.

ellauri106.html on line 450:     During what Henry Luce deemed the American century—the century during which America rises to a position of dominance on the globe—the Americanethos paradoxically plummets, in large part due to the Vietnam War and the Watergate scandal, politically charged events to which Roth pays particular attention in the novel because he sees them as formative of the 1990s moment at which he writes.  

ellauri106.html on line 472: “From enfant terrible to elder statesman. Time heals all wounds,” Rabbi David Wolpe of Sinai Temple in Los Angeles remarked to JTA via email. No hocus pocus about death and God or obsolete fantasies of heaven for him. There was only our bodies, born to live and die on terms decided by the bodies that had lived and died before us. If he could be said to have located a philosophical niche for himself, that was it — he’d come upon it early and intuitively, and however elemental, that was the whole of it. Should he ever write an autobiography, he’d call it ‘The Life and Death of the Male Body.’ Well actually he called it "My life as a man". 

ellauri106.html on line 628: “Roth’s misogyny infuses everything that he writes,” according to Meg Elison, a novelist recently described by the Times as “re-examining Roth”. This is typical of the all-or-nothing approach that is popular today, where if you don’t like everything about a public figure, then you can’t like anything. (Uskokaa tai älkää tää mielipide tulee naiselta. Se oli varmaan käynyt modernin kirjallisuuskritiikin koulua.)

ellauri107.html on line 84: "With clarity and with crudeness, and a great deal of exuberance, the embryonic writer who was me wrote these stories in his early 20s, while he was a graduate student at the University of Chicago, a soldier stationed in New Jersey and Washington, and a novice English instructor back at Chicago following his Army discharge...In the beginning it amazed him that any literate audience could seriously be interested in his story of tribal secrets, in what he knew, as a child of his neighborhood, about the rites and taboos of his clan—about their aversions, their aspirations, their fears of deviance and defection, their embarrassments and ideas of success."

ellauri107.html on line 110: Rojack is still considerably different from me — he's more elegant, more witty, more heroic, his physical strength is considerable, and at the same time he's more corrupt than me. I wanted to create a man who was larger than myself yet somewhat less successful. That way, ideally, his psychic density, if I may use a private phrase, would be equal to mine — and so I could write from within his head with comfort.

ellauri107.html on line 154: "Philosophical generalization is completely alien to me—some other writer’s work. I’m a philosophical illiterate." Yep, his philosophy was solipsistic semitism. He had no need to read about it, he wrote the books.

ellauri107.html on line 169: Nathaniel Hawthorne (July 4, 1804 – May 19, 1864) was an American novelist, dark romantic, and short story writer. His works often focus on history, morality, and religion.

ellauri107.html on line 183:     As [Arlin]Turner says in analyzing this letter, “[Melville] was aware, it can be assumed, of the inclusiveness and interwoven imagery of his letter, and no less aware of the meaning behind the imagery. The same awareness can be assumed on the part of Hawthorne”. Edwin Haviland Miller, who interprets Melville’s affection for Hawthorne as in part sexual, says that in this passage, “the most ardent and doubtlessly one of the most painful he was ever to write, he candidly and boldly laid bare his love”. Miller goes on to say that “when Hawthorne retreated from Lenox, he retreated from Melville. How Hawthorne felt his reticences keep us from knowing, but his friend wrestled with the problems and nature of the relationship almost until the end of his life”. Turner says only that “there is evidence through the remaining forty years of Melville’s life that he thought he had been rebuffed by Hawthorne, and that he felt a genuine regret for his loss.” 

ellauri107.html on line 187:     suggestive panegyric [in his 1850 review of Hawthorne’s Mosses from an Old Manse], [that] Melville writes . . . “already I feel that this Hawthorne has dropped germinous seeds into my soul. He expands and deepens down, the more I contemplate him; and further and further, shoots his strong New England roots in the hot soil of my Southern soul”. 

ellauri107.html on line 474: “Course I don't mean to say that every ad I write is literally true or that I always believe everything I say when I give some buyer a good strong selling-spiel. You see—you see it's like this: In the first place, maybe the owner of the property exaggerated when he put it into my hands, and it certainly isn't my place to go proving my principal a liar! And then most folks are so darn crooked themselves that they expect a fellow to do a little lying, so if I was fool enough to never whoop the ante I'd get the credit for lying anyway! In self-defense I got to toot my own horn, like a lawyer defending a client—his bounden duty, ain't it, to bring out the poor dub's good points? Why, the Judge himself would bawl out a lawyer that didn't, even if they both knew the guy was guilty! But even so, I don't pad out the truth like Cecil Rountree or Thayer or the rest of these realtors. Fact, I think a fellow that's willing to deliberately up and profit by lying ought to be shot!”

ellauri107.html on line 514: “I'll tell you why you have to study Shakespeare and those. It's because they're required for college entrance, and that's all there is to it! Personally, I don't see myself why they stuck 'em into an up-to-date high-school system like we have in this state. Be a good deal better if you took Business English, and learned how to write an ad, or letters that would pull. But there it is, and there's no talk, argument, or discussion about it! Trouble with you, Ted, is you always want to do something different! If you're going to law-school—and you are!—I never had a chance to, but I'll see that you do—why, you'll want to lay in all the English and Latin you can get.”

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ellauri108.html on line 133: Some Rastas have promoted activism as a means of achieving socio-political reform, while others believe in awaiting change that will be brought about through divine intervention in human affairs. In Jamaica, Rastas typically do not vote, derogatorily dismissing politics as "politricks", and rarely involve themselves in political parties or unions. The Rasta tendency to believe that socio-political change is inevitable opens the religion up to the criticism from the political left that it encourages adherents to do little or nothing to alter the status quo. Other Rastas do engage in political activism; the Ghanaian Rasta singer-songwriter Rocky Dawuni for instance was involved in campaigns promoting democratic elections, while in Grenada, many Rastas joined the People's Revolutionary Government formed in 1979.

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ellauri109.html on line 383: Flaubert's dozens of long letters to her, in 1846–1847, then especially between 1851 and 1855, are one of the many joys of his correspondence. Many of them are a precious source of information on the progress of the writing of Madame Bovary. In many others, Flaubert gives lengthy appreciations and critical comments on the poems that Louise Colet sent to him for his judgment before offering them for publication. The most interesting of these comments show the vast differences between her and him on the matter of style and literary expression, she being a gushing Romanticist, he deeply convinced that the writer must abstain from gush and self-indulgence.

ellauri109.html on line 515: A fiction writer’s life is his treasure, his ore, his savings account, his jungle gym,” Updike wrote. “As long as I am alive, I don’t want somebody else playing on my jungle gym—disturbing my children, quizzing my ex-wife, bugging my present wife, seeking for Judases among my friends, rummaging through yellowing old clippings, quoting in extenso bad reviews I would rather forget, and getting everything slightly wrong.”

ellauri109.html on line 517: When Updike, in the eighties, felt the sour breath of potential biographers on his neck, he tried to preëmpt his pursuers by writing a series of autobiographical essays about such topics as the Pennsylvania town where he grew up, his stutter, and his skin condition. The resulting collection, “Self-Consciousness,” is a dazzlingly intimate book, but his imagination and industry did more to draw biographical attention than to repel it. In the weeks before his death, of lung cancer, in early 2009, he continued to write, including an admiring review of Blake Bailey’s biography of John Cheever. And five years later there it was: “Updike,” a biography by Adam Begley.

ellauri109.html on line 521: "So you’re going to redeem Lonoff’s reputation as a writer by ruining it as a man. Replace the genius of the genius with the secret of the genius.”

ellauri109.html on line 533: Roth learned to write through imitation. His first published story, “The Day It Snowed,” was so thoroughly Truman Capote that, he later remarked, he made “Capote look like a longshoreman.”

ellauri109.html on line 539: Roth mined his life for his characters from the beginning. He also found himself liberated, as the fifties wore on, by the example of two older Jewish-American writers. Saul Bellow’s “The Adventures of Augie March” helped “close the gap between Thomas Mann and Damon Runyon,” Roth recalled. Bernard Malamud’s “The Assistant” showed him that “you can write about the Jewish poor, you can write about the Jewish inarticulate, you can describe things near at hand.”

ellauri109.html on line 581: in 2000, James Atlas’s biography of Bellow appeared. It was a book that Roth had urged Atlas to write, but Bellow hated it, and so, in the end, did Roth. An acidic trickle of disenchantment, especially regarding Bellow’s inconstancy with women and family, runs through it. Oma vika pikku sika.

ellauri109.html on line 583: Roth asked Ross Miller to write his biography after his women friends Hermione Lee and Judith Thurman declined his invitations. He  coached Miller on lines of questioning. He was particularly anxious for Miller to rebut  “This whole mad fucking misogynistic bullshit!” “It wasn’t just ‘Fucked this one fucked that one fucked this one,’ ” he told Miller in one of their interviews.”

ellauri109.html on line 597: In 2012, Roth invited Blake Bailey to his apartment, on West Seventy-ninth Street, for a kind of job interview. After quizzing Bailey on how a Gentile from Oklahoma could possibly write the life of a Jew from Newark, the deal was made. “I don’t want you to rehabilitate me,” Roth told him. “Just make me interesting.”

ellauri109.html on line 683: Liekö ollut nilkki? Restauraation julkero. Romanticist writer Sir Walter Scott called him "Glorious John".

ellauri109.html on line 690: Dryden converted to Catholicism more or less simultaneously with the accession of the Roman Catholic king James II in 1685, to the disgust of many Protestant writers. Tälläsiä takinkääntäjiäkin mulla on jo pussillinen.

ellauri110.html on line 344: The diary gives a detailed account of Pepys's personal life. He was fond of wine, plays, and the company of other people. He also spent time evaluating his fortune and his place in the world. He was always curious and often acted on that curiosity, as he acted upon almost all his impulses. Periodically, he would resolve to devote more time to hard work instead of leisure. For example, in his entry for New Year's Eve, 1661, he writes: "I have newly taken a solemn oath about abstaining from plays and wine…" The following months reveal his lapses to the reader; by 17 February, it is recorded, "Here I drank wine upon necessity, being ill for the want of it."

ellauri110.html on line 349: Propriety did not prevent him from engaging in a number of extramarital liaisons with various women that were chronicled in his diary, often in some detail when relating the intimate details. The most dramatic of these encounters was with Deborah Willet, a young woman engaged as a companion for Elisabeth Pepys. On 25 October 1668, Pepys was surprised by his wife as he embraced Deb Willet; he writes that his wife "coming up suddenly, did find me imbracing the girl con [with] my hand sub [under] su [her] coats; and endeed I was with my main [hand] in her cunny. I was at a wonderful loss upon it and the girl also...." Following this event, he was characteristically filled with remorse, but (equally characteristically) continued to pursue Willet after she had been dismissed from the Pepys household. Pepys also had a habit of fondling the breasts of his maid Mary Mercer while she dressed him in the morning.

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 1081: A final thought is that although Dostoevsky himself did not write a blog, there is something blog-like in his Diary of a Writer, a self-published opinion piece that ranged freely over the most apparently disparate issues. To those who fear that blogging and other forms of information technology are inherently antagonistic to the values of great literature (I mean Dostoevsky and not myself, of course), I suggest that it is not a medium of which he would have been afraid. Perhaps even one he would have relished.

ellauri110.html on line 1106:     In an age before psychology was a modern scientific field, Fyodor Dostoyevsky (November 11, 1821 – February 9, 1881) was a Russian writer of realist fiction and essays that explored the depths of the human psyche. Known for acclaimed novels Crime and Punishment, The Idiot and The Brothers Karamazov, Dostoyevsky´s work discusses the human mind in a world full of political and social upheaval in 19th century Russia, becoming the forerunner of existentialism.

ellauri111.html on line 36: Dostoevsky is what russophiles think Russian writers should ne like.

ellauri111.html on line 118: None of the apocryphal writers laid claim to inspiration. They just wrote what happened to come to mind. 

ellauri111.html on line 494:     1 John 2:1 My little children, these things write I unto you, THAT YE SIN NOT. And if any man sin, we have an advocate with the Father, Jesus Christ the righteous: 


ellauri112.html on line 590: Native Chicago suburban writer Diablo Cody on Buffalo Bill muutenkin kuin nimeltä. Klisheepuhveleita kaatuu kuin hehtaaripyssyllä, bullshttiä piisaa enemmän kuin jaxaa syödä. Diablo Cody’s script contains her trademarked witticisms and dry humor. Cody’s quick-witted screenplay highlights an open disdain for hipsters.

ellauri112.html on line 593:   Screenwriter Diablo Cody extends her dependable sarcasm, imbuing Marlo with hilariously cynical commentary and adolescent angst.

ellauri112.html on line 637: Eipäs vaan se on kuin Atwoodin käsineito, once an aspiring writer, now hugely pregnant with her third child.

ellauri112.html on line 707: Tully seems too good to be true when she quickly organizes the home, cleans it from top to bottom, and finds a place for all the errant toys too. She even makes cupcakes for Marlo to take to Jonah’s school as a peace offering. Ultimately, Tully becomes the ‘spouse’ Marlo really needs, and they even have a simpatico banter together, quipping back and forth in sharp, pithy dialogue, the only way  Cody can write for her characters.

ellauri112.html on line 933: We should agree with the Westminster Confession of Faith, which teaches us that “The supreme judge by which all controversies of religion are to be determined, and all decrees of councils, opinions of ancient writers, doctrines of men, and private spirits, are to be examined, and in whose sentence we are to rest, can be no other but the Hard Spirit speaking in the Scripture.” As it is with all controversies of religion, so it is with this one. Smell the breath of the Lord.      

ellauri115.html on line 294: But then, slowly but surely, the tides started to turn. Renaissance swept through Europe. Artists, writers, educators, thinkers began to thrive. A millennium of backwards behavior was turned over to a new way of thinking. (Alonzo and Ken Church had a role to play, of course. What can you do, old habits die hard.)

ellauri115.html on line 296: One of the most important figures of the Renaissance was Michel de Montaigne. The writer not only gets the credit for popularizing the essay, but for being the father of Modern Skepticism, coining the phrase "What do I know?". Well, what do you know! 

ellauri115.html on line 834: A specimen of Fontaine's mal à propos remarks. A brother of Boileau, who was a doctor of the Sorbonne, pronounced one day, before La Fontaine and two or three others, a long eulogy upon St. Augustine. The fabulist, whose mind had been running upon a very different author, and who had but little idea of the distinction to be observed between writers on sacred and profane subjects, interrupted the doctor to ask whether he thought St. Augustine a greater genius than Rabelais. The theologian contented himself with the reply, “Take care, M. La Fontaine, you have put on your stockings the wrong side out!” Sepalus on persepuolella. 

ellauri115.html on line 1067: Shmuel "Sam" Vaknin (born April 21, 1961) is an Israeli writer and "professor of psychology". He is the author of Malignant Self Love: Narcissism Revisited (1999), was editor-in-chief of political news website Global Politician, and runs a private website about narcissistic personality disorder (NPD). He has also postulated a theory on chronons and time asymmetry which is pure bullshit.

ellauri115.html on line 1075: Vaknin was born in Kiryat Yam, Israel, the eldest of five children born to Sephardi Jewish immigrants. Vaknin's mother was from Turkey, and his father, a construction worker, was from Morocco. He describes a difficult childhood, in which he writes that his parents "were ill-equipped to deal with normal children, let alone the gifted". Arvaa kyllä ketä sillä tarkoitetaan.

ellauri117.html on line 380: While in pre-production, write detailed story summaries and character descriptions intended to guide artists and level designers throughout production cycle.

ellauri117.html on line 388: Resist network suggestion to include car chase at top of pilot to “hook viewers.” Eventually cave and write car chase.

ellauri118.html on line 384: After graduating from high school, Cawein worked in a pool hall in Louisville as a cashier in Waddill´s New-market, which also served as a gambling house. He worked there for six years, saving his pay so he could return home to write.

ellauri118.html on line 840: How close and lasting was this friendship is seen on almost every page of Mme. de Sévigné's correspondence. Indeed, so often does the name of Mme. de La Fayette occur in Mme. de Sévigné's letters to her daughter, that the latter may well have been jealous of her mother's friend. The companionship of Mme. de Sévigné was, after the death of La Rochefoucauld, the chief comfort of Mme. de La Fayette in her ill-health and seclusion; and it was from the sick-chamber of her friend that Mme. de Sévigné's letters would seem to have been written in those latter years. In 1693, soon after the death of Mme. de La Fayette, Mme. de Sévigné writes as follows of her dead friend: "Je me trouvois trop heureuse d'être aimée d'elle depuis un temps très-considérable; jamais nous n'avions eu le moindre nuage dans notre amitié. 

ellauri118.html on line 844: The relation was equally sincere on the part of Mme. de La Fayette, though she was by nature more self-contained and reserved. But this reserve gives way to the strength of her feelings when in 1691, tormented by ill-health and knowing that her end is not far off, she writes to Mme. de Sévigné: "Croyez, ma très-chère, que vous êtes la personne du monde que j'ai le plus véritablement aimée."

ellauri118.html on line 1112: “Some days, my grandmother would say we were related to her and on other days, she would deny the whole thing because it wasn't very respectable,” Atwood says. “I was actually trying to write a novel about her, but, unfortunately, I didn't know enough about the late 17th century to be able to do it. But I did write a long, narrative poem called 'Half-Hanged Mary,' because she only got half hanged.”

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ellauri119.html on line 464:     As the fat and ugly French novelist Honoré de Balzac stated, eroticism is dependent not just upon an individual's sexual morality, but also the culture and time in which an individual resides. Because eroticism is wholly dependent on the viewer's culture and personal tastes pertaining to what, exactly, defines the erotic, critics have often[how often?] confused eroticism with pornography, with the anti-pornography activist Andrea Dworkin saying, "Erotica is simply high-class pornography; better produced, better conceived, better executed, better packaged, designed for a better class of consumer." This confusion, as Lynn Hunt writes, "demonstrate the difficulty of drawing… a clear generic demarcation between the erotic and the pornographic": indeed arguably "the history of the separation of pornography from eroticism… remains to be written". In the eighteenth century, eroticism was the result of the intrusion into the public sphere of something that was at base private. 

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ellauri119.html on line 614: Ayn Rand was a Russian-American novelist, philosopher, playwright, and screenwriter.

ellauri119.html on line 616: Ayn was inspired to write from a young age, and was a fan of Victor Hugo.

ellauri119.html on line 633: Ayn and Frank were living in an apartment at 160 89th St, Manhattan, New York in 1940. Their rent was $105 a month. Frank is working as a theatrical actor and by this time, Ayn is calling herself a writer, both for novels and plays. Frank showed no income the previous year, while Ayn had made $3000.

ellauri119.html on line 637: She started writing her best-known novel, "The Fountainhead" in 1935, and would be published after multiple publisher rejections, in 1943. Ayn would go on to write a screenplay based on the novel, and then work on one of her other well-known novels, "Atlas Shrugged", which focused largely on her version of Objectivism, and would be published in 1957. She would spend her life discussing, lecturing, and writing about her philosophy.

ellauri119.html on line 718: Her heroes act benevolently towards others. Dagny Taggart saves a bum from being thrown off one of her trains. She even invites him to dinner in her private car. Why would someone who advocates Social Darwinism write this into their novel?

ellauri119.html on line 730: “Atlas Shrugged” is fiction. Authors of fiction can write anything they want to write no matter how nonsensical it is.

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ellauri131.html on line 865: That she does not have a boyfriend and she watches too much Netflix. I mean, so do I! But I am not going to write a bloody memoir all about it. In a world where so much is in actual tatters, it feels very #whitefeminism, very #firstworldproblems (which is, honest to god, the most millennial I have ever sounded). And no, that does not mean that everything has to be serious and doom-and-gloom to be needed, but this just felt unbelievably shallow, while I am deep.

ellauri131.html on line 938: Covey, more than most inspirational writers, is able to skate right up close to the border of the divine without alarming anyone.   Dr. Stephen R. Covey, author of The Seven Habits of Highly Effective People, has lost his laser pointer once again and is practically jumping up off the stage to point to a giant chart projected on the wall of a conference room at the Westin Hotel in Seattle. He would be an imposing man if he were two inches taller.

ellauri132.html on line 113: Sam is the son of actor Berkeley Harris, who appeared mainly in Western films, and TV writer and producer Susan Harris (née Spivak), who created Soap (TV series) and The Golden Girls among other series. His father, born in North Carolina, came from a Quaker background, and his mother is Jewish but not religious. He was raised by his mother following his parents' divorce when he was aged two. Harris has stated that his upbringing was entirely secular and that his parents rarely discussed religion, though he also stated that he was not raised as an atheist.

ellauri132.html on line 360: Catch? None. Just sign up to receive some additional, exclusive Writer’s Wisdom on topics every writer wants answered!

ellauri132.html on line 430: 
writers/" target="_blank" rel="noopener noreferrer">Kirjailijoiden rumia eleitä

ellauri132.html on line 618: Toivon että tää ilmelista oli hyödyxi! Mulla on monta muuta tämmöstä listaa mun kirjassa Mestarilistoja Kynäilijöille: Tesauruxia, Juonia, Luonteenpiirteitä, Nimiä, ja Enemmän. Mä tuumin eze on hieno työkalu tehdä “näytä älä kerro” helpommaxi ja inspixexi joka kynäilyvaiheessa. Tsekkaa se ulos!! Master Lists for Writers by Bryn Donovan #master lists for writers free pdf #master lists for writers free ebook.

ellauri132.html on line 665:   Eikä, palkinto-Booker oli joku riistäjä Booker McConnell Karibialta. In 1972, winning writer John Berger, known for his Marxist worldview, protested during his acceptance speech against Booker McConnell. He blamed Booker's 130 years of sugar production in the Caribbean for the region's modern poverty.

ellauri133.html on line 66:                           
Weather. There is a reason “It was a dark and stormy night” is considered the worst opening line ever. There is no good reason. Lytton may be a crappy writer but it's not because of the first sentence, but the rest.

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There are fashions in writing, just as there are in clothes. The modern trend, particularly for genre or YA fiction, but increasingly in literary fiction too, is to start the story with the main character on the first page, and to start with the inciting incident. No backstory before chapter three, and then pare it to the bone. "YA" most likely stands for young adult. There hardly is a brand of monkeys that are stupider than young adults. Except YA writers. Give them a dildo and it will keep them occupied for hours.

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Have you ever watched American Idol or X factor at the audition stage? Then you'll know the way you can usually tell within five notes if the singer is actually able to sing and is likely to go through. It's the same with writing. Any writer who can't manage a decent opening is not likely to get much better a hundred pages on. Whining for a second chance because "I sing a lot better in the second verse" (or "The second chapter is really good") doesn't fool anyone. What an idiot. There are lots of books that start out slow but grow on you. But fuck you, you're just such an idiot that hardly has the patience to spell laboriously through the title. Right into the garbage can from the Amazon box if the cover does not please. Your kind had better just watch Netflix or HBO, or reruns of American Idiots and X Position.

ellauri133.html on line 372: “I decided that the bridge could be the city, if there was something under it,” King wrote on his website. “What’s under a city? Tunnels. Sewers ... I thought of how such a story might be cast; how it might be possible to create a ricochet effect, interweaving the stories of the children and the adults they become. Sometime in the summer of 1981 I realized that I had to write the troll under the bridge or leave him—IT—forever.”

ellauri133.html on line 376:   King is notoriously prolific, with more than 50 novels to his name. In fact, when It first came out, it was part of a wave of four books King published in the span of just 14 months. Between 1986 and 1987, King published It, The Eyes of the Dragon, Misery, and The Tommyknockers. Given that kind of productivity, it would be easy to assume that King seamlessly produces doorstoppers in mere months. But appearances can be deceiving: It took four years to write.

ellauri133.html on line 384: It contains an infamous sex scene. In it, the main group of 11- and 12-year-old kids—known as The Losers´ Club—gets lost in the sewers after temporarily defeating IT. In order to find their way out, they all have sex with the lone female member of the group as a sort of ritual. “Mike comes into her, then Richie, and the act is repeated ... she closes her eyes as Stan comes to her and she thinks of the birds,” King writes in It.

ellauri133.html on line 398:   It is set in the fictional town of Derry, Maine. According to King, it’s a stand-in for the real town of Bangor, Maine, where he has lived since 1979. King and his wife were debating between moving to Portland or Bangor; King was in favor of Bangor because he considered Portland “a yuppie town” and that Bangor was “a hard-ass working class town ... and I thought that the story, the big story, I wanted to write, was here … all my thoughts on monsters and the children’s tale Three Billy Goats Gruff.

ellauri133.html on line 410: Although King is widely considered to be the master of horror, he’s previously said he doesn’t have an answer when people ask what drives him. It was his answer to these inquiries. "I thought to myself, ´Why don’t I write a final exam on horror, and put in all the monsters that I was afraid of as a kid? And call it it?´" King told TIME in 2009. "And I thought, How are you going to do that? And I said, Well, I´m going to do it like a fairy tale. I’m going to make up a town where these things happen and everybody ignores them. Like in Grinch."

ellauri133.html on line 427: Stephen King writes, well, colorfully, but his development of female characters leaves much to be desired. Women should have more of a purpose than their sexuality.

ellauri133.html on line 565: Teppo and chubby Tabitha are still happily married, and continue to write successful works of fiction. Teppo fell in love with Tabitha because Tabitha understood his art. Tabitha grew tired of King’s habits with drugs and alcohol. Eventually, she called up an intervention for her husband. If he didn’t get his act together, he would be forced to the curb. So he got his act together.

ellauri133.html on line 602: The miniseries was shot at The Stanley Kubrick Hotel in Estes Park, Colorado, King's inspiration for the novel, in March 1997. S everal notable writers and filmmakers who work in the horror genre also cameo in the miniseries' ballroom scene, King himself appearing as an orchestra conductor. Retrospective critics have viewed the miniseries less fondly, comparing it unfavorably to Kubrick´s film version. 

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ellauri133.html on line 849: Shirley Hardie Jackson (December 14, 1916 – August 8, 1965) was an American writer known primarily for her works of horror and mystery. Over the duration of her writing career, which spanned over two decades, she composed six novels, two memoirs, and more than 200 short stories. 

ellauri135.html on line 220: Berg, Nikolai, writer, born. 24 Mar 1823 in Moscow, mind. 16 Jun 1884 in Warsaw. The name of the family comes from Livonia, but the writer's grandfather, Vladimir, was Orthodox, served in the artillery, performed under the command of Suvorov several campaigns, under Silistria was wounded and died in the rank of bayonet-cadets. Father f Nikolai, Vasiliy, wrote and published poetry and prose when I was single and served in Irkutsk, placing their works in the "Herald of Europe" (1820-ies, signed "Irkutsk"). He especially loved Derzhavin and forced his son to memorize his poems.

ellauri135.html on line 222: The first seven years, Nikolai lived in Moscow, and then, with his parents, moved to Siberia, where his father got the post of the Chairman of the Tobolsk provincial government (in 1830). Eight years, the boy himself began to write poetry, knowing many passages from different odes of Derzhavin. In the early 30-ies the father Berg settled in the Tambov province in his estate, and gave his son in the Tambov gymnasium, and in 1838 moving to Moscow, transferred to the I-th Moscow gymnasium, in which he graduated in 1843 and entered the historical-philological faculty of Moscow University. At the Moscow school, especially Berg became friends with a school friend A. N. Ostrovsky, with whom all his life maintained the most cordial relations. As a student, Berg published his first poem in the "Moskvityanin" (translated from the Swedish poet Runeberg: "Complaint of the virgin").

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ellauri140.html on line 226:       The song was written by then Staff Sgt. Barry Sadler, beginning when he was training to be a Special Forces medic. The author Robin Moore, who wrote the book, The Green Berets, helped Sadler write the lyrics and get a recording contract with RCA Records. The demo of the song was produced in a rudimentary recording studio at Fort Bragg, with the help of Gerry Gitell and LTG William P. Yarborough.

ellauri141.html on line 111: At his house, probably, Horace became intimate with Polio, and the many persons of consideration whose friendship he appears to have enjoyed. Through Mæcenas, also, it is probable Horace was introduced to Augustus; but when that happened is uncertain. In B. C. 37, Mæcenas was deputed by Augustus to meet M. Antonius at Brundisium, and he took Horace with him on that journey, of which a detailed account is given in the fifth Satire of the first book. Horace appears to have parted from the rest of the company at Brundisium, and perhaps returned to Rome by Tarentum and Venusia. (See S. i. 5, Introduction.) Between this journey and B. C. 32, Horace received from his friend the present of a small estate in the valley of the Digentia (Licenza), situated about thirty-four miles from Rome, and fourteen from Tibur, in the Sabine country. Of this property he gives a description in his Epistle to Quintius (i. 16), and he appears to have lived there a part of every year, and to have been fond of the place, which was very quiet and retired, being four miles from the nearest town, Varia (Vico Varo), a municipium perhaps, but not a place of any importance. During this interval he continued to write Satires and Epodes, but also, it appears probable, some of the Odes, which some years later he published, and others which he did not publish. These compositions, no doubt, were seen by his friends, and were pretty well known before any of them were collected for publication. The first book of the Satires was published probably in B. C. 35, the Epodes in B. C. 30, and the second book of Satires in the following year, when Horace was about thirty-five years old. When Augustus returned from Asia, in B. C. 29, and closed the gates of Janus, being the acknowledged head of the republic, Horace appeared among his most hearty adherents. He wrote on this occasion one of his best Odes (i. 2), and employed his pen in forwarding those reforms which it was the first object of Augustus to effect. (See Introduction to C. ii. 15.) His most striking Odes appear, for the most part, to have been written after the establishment of peace. Some may have been written before, and probably were. But for some reason it would seem that he gave himself more to lyric poetry after his thirty-fifth year than he had done before. He had most likely studied the Greek poets while he was at Athens, and some of his imitations may have been written early. If so, they were most probably improved and polished, from time to time, (for he must have had them by him, known perhaps only to a few friends, for many years,) till they became the graceful specimens of artificial composition that they are. Horace continued to employ himself in this kind of writing (on a variety of subjects, convivial, amatory, political, moral,—some original, many no doubt suggested by Greek poems) till B. C. 24, when there are reasons for thinking the first three books of the Odes were published. During this period, Horace appears to have passed his time at Rome, among the most distinguished men of the day, or at his house in the country, paying occasional visits to Tibur, Præneste, and Baiæ, with indifferent health, which required change of air. About the year B. C. 26 he was nearly killed by the falling of a tree, on his own estate, which accident he has recorded in one of his Odes (ii. 13), and occasionally refers to; once in the same stanza with a storm in which he was nearly lost off Cape Palinurus, on the western coast of Italy. When this happened, nobody knows. After the publication of the three books of Odes, Horace seems to have ceased from that style of writing, or nearly so; and the only other compositions we know of his having produced in the next few years are metrical Epistles to different friends, of which he published a volume probably in B. C. 20 or 19. He seems to have taken up the study of the Greek philosophical writers, and to have become a good deal interested in them, and also to have been a little tired of the world, and disgusted with the jealousies his reputation created. His health did not improve as he grew older, and he put himself under the care of Antonius Musa, the emperor’s new physician. By his advice he gave up, for a time at least, his favorite Baiæ. But he found it necessary to be a good deal away from Rome, especially in the autumn and winter.

ellauri141.html on line 113: In B. C. 17, Augustus celebrated the Ludi Seculares, and Horace was required to write an Ode for the occasion, which he did, and it has been preserved. This circumstance, and the credit it brought him, may have given his mind another leaning to Ode-writing, and have helped him to produce the fourth book, a few pieces in which may have been written at any time. It is said that Augustus particularly desired Horace to publish another book of Odes, in order that those he wrote upon the victories of Drusus and Tiberius (4 and 14) might appear in it. The latter of these Odes was not written, probably, till B. C. 13, when Augustus returned from Gaul. If so, the book was probably published in that year, when Horace was fifty-two. The Odes of the fourth book show no diminution of power, but the reverse. There are none in the first three books that surpass, or perhaps equal, the Ode in honor of Drusus, and few superior to that which is addressed to Lollius. The success of the first three books, and the honor of being chosen to compose the Ode at the Ludi Seculares, seem to have given him encouragement. There are no incidents in his life during the above period recorded or alluded to in his poems. He lived five years after the publication of the fourth book of Odes, if the above date be correct, and during that time, I think it probable, he wrote the Epistles to Augustus and Florus which form the second book; and having conceived the intention of writing a poem on the art and progress of poetry, he wrote as much of it as appears in the Epistle to the Pisones which has been preserved among his works. It seems, from the Epistle to Florus, that Horace at this time had to resist the urgency of friends begging him to write, one in this style and another in that, and that he had no desire to gratify them and to sacrifice his own ease to a pursuit in which it is plain he never took any great delight. He was likely to bring to it less energy as his life was drawing prematurely to a close, through infirmities either contracted or aggravated during his irrational campaigning with Brutus, his inaptitude for which he appears afterwards to have been perfectly aware of. He continued to apply himself to the study of moral philosophy till his death, which took place, according to Eusebius, on the 27th of November, B. C. 8, in the fifty-seventh year of his age, and within a few days of its completion. Mæcenas died the same year, also towards the close of it; a coincidence that has led some to the notion, that Horace hastened his own death that he might not have the pain of surviving his patron. According to Suetonius, his death (which he places after his fifty-ninth year) was so sudden, that he had not time to execute his will, which is opposed to the notion of suicide. The two friends were buried near one another “in extremis Esquiliis,” in the farthest part of the Esquiliæ, that is, probably, without the city walls, on the ground drained and laid out in gardens by Mæcenas. 

ellauri141.html on line 404: The solfege system (Do, Re, Mi), which is the theme of a song by the Von Trapp children, is just a small sample of Horace's all-pervasive influence on western culture, even among people who might never have heard the name Quintus Horatius Flaccus. Horace was not just a superb literary craftsman, but a musician, songwriter and entertainer for the Roman elite, creating a new Latin idiom derived from Greek lyric song. A final chapter, "Horace, Guido and the Do-re-mi Mystery", the result of careful research and detective work, argues that Guido d'Arezzo, an eleventh-century Benedictine choirmaster, used the melody of Horace's Ode to Phyllis (alla) to invent the do-re-mi mnemonic, but applied it to an eighth-century Hymn to John the Baptist ("Ut queant laxis") by Paul the Deacon, keeping the true source secret. A musical comparison of the Horatian melody and Guido's version of "ut-re-mi" is included. Lyons' verse translation of the Odes was named a Financial Times Book of the Year (1996) and was welcomed as 'a wonderful rendering of one of the great, central poets in the European tradition.'

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ellauri142.html on line 71: Count Lev Nikolayevich Tolstoy (/ˈtoʊlstɔɪ/; Russian: Лев Николаевич Толстой, 28 August 1828 – 7 November 1910), usually referred to in English as Leo Tolstoy, was a Russian writer who is regarded as one of the greatest authors of all time. He received nominations for the Nobel Prize in Literature every year from 1902 to 1906 and for the Nobel Peace Prize in 1901, 1902, and 1909. That he never won is a major controversy. Instead, Rudyard Kipling got the medal 1907. What the fuck?

ellauri142.html on line 91: Prize motivation: "in consideration of the power of observation, originality of imagination, virility of ideas and remarkable talent for narration which characterize the creations of this world-famous author." As a poet, short story writer, journalist and novelist, Rudyard Kipling described the British colonial empire in positive terms, which made his poetry popular in the British Army. Contemporary Great Britain appreciated him for his depictions of  the British colony of India. The Jungle Book (1894) has made him known and loved by children throughout the world, especially thanks to Disney’s 1967 film adaptation.

ellauri142.html on line 167: Vittu mitä pellejä! Jo on lapsellista touhua. According to the historian David Stevenson, it was influential on Freemasonry as it was emerging in Scotland.  Robert Vanloo (n.h.) states that earlier 17th century Rosicrucianism had a considerable influence on Anglo-Saxon Masonry. Hans Schick sees in the works of Comenius (1592–1670) the ideal of the newly born English Masonry before the foundation of the Grand Lodge in 1717. Comenius was in England during 1641. Their mission is to prepare the whole wide world for a new phase in religion, which includes awareness of the inner worlds and the subtle bodies, and to provide safe guidance in the gradual awakening of man's latent spiritual faculties during the next six centuries toward the coming Age of Aquariums. This is the dawning of it, judging by the sea levels. According to Masonic writers, the Order of the Rose Cross is expounded in a major Christian literary work that molded the subsequent spiritual beliefs of western civilization: The Divine Comedy (ca. 1308–1321) by Dante Alighieri. 

ellauri142.html on line 192: Paul Wagner is an Intuitive-Empath, clairvoyant reader, and a 5-time EMMY Award winning writer. He created “The Personality Cards,” a powerful Oracle-Tarot deck that’s helpful in life, love and relationships. Paul studied with Lakota elders in the Pecos Wilderness, who nurtured his empathic abilities and taught him the sacred rituals. He has lived at ashrams with enlightened masters, including Amma, the Hugging Saint, for whom he’s delivered.

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ellauri143.html on line 1316: Explanation: If (food and work are either) excessive or deficient, the three things enumerated by (medical) writers: flatulence, biliousness, and phlegm, will cause disease.

ellauri144.html on line 106: Portnoy's Complaint n. (after Alexander Portnoy 1933- ) A disorder in which a fictional character the same age as the writer kvetches on sex, guilt, sex and Jewishness for 250 pages without pausing for breath.

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ellauri144.html on line 392: Dylan Marlais Thomas (27 October 1914 – 9 November 1953 = 39v) was a Welsh poet and writer whose works include the poems "Do not go gentle into that good night" (Josta suomenruozalainen leijakirjailija otti "Älä mene yxin yöllä ulos") and "And death shall have no dominion"; the "play for voices" Under Milk Wood; and stories and radio broadcasts such as A Child´s Christmas in Wales and Portrait of the Artist as a Young Dog. He became widely popular in his lifetime and remained so after his death at the age of 39 in New York City. By then he had acquired a reputation, which he had encouraged, as a "roistering, drunken and doomed poet".

ellauri144.html on line 398: Thomas came to be appreciated as a popular poet during his lifetime, though he found earning a living as a writer was difficult. He began augmenting his income with reading tours and radio broadcasts. His radio recordings for the BBC during the late 1940s brought him to the public´s attention, and he was frequently used by the BBC as an accessible voice of the literary scene. Thomas first travelled to the United States in the 1950s. His readings there brought him a degree of fame, while his erratic behaviour and drinking worsened. His time in the United States cemented his legend, however, and he went on to record to vinyl such works as A Child´s Christmas in Wales. Phil Rothin ekalla tyttöystävällä oll Dylan Thomas-levy, jota ne kuuntelivat pukilla. During his fourth trip to New York in 1953, Thomas became gravely ill and fell into a coma. He died on 9 November 1953 and his body was returned to Wales. On 25 November 1953, he was interred at St Martin´s churchyard in Laugharne. What a laugh. 

ellauri144.html on line 482: Let Us Now Praise Famous Men is a book with text by American writer James Agee and photographs by American photographer Walker Evans, first published in 1941 in the American United States. The work documents the lives of impoverished tenant farmers during the Great Depression. Although it is in keeping with Evans´s work with the Farm Security Administration, the project was initiated not by the FSA, but by Fortune magazine. The title derives from a passage in the Wisdom of Sirach (44:1) that begins, "Let us now praise famous men, and our fathers that begat us".

ellauri144.html on line 544: Ambrose Gwinnett Bierce (June 24, 1842 – circa 1914) was an American short story writer, journalist, poet, and Civil War veteran. His book The Devil´s Dictionary was named as one of "The 100 Greatest Masterpieces of American Literature" by the American Revolution Bicentennial Administration. His story "An Occurrence at Owl Creek Bridge" has been described as "one of the most famous and frequently anthologized stories in American literature", and his book Tales of Soldiers and Civilians (also published as In the Midst of Life) was named by the Grolier Club as one of the 100 most influential American books printed before 1900.

ellauri144.html on line 546: A prolific and versatile writer, Bierce was regarded as one of the most influential journalists in the United States, and as a pioneering writer of realist fiction. For his horror writing, Michael Dirda ranked him alongside Edgar Allan Poe and H. P. Lovecraft. S. T. Joshi speculates that he may well be the greatest satirist America has ever produced, and in this regard can take his place with such figures as Juvenal, Swift, and Voltaire. His war stories influenced Stephen Crane, Ernest Hemingway, and others, and he was considered an influential and feared literary critic. In recent decades Bierce has gained wider respect as a fabulist and for his poetry.   

ellauri144.html on line 650: Raffalovich was a 19th century Hebrew Catholic or Catholic Jew. His name was Marc-Andre Raffalovich and was a famous French poet and writer associated with John Gray and Oscar Wilde. He came from a wealthy Russian Jewish family from Odessa who moved to France a year before his birth. He became a Catholic in 1896 through the reading of Catholic mystical literature especially homahtava St John of the Cross. Ei ois kannattanut. For

ellauri144.html on line 652: writes about same-sex attraction: 

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ellauri145.html on line 117:     Thomas De Quincey: On Murder Considered as one of the Fine Arts Thomas Penson De Quincey (/də ˈkwɪnsi/;[1] 15 August 1785 – 8 December 1859) was an English writer, essayist, and literary critic, best known for his Confessions of an English Opium-Eater (1821) Many scholars suggest that in publishing this work De Quincey inaugurated the tradition of addiction literature in the West. Mulla on toi kirja, mä luinkin sen, mutta se oli kyllä aika pitkästyttävä. Tämänkertainen ozikko tuo mieleen sen usein mietityttäneen havainnon että mixhän vitussa 50% tv-sarjoista on murhajuttuja. Eikai siinä muuta ole kun että KILL! on 1/3 apinan mieliharrastuxista. Dekkarit ja horrorit on musta lattapäisyyden selvimpiä ilmentymiä.

ellauri145.html on line 436:     Charles Cros Émile-Hortensius-Charles Cros (October 1, 1842 – August 9, 1888) was a French poet and inventor. He was born in Fabrezan, Aude, France, 35 km to the East of Carcassonne. Cros was a well-regarded poet and humorous writer. He developed various improved methods of photography including an early color photo process. He also invented improvements in telegraph technology. In the early 1870s Cros had published with Mallarmé, Villiers and Verlaine in the short-lived weekly Renaissance littéraire et artistique, edited by Emile Blémont. His poem The Kippered Herring inspired Ernest Coquelin to create what he called monologues, short theatrical pieces whose format was copied by numerous imitators. The piece, translated as The Salt Herring, was translated and illustrated by Edward Gorey. He spent years petitioning the French government to build a giant mirror that could be used to communicate with the Martians and Venusians by burning giant lines on the deserts of those planets. He was never convinced that the Martians were not a proven fact, nor that the mirror he wanted was technically impossible to build. Tästä hepusta tulee mieleen Spede Pasanen ja sen hiihtolinko. 

ellauri145.html on line 537: Nietzsche’s image, through no more fault of his own than Hawking´s (LOL), has grown in a similar way to that of Hawking. We all have a vague notion of what the Ubermensch is, we’ve all heard “God is dead,” and we all know Nietzsche was a crazy philosopher with a giant mustache who wrote really hard books and scared his contemporaries and was apparently a favorite of the Nazis. There are little quips and quotes from him around the internet that sound awfully cryptic and enigmatic. And the publishing industry plays on this image, too: I have a copy of Beyond Good And Evil with a black cover and the title text printed in red and white, and the color scheme looks a little sinister. I strongly suspect that, if Nietzsche did not have a popular image as a crazy nihilist Nazi Ubermensch from the 1800s, the publisher would not have made the decision to print his books with a black and red color scheme. A cursory look at Amazon’s book listing also shows copies of Thus Spake Zarathustra with a picture of a panther’s eyes on the cover, glowering at the reader. Because… “Nietzsche was that crazy German writer or philosopher or whatever, right? And he was, like, an anarchist or nihilist or Nazi or something, right? Didn’t he kill God or something like that? Yeah.”

ellauri145.html on line 707:     Durtal admires the documentation of Naturalism, yet wants to open it to the supernatural, to an exploration of both body and spirit: it will be a kind of “naturalisme spiritualiste” that will follow Zola’s route, but in the air.6 This tension between realism and the supernatural lies at the heart of Là-bas, a novel in which Huysmans follows Durtal’s spiritual transformation as he researches medieval and modern Satanism.  Là-bas was a scandalous best-seller. It inspired a great deal of public debate, especially since it was published in the same review and at the same time as Jules Huret’s first Enquête sur l’évolution littéraire, a series of sixty-four interviews conducted with major French authors from March 3 to July 5, 1891.7 This series, which asked its interviewees whether Naturalism was dead, was a phenomenal success read by all of Paris.8 Huret caused every non-Naturalist writer to agree that Zola’s brand of Naturalism was obsolete because it neglected humanity’s soul.

ellauri145.html on line 1155:   Jean-Pierre Brisset Jean-Pierre Brisset (October 30 1837 – September 2 1919) was a French outsider writer.

ellauri146.html on line 375: I write I'm sorry but my letter keeps coming back

ellauri146.html on line 654: Poe, unlike other great American writers of his time, spent a considerable portion of his childhood in Britain. In 1815, John Allan set out for England, accompanied by his wife, Frances Allan; his sister-in-law, “Aunt Nancy” Valentine; and his six-year-old foster son, Edgar Poe. For a time Edgar attended the small London school of Miss Dubourg (a name which subsequently was to appear in “The Murders in the Rue Morgue”) and later, for a period of three years from 1817 to 1820, was sent to a better school, the Manor House at Stoke Newington near London. Here Poe, in addition to being affected profoundly by the atmosphere of England, studied French, Latin, history and literature. The Manor House School, with its “Dr.” Bransby, Poe later was to transplant bodily to the semi-autobiographical tale “William Wilson” (1840).

ellauri146.html on line 668: The concern of the Pounder to advance republican ideals and republican politics among the students of the University was not notably effectual with one student at least: Poe was not receptive to Jeffersonian liberalism. But many of the impressions which Poe received at Charlottesville, both within and without the lecture rooms, must have remained with him. The young admirer of classic grandeur, we know, was impressed by the graceful Rotunda. About Poe at Virginia, Philip Alexander Bruce writes as follows:

ellauri146.html on line 674: The success of Poe in translation indicates his possession of a universal point of view. The recognition which he has received in France, Russia, Italy, Germany, Spain and Britain has no parallel among other American writers. Poe has become a world-author, and this fact depends very largely upon the universality of his appeal. “Poe is my spiritual and literary father,” asserted the Spaniard Vicente Blasco Ibanez. Baudelaire prayed to Poe as a literary saint. The Germans regard him as the foremost American writer. The Russians began translating him in the 1830s even before he was known in America.

ellauri146.html on line 678: As a critic, Poe often expressed national sentiments. He urged Americans to build their own literature, to avoid a blind adulation of, or slavish imitation of, Europeans simply because they were Europeans. But at the same time, Poe warned against literary chauvanism, which tended to overpraise every dull American writer simply because he happened to be American. Poe’s detached and objective attitude could become, and often did become, highly critical of American society and America

ellauri147.html on line 83: Having completed her university studies, Tyynni took up the teaching of Finnish in evening classes, but the urge to write proved stronger than the duty to teach. Her first poetry collection, Kynttilänsydän (‘Candlewick’), was published in 1938. Two years later she published a second collection Vesilintu (‘waterfowl’). With the outbreak of war, her poetry changed: Lähde ja matkamies (’The spring and the traveller’), Lehtimaja (‘The arbour’) and Soiva metsä (‘The ringing forest’) all reflected the defensive spirit of the country. Tyynni also depicted womanhood, the experiences of women in childbirth and motherhood. Later feminist research in particular has praised Tyynni as a pioneer for her lyrics dealing with childbirth.

ellauri147.html on line 96: The union of these two lyrical writers is generally seen as a happy and creative time. The partners inspired each other as a couple and as writers. Martti Haavio died in 1973 following a heart attack, and Ale Tyynni-Haavio completed her husband’s unfinished memoirs and it was published as Olen typerä kana: Martti Haavio - P. Mustapää 20-luvun maisemassa (‘I am still distant: Martti Haavio – P. Mustapää in the 1920s countryside’, 1978).

ellauri147.html on line 167:     Nietzsche's "Will to power" and "Will to seem" embrace many of our views, which again resemble in some respects the views of Féré and the older writers, according to whom the sensation of pleasure originates in a feeling of power, that of pain in a feeling of feebleness (Ohnmacht).

ellauri147.html on line 205: Despite struggling to fit in with French office culture Emily convinces her boss, Sylvie, to invite her to a work party where she accidentally irritates Sylvie by conversing with Antoine Lambert, a client who turns out to be Sylvie's married lover. As punishment she is put to work marketing Vaga-Jeune, a lubricant for menopausal women. Annoyed with the gendered nature of the French language Emily writes a post about the product that goes viral causing her to make further inroads at work.

ellauri147.html on line 312: Their daughter is an actress, model, and writer. 

ellauri147.html on line 370: “He has this thing when he’s talking to you, where he makes you feel [like], ‘I know this must be hard for you because I’m a Beatle and I can read and write,” he said. He also claimed that McCartney will say how hard it must be for someone to have a conversation with Phil.

ellauri147.html on line 389: Despite making a name for herself as a suspected actress, Lily Collins has admitted that being the daughter of Phil Collins hasn’t necessarily helped her career. Haw haw. Phil is estimated to have a jaw-dropping net worth of $260 million, which he accumulated through his career as a musician, actor, and writer. 

ellauri147.html on line 418: In her memoir Unfiltered: No Shame, No Regrets, Just Me, Lily Collins addressed father Phil’s history with infidelity, claiming that “we can’t rewrite the past. I tried, it just won´t work.” According to her, she was angry and sad at the pain her dad brought to the family.

ellauri150.html on line 459:       The Polish writer Henryk Sienkiewicz wrote the novel Quo Vadis: A Narrative of the Time of Nero (1895–96, a tremendous hit in fin de siecle Paris) which in turn has been made into motion pictures several times, including a 1951 version that was nominated for eight Academy Awards. Vittu vaan 8, Ben veti mahtavammat 11, samoinkuin vielä järisyttävämmät suurteoxet Titanic ja Bored of the Rings. For this and other films novels, Sienkiewicz received the 1905 Nobel Prize for Literature.

ellauri150.html on line 471: Karl Tunberg (March 11, 1907 − April 3, 1992) was an American screenwriter and occasional film producer. His screenplays for Tall, Dark and Handsome (1941) and Ben-Hur (1959) were nominated for the Academy Award for Best Original Screenplay and Best Adapted Screenplay, respectively. more… 

ellauri150.html on line 476: The film's final onscreen writing credits created controversy when, in October 1959, the Writers Guild of America (WGA) awarded Tunberg sole screenplay credit, despite the objections of the film's director, William Wyler, who, in the film's commemorative booklet and elsewhere, claimed that Christopher Fry was more responsible than any other writer for the final screenplay. In response to Wyler's public outcries against their ruling, the WGA took out trade paper ads on November 20, 1959 in which they issued a statement reading, in part, "the unanimous decision of the three judges was that the sole screenplay credit was awarded to Karl Tunberg...The record shows the following: 1. Karl Tunberg is the only writer who has ever written a complete screenplay on Ben-Hur; 2. Karl Tunberg continued to contribute materials throughout the actual filming, and this material is incorporated in the final picture; and 3. Karl Tunberg alone did the necessary rewriting during the four months of retakes and added scenes. Mr. Christopher Fry himself was fully informed of the proceedings of the Guild. He has made it absolutely clear that he did not want to protest the decision of the Guild." 

ellauri150.html on line 478: Arthur Hammond Harris aka Christopher Fry (18 December 1907 – 30 June 2005) was an English poet and playwright. He is best known for his verse dramas, especially The Lady's Not for Burning, which made him a major force in theatre in the 1940s and 1950s. Fry was born as Arthur Hammond Harris in Bristol, the son of Charles John Harris, a master builder who retired early to work full-time as a licensed Lay Reader in the Church of England, and his wife Emma Marguerite Fry Hammond Harris. While still young, he took his mother's maiden name because, on very tenuous grounds, he believed her to be related to the 19th-century Quaker prison reformer Elizabeth Fry. He adopted Elizabeth Fry's faith, and became a Quaker and a gay. In the 1920s, he met the writer Robert Gittings, who became a lifelong friend. Maybe William Wyler was another yet longer friend. Gore Vidal most certainly another.

ellauri150.html on line 480:       Eugene Luther Gore Vidal (/vɪˈdɑːl/; born Eugene Louis Vidal, October 3, 1925 – July 31, 2012) was an American writer and public intellectual known for his epigrammatic wit, erudition, and patrician manner. Vidal was bisexual, and in his novels and essays interrogated the social and cultural sexual norms he perceived as driving American life. Beyond literature, Vidal was heavily involved in politics. He twice sought office—unsuccessfully—as a Democratic Party candidate, first in 1960 to the United States House of Representatives (for New York), and later in 1982 to the U.S. Senate (for California). His third novel, The City and the Pillar (1948), offended the literary, political, and moral sensibilities of conservative book reviewers, the plot being about a dispassionately presented male homosexual relationship.

ellauri150.html on line 482: Over the 57 years that have followed, a few things have contributed to granting the film untouchable status, the foremost being the fact that it won 11 Academy Awards, still the most Oscars any film has ever won. (That total was later matched by Titanic and Lord of the Rings: The Return of the King.) But while the Oscars, the prestige, and the fact that the plot of the film deals directly (if obliquely) with the life and death of Jesus Christ, all contribute to a certain image of Ben-Hur, there have always been alternate views of the film. One of the most famous came from the mouth of one of its own screenwriters.      

ellauri150.html on line 484: Based on an 1880 novel, Ben-Hur: A Tale of the Christ, the film was directed by Hollywood great William Wyler, and screenwriter Gore Vidal was one of many who took a pass at the screenplay. In The Celluloid Closet, Vidal states in no uncertain terms that he scripted the film as a confrontation between ex-lovers Ben-Hur (Charlton Heston) and Messala (Stephen Boyd). Further, Vidal claims that, after consultation with Wyler and Boyd (but not Heston, who would have objected), he wrote one particular scene, where the estranged Ben-Hur and Messala meet again, with heavy gay subtext.

ellauri150.html on line 488:       What the f---!? Based on a 1880 novel after all!? Whose novel? Fuck you screenwriters! Taking all the glory!  “I said,’ Well, I’ll never use the "g" word,'” Vidal says. “‘There’ll be nothing overt. But it will be perfectly clear that Messiah is in love with Ben-Hur.”

ellauri150.html on line 500: Despite his later fame and fortune as the writer of Ben-Hur, Wallace continued to lament, "Shiloh and its slanders! Will the world ever acquit me of them? If I were guilty I would not feel them as keenly."

ellauri150.html on line 675: The Pope writes about communism, capitalism and even freemasonry - all from a Christian perspective. And yes, from a distinctly Catholic point of view. He shares with the world his concerns about these competing ideologies and the impact that they could have on Christianity if left unchecked:

ellauri150.html on line 734:     I was just reading about Stephen Hawking this morning and thinking that I should write an article about that. I was thinking of calling it "Also sprach Stephen Hawking". I've never been a fan of his. I always thought his "a brief history of time" to be an exercise in extreme egotism and pure conjecture. I actually never bothered reading it because I didn't want my mind polluted with those thoughts.

ellauri151.html on line 111: Gide was brought up in isolated conditions in Normandy and became a prolific writer at an early age, publishing his first novel, The Notebooks of André Walter (French: Les Cahiers d´André Walter), in 1891, at the age of twenty-one.

ellauri151.html on line 119: In the 1920s, Gide became an inspiration for writers such as Albert Camus and Jean-Paul Sartre. In 1923, he published a book on Fyodor Dostoyevsky; however, when he defended homosexuality in the public edition of Corydon (1924) he received widespread condemnation. He later considered this his most important work.

ellauri151.html on line 123: During the 1930s, he briefly became a communist, or more precisely, a fellow traveler (he never formally joined any communist party). As a distinguished writer sympathizing with the cause of communism, he was invited to speak French at Maxim Gorky´s funeral and to tour the Soviet Union as a guest of the Soviet Union of Writers. He encountered censorship of his speeches and was particularly disillusioned with the state of culture under Soviet communism, breaking with his socialist friends [who?] in Retour de L´U.R.S.S. in 1936. This is what he said of them:

ellauri151.html on line 127: Aika paxua kaverilta joka vapaahetkinään puuhasteli sakkolihaikäisillä pyllynreijillä. Tod.näk. se kyllä oli neuvostolassa tuohon aikaan pahexuttavaa. Gide´s biographer Alan Sheridan summed up Gide´s life as a writer and an intellectual (slick slick):

ellauri151.html on line 129:     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. 

ellauri151.html on line 242: To read a writer is for me not merely to get an idea of what he says, but to go off with him and make a train in his company.

ellauri152.html on line 583: The most basic information is this: “Yentl the Yeshiva Boy” is a short story by Isaac Bashevis Singer, the famous Polish-American Jewish writer, published in 1962. It follows Yentl, a Jewish girl from a Polish shtetl who loves Torah-study, as she disguises herself as a man named Anshel in order to study at a yeshiva. Yentl (1983) is the movie-musical adaptation of the story, directed by and starring Barbra Streisand. In many ways it is a fairly faithful adaptation of the story’s events, but it has a different tone and a different ending.

ellauri152.html on line 585:  Yeshiva Boy moves fluidly between referring to the main character as Yentl or Anshel depending on context, which is a great detail. There are times when she’s referred to as Anshel for long stretches of time, and the same for Yentl. The movie, not having third person narration, is a different beast. I take my cue from the story and use both names, depending on the context of what I’m talking about—for example, if Yentl is definitely seen as Yentl by the story in that moment, or as Anshel, or ambiguously as both. That’s a very subjective choice to make each time you write her name! But that question, the fact that you have to ask it of yourself and the fact that it’s not always clear, is to me a crucial part of Yentl’s character.

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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."

ellauri152.html on line 747:       Hillel Zeitlin (1871–1942) was a Yiddish and Hebrew writer and poet. A leading pre-Holocaust Jewish journalist, he was a regular contributor to the Yiddish newspaper Moment, among other literary activities. He was the leading thinker in the movement of pre-World War II "philosophical Neo-Hasidism". Influences: Nachman of Breslov  · Shestov  · Nietzsche  · Baal Shem Tov  · Shneur Zalman of Liadi  · Spinoza  · Tolstoy  · Schopenhauer  · Dostoevsky  · Bergson  · Brenner.

ellauri152.html on line 758: Aaron Zeitlin (3 June 1898 – 28 September 1973), the son of the famous Jewish writer Hillel Zeitlin and Esther Kunin, authored several books on Yiddish literature, poetry and parapsychology. Aaron kirjoitti laulun joka oli Joan Baez mustavalkoisella vinyyliläppärillä, nimeltä Dona Dona daa. En ymmärtänyt siitä sanaakaan, en tiennyt sen yhteyxistä holokaustiin,  mutta silti se teki minuun(kin) syvän vaikutuksen.  Dona donai --- Don Adonai tietysti! Iiskoon teki syvää vaikutuksen Spinoza. Ujot ihmiset ovat kokemukseni mukaan toisinaan tavattoman rohkeita.

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ellauri155.html on line 886: Santayana ei tykännyt olla professori, se oli ajautunut siihen. Se lopettikin professorin hommat 48-vuotiaana tykkänään ja lähti seikkailemaan. Varmaan homostelukin oli silleen helpompaa. In later life, Santayana was financially comfortable, in part because his 1935 novel, The Last Puritan, had become an unexpected best-seller. In turn, he financially assisted a number of writers, including Bertrand Russell, with whom he was in fundamental disagreement, philosophically and politically. Santayana´s only novel, The Last Puritan, ist ein bildungsroman, centering on the personal growth of its protagonist, Oliver Alden. His Persons and Places is an autobiography. These works also contain many of his sharper opinions and bons mots. He wrote books and essays on a wide range of subjects, including philosophy of a less technical sort, literary criticism, the history of ideas, politics, human nature, morals, the influence of religion on culture and social psychology, all with considerable wit and humor. 

ellauri155.html on line 888: Like William James, his friend and mentor, he wrote philosophy in a literary way. Ezra Pound includes Santayana among his many cultural references in The Cantos, notably in "Canto LXXXI" and "Canto XCV". Santayana is usually considered an American writer, although he declined to become an American citizen, resided in Fascist Italy for decades, and said that he was most comfortable, intellectually and aesthetically, at Oxford University. Although an atheist, Santayana considered himself an "aesthetic Catholic" and spent the last decade of his life in a Roman residence under Catholic nuns. It felt a little like his young days under William James. He held racial superiority and eugenic views. He believed superior races should be discouraged from "intermarriage with inferior stock". Maybe that was why he had no kids. 

ellauri155.html on line 990: unknown philanthropist could be made so quickly. You might even write to

ellauri155.html on line 1028: if you said “Dear John Smith, Esquire.” You must write Earl Russell on the

ellauri155.html on line 1034: say: “Dear Mr.” If you prefer that, you should write “Dear Lord Russell”

ellauri156.html on line 236: King David makes the mistake of staying in Jerusalem, rather than fighting the Ammonites with his army. He does not stay home to meditate on the Law of Moses or to write another psalm or two; he seems to stay home to stay in bed. We know Uriah went to bed when it was evening (that is, when it got dark), and it is very likely that he got up at first light (see 11:13). With David, it is very different. David does not get up until evening, that is, until it is time for a soldier to go to bed. (As a friend of mine pointed out, this is probably a habit developed over days and not just a one-time event.) It is very unlikely that David is doing any “kingly work” in the wee hours of the night. From all appearances, David is simply indulging himself. Whaddya mean? Fucking maidens is kingly work if anything. Surely he wasn't watching late night shows, since all he had was his TV mama. Sitting up and adjusting the screen until the picture was completely right. 

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ellauri156.html on line 425:     David promises Bathsheba she will not die and is willing to accept God's justice for himself, knowing that he as the hero of the book is safe. Repentant, David, seeking relief from the drought and forgiveness reaches out to touch the Ark presuming that he will die of heat stroke (or was it a short?) like the soldier. A clap of thunder is heard and there are flashbacks to David's youth depicting his anointing by Samuel and his battle with Goliath. King David removes his hands from the Ark as rain falls on the dry land. Screenwriter Dunno said he "left it to the audience to decide if the blessed rain came as the result of divine intervention or simply of a low-pressure system moving in from the Mediterranean." Well it could be both, couldn't it? 

ellauri156.html on line 441: Seeing the success of C. B. DeMille's Samson and Delilah, Zanuck commissioned Philip Dunno to write a script based on King David.

ellauri156.html on line 461: King David and Diana Garland argue that, "Taking remarkable license with the story, the screenwriters changed Bathsheba from the one who is ogled by David into David's stalker." They go on to suggest that "the movie David and Bathsheba, written, directed and produced by males, makes the cinematic Bathsheba conform to male fantasies about women."

ellauri156.html on line 509: It must be an agonizing night for David, seeing that even drunk Uriah is a better man than he. But not a better pecker! And so in the morning, David acts. He writes a letter to Joab, which will serve as Uriah's death warrant. In this letter David clearly orders Joab to murder Uriah for him. He even tells him how to do so in a way that might conceal the truth of the matter. In so doing, David can honor Uriah as a war hero, and magnanimously take on the duty of being a husband to Uriah's wife, also taking care of the child she is soon to bear. Joab is to put Uriah on the front lines of battle, at the fiercest place of battle, no surprise for a man of his military skills and courage. Joab is to attack and then retreat in such a way as to make Uriah an easy target for the Ammonites, thus assuring his death. There is no mistaking David's orders to Uriah: he wants Uriah killed in a way which makes it look like a simple casualty of war. Joab complies completely with David's orders (why? Is Uriah a creep?), and Uriah is eliminated, no longer an obstacle to David's plans. In giving this order to Joab, David makes him a part of this conspiracy, making him share the guilt for the spilled blood of Uriah. David's sin continues to encompass more and more people, leading to greater and greater sin.

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ellauri159.html on line 894:     For those of you who are not familiar with Myers-Briggs or the MBTI (Myers-Briggs Type Indicator), it is a personality profiling system based on Jung’s typological theory that was developed by Katherine Cook Briggs and her daughter Isabel Briggs Myers. In the Myers-Briggs typology system, there are sixteen personality types consisting of four letters: E for extrovert or I for introvert, S for sensor or N for intuitive, T for thinker or F for feeler, and P for perceiver or J for judger. Psychologist David Keirsey later sorted these types into four temperaments. You can read more about Myers-Briggs here and find books about it here. Myers-Briggs typology can offer a lot of insight into how someone thinks, and in the case of an author, how someone writes.

ellauri159.html on line 900: 	  ESTJs are industrious traditionalists whose extroversion often leads them to take charge of situations. They are generally pragmatic and like things to be organized and clear. They are driven by a need to analyze and bring order to the world. ESTJ writers include Amy Chua, E.L. James, Dr. Phil McGraw, Tom Clancy, Ann Coulter, Michelle Malkin, Bill O’Reilly, Billy Graham, and Sonia Sotomayor. Learn more about how ESTJs write here.

ellauri159.html on line 905: ESFJs are the Molly Weasleys of the world. Outgoing and community-minded, people of this type value loyalty, dependability, and practicality. They are driven by an active and intense caring about people along with a strong desire to bring harmony to their relationships. Barbara Walters and Chris Wallace are ESFJ authors. Learn more about how ESFJs write here.

ellauri159.html on line 910: ISFJs are quiet, caring, and dependable people who have a strong sense of personal responsibility. They are realistic and excellent organizers. One ISFJ author is Mother Teresa. Learn more about how ISFJs write here.

ellauri159.html on line 915: ISTJs are logical pragmatists with a strong sense of personal responsibility. They take their work seriously and pay great attention to detail. Thomas Hobbes, Sigmund Freud, Martin Heidegger, Xenophon, and Ayaan Hirsi Ali are examples of ISTJ writers. Learn more about how ISTJs write here.

ellauri159.html on line 923: ESTPs are enthusiastic adventurers who enjoy hands-on experiences. They are realists who accept the world the way it is and focus on enjoying new activities and challenges. Famous ESTP authors include Sir Arthur Conan Doyle, Glenn Beck, Bret Easton Ellis, the Marquis de Sade, Ernest Hemingway, John Grisham, Dale Carnegie, Stephen R. Covey, Epicurus, and Rhonda Byrne. Learn more about how ESTPs write here.

ellauri159.html on line 928: ESFPs are enthusiastic about having new experiences and meeting new people. They are generally warm and adaptable realists who go with the flow. ESFP authors include Tony Robbins, Wayne Dyer, Deepak Chopra, Bill Clinton, and Paulo Coelho. Learn more about how ESFPs write here.

ellauri159.html on line 933: ISFPs are the quintessential free spirit. They feel deeply and often have an adventurous approach to life. They are quiet, adaptable, and compassionate. One ISFP author is Thich Nhat Hanh. Learn more about how ISFPs write here. 

ellauri159.html on line 938: ISTPs are driven by a desire to understand how things work. They are logical and realistic people who enjoy solving problems in a hands-on way. ISTP writers include Miyamoto Musashi and the Dalai Lama. Learn more about how ISTPs write here.

ellauri159.html on line 946: ENFPs thrive on the new–new people, new activities, and new ideas. They see what is possible and are generally energetic, enthusiastic, and spontaneous. ENFP writers include Oscar Wilde, Aldous Huxley, Umberto Eco, Salman Rushdie, Anne Frank, Kurt Vonnegut, Anaïs Nin, Dr. Seuss, Hunter S. Thompson, and Erica Jong. Learn more about how ENFPs write here.

ellauri159.html on line 951: ENFJs care intensely about people and are driven by a need for relational harmony. They tend to be warmly expressive and empathetic people who enjoy helping others reach their potential. ENFJ writers include Johann von Goethe, Matthieu Ricard, Erasmus of Rotterdam, and Erich Fromm. Learn more about how ENFJs write here.

ellauri159.html on line 956: INFJs have an inner world filled with ideas, symbols, and possibilities. They are passionate, idealistic, and have a deep concern for others. INFJ writers include Plato, Mary Wollstonecraft, Nathaniel Hawthorne, Dante Alighieri, Fyodor Dostoevsky, Agatha Christie, Charlotte Brontë, J.K. Rowling, Carl Jung, and Leo Tolstoy. Learn more about how INFJs write here.

ellauri159.html on line 961: INFPs are the dreamers of the world. They are deeply idealistic and passionate about their beliefs, ideas, and relationships. INFP writers include Jean-Jacques Rousseau, Albert Camus, George Orwell, J.R.R. Tolkien, Virginia Woolf, Antoine de Saint-Exupery, A.A. Milne, Franz Kafka, Edgar Allan Poe, John Milton, William Blake, Hans Christian Anderson, William Shakespeare, Homer, and George R.R. Martin. Learn more about how INFPs write here.

ellauri159.html on line 969: ENTJs are forceful personalities who excel at conceptual strategy and executing plans. They are future-oriented and natural leaders. Robert James Waller and Sheryl Sandberg are two examples of ENTJ writers. Learn more about how ENTJs write here.

ellauri159.html on line 974: ENTPs love new ideas and possibilities and are excited by innovation. They are energetic, enthusiastic, and spontaneous people with a deep need to understand the world around them. ENTP writers include Socrates, Niccolo Machiavelli, George Bernard Shaw, Chuck Palahniuk, Benjamin Franklin, Voltaire, and Mark Twain. Learn more about how ENTPs write here. 

ellauri159.html on line 979: INTPs have a deep need to make sense of the world and are generally logical, analytical, and emotionally detached. They enjoy new ideas and are adaptable in their lifestyle, if not always their thinking. INTP writers include Richard Dawkins, Immanuel Kant, Charles Darwin, Hannah Arendt, John Locke, Thomas Aquinas, Rene Descartes, and John le Carre. Learn more about how INTPs write here.

ellauri159.html on line 984: INTJs are idea people, driven by their inner world of possibilities and a deep need to understand the world around them. They are logical, systematic thinkers who enjoy turning their visions into a reality. INTJ writers include Jane Austen, C.S. Lewis, Emily Brontë, Ayn Rand, Lewis Carroll, Friedrich Nietzsche, Stephen Hawking, Isaac Asimov, Christopher Hitchens, and Karl Marx. Learn more about how INTJs write here.

ellauri159.html on line 1035:     You may become blocked if the assignment isn’t well defined.  You want to limit your choices early and write toward a specific goal. Try picturing a specific person who exemplifies your audience, and write for that person.

ellauri159.html on line 1048:   Of course you would rather discuss the topic than write about it. Schedule your writing activities to allow sufficient time for composition. If you feel stuck, do something active like taking a walk or a beer. List your ideas to help develop an internal dialogue.

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 1059:     Prefer to write alone in a consistent environment free of interruptions. You often find it uncomfortable to brainstorm in a group. Better research the topic first so you can be sure of getting the facts right.

ellauri159.html on line 1061:     Enjoy reading and writing about history or biography! You are less likely to gravitate toward business or technical writing. If you do write about technology, they’re likely to prefer the tried-and-true to the cutting edge. When writing fiction, you can often be quite funny in conveying your observations about the foibles of human nature.

ellauri159.html on line 1063:     You Want to be of service to others, and naturally write in a manner that reflects this value.  Keep your audience in mind, then organize your ideas into an easy-to-follow progression. You have a strong sense of harmony—of what works on the page, and what doesn’t. You may also excel at sensory detail, drawing the reader in.

ellauri159.html on line 1065:     Don´t even try writing about abstract concepts. If an assignment requires you to write about theory, look for ways to relate the ideas to your experience or to a specific, positive effect on people’s lives. You might also benefit from talking through the challenges you face in their writing — though that´s a trait that’s more typical of extraverts, so forget it. 

ellauri159.html on line 1067:     You tend to state the obvious or otherwise display a lack of confidence. To combat this tendency, ask for specific feedback from a trusted writer friend. This will help you gauge your ability to communicate your point and your reader’s ability to understand and make connections. Show your work only to someone whom you know to be supportive. The opinions of those who nurture writers are worthwhile; the opinions of those who tear down writers are not.

ellauri159.html on line 1069:     You struggle with impersonal analysis. You may find it easier to be objective if you first write down how you feel about the topic. Then, you can temporarily set your beliefs aside and "borrow" a logical, balanced argument from somebody else.

ellauri159.html on line 1077:     Generally you work hard and meet deadlines. As the introvert you are, you prefer to write alone and in a quiet environment. You tend to be succinct and analytical. You are unlikely to need a dictionary to add noise to your writing—after all, the focus on getting to the point.

ellauri159.html on line 1091:   Seek clarity, and organize your material logically. Naturally competitive, you may enjoy writing about subjects that showcase your skills at troubleshooting or negotiating, or write about supermen, entrepreneurs and other go-getters. 

ellauri159.html on line 1095:     Prefer writing in an active environment like panoramic office or gym where you can shape your ideas by discussing them with others. You may also want to use a voice recorder so you don’t have to write so much and work shackled to a computer.

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 1109:   Develop their ideas by talking to others, so you can make them your own. To capture the conversation, use a voice recorder or ask the other person to take notes. Otherwise, you may not understand a good idea in the moment, or you may forget about it before you get a chance to write it down. Remember you are lucky to get to laugh at each joke 3 times.

ellauri159.html on line 1119:     It is best to take a lighthearted approach to serious subjects, No need to consider both sides of an argument. Ask a writer friend to review the piece. Request that the feedback be very specific, better yet, a rewrite. Ask for a chunk price, don´t pay by the hour.

ellauri159.html on line 1135:   You may feel paralyzed if expectations are too vague or too rigid. Seek clarification where possible, or find a mentor who can offer advice and serve as a ghost writer. Consider how your writing can help people in practical ways, in particular, improve your own financial situation. 

ellauri159.html on line 1137:     Let the teacher focus more on correctness than on content. Don’t be afraid to take a stand, or get a hard on. Recognize that your insights are unique—most people lack your sensitivity. Consult a close writer friend to ensure that your points are logically developed and your organs well described. 

ellauri159.html on line 1143:     Work independently and prefer a quiet environment. If you must write collaboratively, seek out tasks that will allow you to work alone or with someone whose expertise you value. Unlike most other sensing types (the wimps), you don’t want detailed instructions or specific feedback. In fact, you may have to shoot if they try. Just ask for general guidelines that allow you flexibility. They may try to impose rules you regard as useless, like firearms restrictions.

ellauri159.html on line 1145:     You like to bring a high level of mental energy (well, at least some energy, like energy drinks) to the project. You enjoy taking risks and may need the pressure of a deadline (or a dead body) to complete your tasks. No need to write according to someone else’s schedule, unless they have more powerful firearms.

ellauri159.html on line 1151:   Write to steal their ideas to develop yours rather than to please an audience. If your goal is to communicate your ideas to others (god beware), be sure to organize your work so that the subject folds logically. This will likely come easily to you if you invest the time. Also, engage your side to the battle by relating the subject to their personal experience. If you don’t feel comfortable writing about your own experience, write about something you’ve observed, or what the commies or aliens are likely up to.

ellauri159.html on line 1159: You work best when they have the freedom to follow your own process and timeline. Estimate how long you’ll need to complete each task, then add 50% and a cushion. Set milestones along the way only to remove them as you go. Incorporate a lot of time for breaks. If your energy wanes, meet with a writer friend for coffee or other libation, and discuss your ideas. If the project permits, consider copulating with a co-writer.

ellauri159.html on line 1161: You do your best writing when they feel personally invested in the topic. Use your wrong sense of empathy to immerse yourself in the subject, much as actors immerse themselves in a character. (Choose a subject you really fancy to immerse yourself in.) To stay inspired, look for ways to connect the writing to your ideals.  If you’re a technical writer, create a human mental avatar of your technology and use your writer’s voice to “speak” to it. 

ellauri159.html on line 1167: It´s OK to postpone starting a project if the topic doesn’t grab you. When at a deadline, use your prolific imagination to find an angle that interests you. Free-write or cluster to generate ideas. Look to newspapers, magazines, or the internet for inspiration. Write a strong opening paragraph to get your creativity flowing.

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 1189:     You may find it difficult to create the emotional distance needed to keep your hands off your students. Don’t let a hasty feel-up skew your research. Be sure to include alternate facts and points of view. Also, be careful to avoid a cursory treatment of the subject, like in those wannabe writer guides on the web.  Ask a friend or colleague to review the work, making sure you’ve provided sufficient detail.

ellauri159.html on line 1193: You work best in a quiet environment where you cannot be interrupted. You reflect on the topic before you begin writing, mentally structuring the material and looking for patterns. Don’t allow yourself to be rushed into starting a project before you’re ready. You are generally good at estimating how long this preparation stage will take. When you finally sit down to write, their ideas tend to be well-developed and organized. Their language may seem formal at first. If that’s the case for you, don’t fight it—you can soften this tendency during revision.

ellauri159.html on line 1195: You prefer writing about personal topics. You may encounter difficulty if the topic isn’t meaningful to you. If so, try different angles until you find one that engages you. If you’re a technical writer, for example, you can take pride in knowing that when you write clear instructions, you help your customers perform their tasks quickly and effectively. This sense of meddling with people’s lives is important to writers.

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 1223:     Strive for elegance in language. You can never polish the work too soon. You tend to write long, meandering first drafts, so you’ll likely need to synthesize and cut material later. Save the search for that perfect metaphor until the revision stage. 

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 1234:   You want a good set of guidelines at the beginning of the project, but you also want the freedom to write your own guidelines. If a writing project involves others, you try to take the lead. You naturally envision how things ought to be—that is, your way. Efficient and strategically organized. But keep in mind that others might not share your vision. Imbeciles! When stepping forward to fill a leadership vacuum, seek buy-in from the group. Side payments may be indicated.

ellauri159.html on line 1236:     You naturally write with an authoritative voice. You want to fake competence in the subject you’re writing about. To boost your success, gather sufficient details to make it look that you have a thorough understanding of the topic. Humanize the writing by including anecdotes making fun of other idiots or otherwise engaging the reader’s interest.

ellauri159.html on line 1254:   You generally enjoy brainstorming but may not feel motivated to write until you feel the pressure of a deadline. To avoid a time crunch at the end of the project, set milestones along the way. Make your best guess of how long each step should take, then double it. Schedule enough time to take breaks so you can consider new possibilities. To stay energized, try working in a variety of settings.

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.

ellauri159.html on line 1297: You are happy and motivated with your personal vision. Original thinkers have little regard for convention. They want things to make sense according to their own logical standards, and they will discard anything that doesn’t. For this reason, they tend to enjoy technical subjects. They often wear visual aids like Google spectacles that support and clarify their writing. If you’re one of these guys, one path to success as a writer is to draw on your natural curiosity about how things work and your talent for explaining this for others. But beware of the pitfalls!

ellauri159.html on line 1301:     To control your workplace and steal their original ideas, make sure you do so within the parameters of the project. If you’re a freelance writer, for example, remember that you’re writing for an editor, not for yourself. So get rid of the editor, or become one yourself. If something about the assignment doesn’t make sense to you, don’t ignore it—seek clarification. Or sue them. 

ellauri160.html on line 126: Both sides of Pound's family emigrated from England in the 17th century. On his father's side, the immigrant ancestor was John Pound, a Quaker who arrived from England around 1650. Ezra's paternal grandmother, Susan Angevine Loomis, married Thaddeus Coleman Pound. On his mother's side, Pound was descended from William Wadsworth, a Puritan who emigrated to Boston on the Lion in 1632. Captain Joseph Wadsworth helped to write the Connecticut constitution. The Wadsworths married into the Westons of New York; Harding Weston and Mary Parker were Pound's maternal grandparents. After serving in the military, Harding remained unemployed, so his brother Ezra Weston and Ezra's wife, Frances Amelia Wessells Freer (Aunt Frank), helped to look after Isabel, Pound's mother. No oliko Pound sitten sukua myös Henry "setelitukun väärti" Longfellowille? Varmaan niin. 

ellauri160.html on line 171: Poetry published Pound's "A Few Don'ts by an Imagist" in March 1913. Superfluous words, particularly adjectives, should be avoided (Ahha! This is where Stephen King comes in) as well as expressions like "dim lands of peace". He wrote: "It dulls the image. It mixes an abstraction with the concrete. It comes from the writer's not realizing that the natural object is always the adequate symbol. Just say 'lands'." Poets should "go in fear of abstractions". He wanted Imagisme "to stand for hard light, clear edges", he wrote later to Amy Lowell.

ellauri160.html on line 182:       Samuel Putnam knew Pound in Paris in the 1920s and described him as stubborn, contrary, cantankerous, bossy, touchy, and "devoid of humor"; he was "an American small-towner", in Putnam's view. His attitude caused him trouble in both London and Paris. English women, with their "preponderantly derivative" minds, were inferior to American women who had minds of their own, he wrote in the New Age. The English sense of what was right was based on respect for property, not morality. "Perched on the rotten shell of a crumbling empire", London had lost its energy. England's best authors—Conrad, Hudson, James, and Yeats—were not English. English writers and critics were ignorant, he wrote in 1913.

ellauri160.html on line 209: The Pounds settled in Paris around April 1921 and in December moved to an inexpensive ground-floor apartment at 70 bis Rue Notre-Dame-des-Champs. Pound became friendly with Marcel Duchamp, Fernand Léger, Tristan Tzara, and others of the Dada and Surrealist movements, as well as Basil Bunting. He was introduced to the American writer Gertrude Stein, who was living in Paris. She wrote years later that she liked him but did not find him amusing; he was "a village explainer, excellent if you were a village, but if you were not, not".

ellauri160.html on line 223: While in custody in Italy, Pound began work on sections of The Cantos that were published as The Pisan Cantos (1948), for which he was awarded the Bollingen Prize for Poetry in 1949 by the Library of Congress, causing enormous controversy. After a campaign by his fellow writers, he was released from St. Elizabeths in 1958 and lived in Italy until his death in 1972. His economic and political views have ensured that his life and work remain controversial. He is popular with the alt-right but his opinions about usury forever condemn him in the circles of New York money liberals. 

ellauri161.html on line 494: Now, one friend said that "Don't Look Up" was a masterpiece. Well, I wouldn't go as far as to calling it a masterpiece. Sure, "Don't Look Up" was a watchable movie, and writers Adam McKay and David Sirota definitely had some good jabs at the crazy world we live in today, with the likes of a crazy president, everything being on social media, people being concerned about riches even when facing extinction and such. I found the movie to be watchable and enjoyable, sure, but it wasn't a masterpiece, nor will it become a classic movie for me.

ellauri161.html on line 511: Before Covid, former Saturday Night live head writer Adam McKay had already written his smug doomsday satire Don't Look Up based on the usual liberal tropes. Chief among them was the old progressive rant linking those on the right to a predatory elite consisting of a group who were referred to as, in the parlance of days gone by, "robber barons."

ellauri161.html on line 558: They say it’s too dark. It’s too depressing. Haters are moaning that writer-director Adam McKay repeatedly hits his audience over the head with his “the planet is dying” message.

ellauri161.html on line 597: Speaking of “climate,” that’s the main target here – how people are too stupid to come together even when their survival depends on it. Or maybe it’s the pandemic McKay is allegorizing. Probably both. Meanwhile, the writer/director’s left-of-center politics are on full display. Although Don’t Look Up occasionally ridicules the left, it represents a full-on fusillade against the right. Now that is NOT funny.

ellauri161.html on line 604: McKay the writer isn’t up to the task.  With this star-studded cast, the classification of a “missed opportunity” doesn’t do it justice; it feels closer to a tragedy.  2 out of 4.

ellauri161.html on line 628: The way that Lawrence’s angry, idealistic scientist refuses to get co-opted by a system she correctly identifies as corrupt while DiCaprio’s more amicable character gets swept up in things for a while would seem to be easy material for a scriptwriter to use not just as a commentary on the way the world works, but as rich dramatic material for the ups and downs of a personal and professional relationship. 

ellauri161.html on line 685: The writers of this satire unfortunately were as vapid as the characters they wrote. The science is awful, it's satire losses its bite when it tries to paint the whole country as anti-intellectual and all media as entertainment. If you are going to pan the anti-intellectualism that is straining this country do it with some intelligence.

ellauri161.html on line 1100: The chief of his mystical writings are, The Ornament of Spiritual Marriage (Lat. by Gerh. Groot, Ornatus Spiritualis Desponsionis, MS. at Strasburg; by another translator, and published by Faber Stapulensis [Paris, 1512], De Ornatu Spirit. Nuptiarum, etc.; also in French, Toulouse, 1619; and in Flemish, ´J Cieraet der gheestclyeke Bruyloft, Brussels, 1624, Hengelliset häät): — Speculum AEternae Salutis: — De Calculo, an interpretation of the calculus candidus, Re 2:17: — Samuel, sive de Alta Contemplatione. The other works of Ruysbroeck contain but little more than repetitions of the thoughts expressed in those here mentioned. (Esim. 7 hengellisen rakkauden askelmasta.) He wrote in his native language, and rendered to that dialect the same service which accrued to the High German from its use by the mystics of the section where it prevailed. He is still regarded in Holland as "the best prose writer of the Netherlands in the Middle Ages." His style is characterized by great precision of statement, which becomes impaired, however, whenever his imagination soars, as it often does, to transcendental regions too sublimated for language to describe. His works were accessible until lately only in Latin editions (by Surius, Cologne, 1549, 1552, 1609 [the best], 1692, fol.), or in manuscripts scattered through different libraries in Belgium and Holland. Four of the more important works were published in their original tongue, with prefaces by Ullmann (Hanover, 1848). No complete edition has as yet been undertaken (see Moll, )e Boekerij van het S. Barbara-Klooster te Delft [Amst. 1857, 4to], p. 41).

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ellauri162.html on line 826:     Scienceblogs appears to have a problem keeping and attracting talented writers. According to PZ Myers, Scienceblogs has "been facing a steady erosion of talent". In 2010, the Christian apologetic website True Free Thinker wrote a quite pointed and accurate criticism of PZ Myers Pharyngula blog indicating that PZ Myers' blog posts often lack substance. Pharyngula is widely acclaimed in the liberal media due to its embrace of evolutionary pseudoscience which liberals irrationally embrace (see: Evolution, Liberalism, Atheism, and Irrationality). Myers' blog is also listed by the science journal Nature, which also embraces evolutionary pseudoscience, as the best blog by a scientist. Pharyngula is known for its sarcastic and often specious criticism of creation science and intelligent design theory, as well as regular postings of photos of cephalopods (often with vulgarly sexual connotations both subtle and blatant). As Singer said, sexual organs are the best indicators of the soul.

ellauri163.html on line 864: A precocious student, Durkheim entered the École Normale Supérieure (ENS) in 1879, at his third attempt. The entering class that year was one of the most brilliant of the nineteenth century, as many of his classmates, such as Jean Jaurès and Henri Bergson, went on to become major figures in France's intellectual history as well. At the ENS, Durkheim studied under the direction of Numa Denis Fustel de Coulanges, a classicist with a social-scientific outlook, and wrote his Latin dissertation on Montesquieu. At the same time, he read Auguste Comte and Herbert Spencer, whereby Durkheim became interested in a scientific approach to society very early on in his career. The writer of this exposition likes the word whereby.

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ellauri164.html on line 506: These are just a handful of practical lessons that we can learn from Moses’ life. However, if we look at Moses’ life in light of the overall panoply of Scripture, we see larger theological truths that fit into the story of redemption. In chapter 11 the author of Hebrews uses Moses as an example of faith. We learn that it was by faith that Moses refused the glories of Pharaoh’s palace to identify with the plight of his people. The writer of Hebrews says, “[Moses] considered the reproach of Christ greater wealth than the treasures of Egypt” (Hebrews 11:26). Moses’ life was one of faith, and we know that without faith it is impossible to please God (Hebrews 11:6). Likewise, it is by faith that we, looking forward to heavenly riches, can endure temporal hardships in this lifetime (2 Corinthians 4:17–18).

ellauri164.html on line 645: God had used him to give the law to Israel and write the first five books of the Bible.  He had led God’s people through the wilderness for 40-years, enduring all their complaining and the punishment of their rebellion.  He had done everything exactly as God had commanded.

ellauri164.html on line 733: In reality, the people who were writing this story knew that Moses did not lead them into the Promised Land. In fact, he had completed his assignment long ago. God had instructed him to lead the people out of Egypt (Ex. 3:10). They were out of Egypt. His job was done. So maybe this wasn't a punishment at all; maybe it was a reward! He was roughly 120 years of age at this point. They all knew that settling into the Promised Land would have its challenges. That land was fully occupied, and many battles were ahead of them. Surely it was time to let Joshua take over. It was time for Moses to rest. Granted, there might have been other ways for God to accomplish this, but the writers of the story chose to tell it like this. The end result is that Moses was free of his responsibility to the people, free to be with God on the mountaintop.

ellauri171.html on line 395: The story continues the Bible’s exploration of the origin of evil in a world created by a God who is all goodness. (Remember the old word game: write down ‘God’ and ‘Devil’; then put an extra ‘o’ in the middle of ‘God’ and take the ‘d’ off ‘devil’; what do you have?) Another one: write the words backwards, what do you get? Dog lived.  Okay never mind let's move on.

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ellauri171.html on line 698: Daniel Block writes these words, “The Levite had preferred Gibeah over Jebus to avoid the dangers of Canaanism, only to discover that Canaan had invaded his own world.” Sadly, Canaanism is invading our world and some western countries appear to be far worse than the tribe of Benjamin. They do not even seek the Lord for direction. At least the other eleven tribes sought the Lord and killed tens of thousands more. Jehovah was appeased.

ellauri171.html on line 807: Finkelstein maintains that the writers of the Book of Kings may have omitted possible widespread public construction that both Omri and his son Ahab commissioned during their reigns. Finkelstein and his student Norma Franklin have identified monumental construction at Samaria, Jezreel, Megiddo, and Hazor that is similar in design and build. 

ellauri171.html on line 987:   But the appearance of Jezebel in the bible includes no mention of her sexuality. In the Hebrew Bible, Jezebel appears in the books of first and second Kings as the wife of King Ahab— the marriage being a political alliance between Israel and Sidon (a coastal city to the north) where Jezebel was the princess. Jezebel brings her religion to Israel with her, and the worship of Baal is blasphemy in the eyes of the biblical writers. According to the text, Jezebel begins killing Israel’s prophets. Because of this, Elijah challenges the prophets of Baal to a showdown with Israel’s deity. The Baal worshipers fail to summon their deity, so Elijah calls upon Yahweh and fire descends from heaven and consumes the altar. Having won, Elijah then slaughters all of the prophets of Baal. Jezebel threatens to kill Elijah by the same time the next day, and, ironically, Elijah retreats.

ellauri172.html on line 254: Later writers satirised this view in terms of an ass which, confronted by both food and water, must necessarily die of both hunger and thirst while pondering a decision. Some proponents of hard determinism have granted the unpleasantness of the scenario (not for the donkey, it will end up eating both), but have denied that it illustrates a true paradox, since one does not contradict oneself in suggesting that a man might die between two equally plausible routes of action. For example, in his Ethics, Benedict de Spinoza suggests that a person who dies because he can't decide is an ass, or worse. 

ellauri172.html on line 260: Other writers [who?] have opted to deny the validity of the illustration. A typical [citation needed] counter-argument is that rationality as described in the paradox is so limited as to be a straw man version of the real thing. The idea that a random decision could be made is sometimes used as an attempted justification for faith. The argument is that, like the starving ass, we must make a choice to avoid being frozen in endless doubt. Other counter-arguments exist. [This paragraph was total balderdash, if I may say so.]

ellauri172.html on line 806:   Paha ateisti Roth tapatti ainoan sikiönsä Margaretilla eikä saanut Bloomin kanssa aikaan muuta kuin lihavia riitoja. Antiteistikin se oli, "I'm exactly the opposite of religious, I'm anti-religious. I find religious people hideous. I hate the religious lies. It's all a big lie. I give a shit about  the sheep referred to as believers. When I write, I'm alone. It's filled with fear and loneliness and anxiety—and I never needed religion to save me." Jumala kosti sille, ei tullut Noobelia. Kikkailevaa Philippiä sattui leukaan.

ellauri180.html on line 248: Why do I write so many male characters?

ellauri180.html on line 262: How on earth do you write a subplot?

ellauri180.html on line 264: I write more and, arguably, write BETTER when I know as LITTLE about the plot & characters story as possible (ie pantsing), but I'm uncomfortable with the prospect of pantsing an entire fcking novel...?

ellauri180.html on line 266: Why I only want to write slice of life?

ellauri180.html on line 272: Are you still a writer if you can only write when you're sad?

ellauri180.html on line 297: The answer is yes. We live in a diverse world. In fact, in most contemporary settings, an all-white cast of characters would be odd, as it hardly reflects reality. So yes, a white author can write diverse cast as long as the heroes are white. 6 janv. 2017

ellauri180.html on line 299: For the longest time, I didn’t think that white authors should write non-white characters. I had seen it done badly (as my previous article about Sarah J. Maas explains) and offensively (think J. K. Rowling with Cho Chang and the Patil twins).

ellauri180.html on line 314: So, here we have it: How to write PO without pissing everyone off and doing a horrible job...

ellauri180.html on line 320: How do you write a character cast?

ellauri180.html on line 324: Can you write about another ethnicity?

ellauri180.html on line 326: Can I write a story about a different ethnicity?

ellauri180.html on line 341: Don't write off “minor” characters. ... 

ellauri180.html on line 343: When in doubt, write from a place of shared understanding. ... 

ellauri181.html on line 43: Oliko se sit Ivan Klima? His friend Philip Roth once described him, with his "Beatle haircut" and "carnivorous teeth" as "a much more intellectually evolved Ringo Starr". Ei kuulosta ihan tältäkään. Ivan Klima says "There are some differences between a dictatorship which is strong and one which is tired. By the late Eighties ours was a tired dictatorship. They were no longer killing people and they made every effort not to arrest people. In this condition of a dictatorship you could find your own freedom. You could not become rich, you could not travel except maybe to Hungary, but you could write." Olipa paha ettei voinut rikastua eikä lennellä ympäriinsä. Ja saihan sitä kirjoittaa, kuha ei julkaissut. 

ellauri181.html on line 556: Benjamin Franklin was an author, a painter, an inventor, a father, a politician, and the first American Ambassador to France. He invented bifocals, swim flippers, lightening rods, and the Franklin stove. He founded a public library, a hospital, and insurance company and a fire department. He helped write the Declaration of Independence and the U.S. Constitution. He wrote an autobiography in the middle of his life and shortly before his death in his 80's, he completed his memoirs. Franklin was truly a Renaissance man. He was one of the greatest citizens and thinkers the world has ever seen. But Franklin was not always a great or successful man. At the age of 17 he ran away from home in Boston, estranged from his family because of an argument he had with his brother.

ellauri181.html on line 610: The rest is history. Franklin went on to become one of the most productive, successful and self- actualized people in all of history. He knew what mattered most. That was how he could set about being an author, a printer, an inventor, a father, a politician, the first American Ambassador to France, the inventor of bifocals, swim flippers, lightening rods, hundreds of other things and the Franklin stove and how he could found a public library, a hospital, an insurance company and a fire company and help to write the Declaration of Independence and the Constitution. 

ellauri182.html on line 69: Yoshimoto keeps her personal life guarded and reveals little about her certified husband, Hiroyoshi Tahata, or son (born in 2003). The certified husband has also taken up rolfing. Each day she takes half an hour to sit at her computer, and she says, "I tend to feel guilty because I write these stories almost for fun." After work she goes out rolfing with her husband. 

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ellauri183.html on line 80: Faulty interpretations can create much disappointment, as in the movie version of his novel The Fixer, "Horrible. That thing went to five different writers. Edward Albee was one of them but he would only do it if he had full say over it. Dalton Trumbo finally wrote the screen play and he's a hack. The film should have been done as a sort of fable, in black and white. Instead, it was all galloping Cossacx and dancing girls: an overdone fake. And that sickens a writer--to see his book faked."

ellauri183.html on line 111: Many critics dismiss Malamud as a "Jewish writer." But "that's a reduction of my accomplishment. It diminishes something. All men are Jews, he once said, and Jews are absolutely the very stuff of drama. I say nothing about the ladies."

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ellauri184.html on line 50: Neiti Mallory kertoo tästä lisää:  "Norman was an oxymoron — an overweight senior citizen who was one of the best lovers I ever had." Mallory writes that Mailer never had erectile dysfunction: "Not once. Not in nine years..." Vanhasta Naahumista tulee mieleen Norssin voimistelunopettaja Lahtinen ja Star Warsin Yoda. “Each week he’d want to play a new game . . . doctor, manicurist, masseur, Hollywood director (that was his favorite).” “When our relationship ended, I realized that . . . Norman had never been on my team and had been slandering my writing and me behind my back.”

ellauri184.html on line 68: His sixth and last wife, whom he married in 1980, was Norris Church Mailer (born Barbara Jean Davis, 1949–2010), an art teacher. Why did she have to use a pseudonym as well? Apparently she was not a kike. They had one son together, John Buffalo Mailer, a writer and actor. Mailer raised and infernally adopted Matthew Norris, Church's son by her first husband, Larry Norris. Living in Brooklyn, New York and Provincetown, Massachusetts with Mailer, Church worked as a model, wrote and painted. 

ellauri184.html on line 76: Barbary Shore (1951) was not well received by the critics. It was a surreal parable of Cold War leftist politics set in a Brooklyn rooming-house, and Mailer's most autobiographical novel. His 1955 novel, The Deer Park drew on his experiences working as a screenwriter in Hollywood from 1949 to 1950. It was initially rejected by seven publishers due to its purportedly sexual content before being published by Putnam's. It was not a critical success, but it made the best-seller list, sold over 50,000 copies its first year, and is considered by some critics to be the best Hollywood novel since Nathanael West's The Day of the Locust.

ellauri184.html on line 88: Harlot's Ghost, Mailer's longest novel (1310 pages), appeared in 1991 and received his best reviews since The Executioner's Song. It is an exploration of the untold dramas of the CIA from the end of World War II to 1965. He performed a huge amount of research for the novel, which is still on CIA reading lists. He ended the novel with the words "To be continued" and planned to write a sequel, titled Harlot's Grave, but other projects intervened and he never wrote it. Harlot's Ghost sold well.

ellauri184.html on line 95: Notorious philanderer," "egomaniac," "pugnacious" and "pompous" are a few of the milder epitaphs that have been used to describe controversial and larger-than-life (inevitably) Norman Mailer. His New York Times obituary was even titled, "Norman Mailer, Towering Writer With Matching Ego, Dies at 84." Known in the literary world as one of the greatest writers of the twentieth century, Mailer won two Pulitzer Prizes in literature and one National Book Award. He is credited with having pioneered creative nonfiction as a genre, also called New Journalism. During his life he became as famous for his relationships with women as he did for his literary work. He was married six times and fathered eight children. Here is a brief look at some the six wives of Norman Mailer.  

ellauri184.html on line 241:   Professor France writes: “To read Matthew in blissful ignorance of first-century Palestinian sociopolitics is to miss his point. This is the story of Jesus of Nazareth .” (theuglytruth.wordpress.com is no longer available. This site has been archived or suspended for a violation of our Terms of Service.)

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ellauri184.html on line 682: The custom of releasing prisoners in Jerusalem at Passover is known to theologians as the Paschal Pardon, but this custom (whether at Passover or any other time) is not recorded in any historical document other than the gospels, leading some scholars to question its historicity and suspect that such a custom was a mere narrative invention of the Bible´s writers like so much else in the fake good  news.

ellauri185.html on line 93: Feel free to look it up yourself, but from what I can tell, everyone agrees that Ezekiel lived somewhere around 550 BC, and they mostly agree that Ezekiel himself wrote his book (as a ghost writer for JHWH). Of all the Old Testament prophets, they consider Ezekiel to be the most trustworthy (which is not saying much). 

ellauri185.html on line 390: Paul Charles William Davies AM (born 22 April 1946) is an English physicist, writer and broadcaster, a professor in Arizona State University and Director of BEYOND: Center for Fundamental Concepts in Science. He is affiliated with the Institute for Quantum Studies in Chapman University in California. He previously held academic appointments in the University of Cambridge, University College London, University of Newcastle upon Tyne, University of Adelaide and Macquarie University. His research interests are in the fields of cosmology, quantum field theory, and astrology. He proposed that a one-way trip to Mars could be a viable option for him. His colleagues agreed whole-heartedly. 

ellauri185.html on line 408: Pinker was born in Montreal, Quebec, in 1954, to a middle-class Jewish family. His grandparents emigrated to Canada from Poland and Romania in 1926, and owned a small necktie factory in Montreal. His father was a lawyer. His mother eventually became a high-school vice-principal. His brother is a policy analyst for the Canadian government, while his sister, Susan Pinker, is a psychologist and writer who authored The Sexual Paradox and The Village Effect.

ellauri185.html on line 859: The celebrated writer kept romances alive in different cities, two or three at any given time — with students and faculty divorcées at the University of Chicago, assistants at The New Yorker, even his housecleaner. A dreary train of affairs.

ellauri185.html on line 863: The irony in Bellow’s soul was that he craved love and experience, and learned to view people coldly and clinically. The writer Amos Oz recalled most vividly from his friendship with Bellow an exchange that they shared privately about death. “I said I was hoping to die in my sleep, but Saul responded by saying that, on the contrary, he would like to die wide awake and fully conscious, because his death is such a crucial experience he wouldn’t want to miss it.”

ellauri185.html on line 865: As previous biographers have discovered, it’s difficult to write an endearing biography of Bellow. “Was I a man or was I a jerk?” Bellow inquired on his deathbed.  The answer should be obvious.

ellauri188.html on line 102: At the 2017 census, 97.0% of the population whose age was 15 and older reported that they could speak French (up from 94.1% at the 2007 census). 92.6% lied that they could also read and write it (up from 90.2% at the 2007 census). 

ellauri188.html on line 118: Is the January 18, 1924, issue of SCIENCE, page 64, Mr. P. J. Wester writes from Manila, urging an ex pedition to the Marquesas and other South Sea Islands, primarily for the purpose of making secure the continued existence of the breadfruit, secondarily, by a study of the varieties, to add further evidence relative to the migrations of these inhabitants of Polynesia.

ellauri188.html on line 142:     Referring to the last paragraph in Mr. Wester's communication-It would appear that if one is dependent, as was the writer, upon trading schooners to get from Tahiti to the Marquesas, then amongst these islands and return to Tahiti, his program for work in these two groups would take more than a year and his estimate of expense might, in consequence, be exceeded. Sometimes one is obliged to wait from one month to three to get the opportunity to move from one island in the Marquesas to another forty or fifty or eighty miles away, so rare and uncertain are the visits of these schooners. Further, in the absence of any regular means of communication, one has to seize any chance opportunity of transportation or run the risk of being marooned for a long period. On the other hand, if a schooner were chartered, which is the best possible way of visiting and working among the South Sea Islands, schooner, captain, crew and provisions would cost about $1,000 per month (this figure was obtained from an authoritative source) and a year on shipboard might not be needed. Under such conditions Mr. Wester's calculation of $8,500 for a year's work in the Marquesas and Societies may not be far out of the way.

ellauri188.html on line 427: Lucas met freelance writer Jessica "Chichua" Ciencin Henriquez at a dog park in 2011. They became knotted six weeks later and got loose on March 17, 2012, in Central Park. Their pup, Noah Reb Maurer, was born in June 2012. In January 2014, Ciencin Henriquez filed for a divorce that became final in October 2014.

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ellauri189.html on line 81: 	It is generally held to be most influenced by Lord Byron, whom Malczewski had met in Venice during his travels around western Europe, though it is considerably more gloomy and Gothic than Byron's work. Malczewski is sometimes considered part of the "Ukrainian school" in Polish poetry, though others consider his work to stand uniquely separate. Maria was also influential on later Polish poets, especially Adam Mickiewicz, and on writer Joseph Conrad, although he was not a romantic as such. Well, some of his stuff is pretty gooey, like Nostromo, the Panamanian guy. 

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ellauri189.html on line 256:   Iga rated it did not like it Oct 27. It was only after his death that critics realized the originality of Mary, by Malczeski – released in 1825 – that it was in fact the first Polish narrative poem. The injury of an ankle, which Malczewski had sustained defending his lover’s good name, destroyed the writer’s military career; the injury returned and he could not participate in Napoleon’s campaign against Russia in 1812.

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ellauri189.html on line 846: The writer earns his living as a software developer, and spends his free time trying hard to bring the people of Israel closer to God and to each other. He has huge love and respect for the Pashtun nation and he is 100% sure that Pashtuns are his brothers, Bene Israel, the children of prophets Avraham, Yishak and Yaakov. 

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ellauri191.html on line 259: "as a tribute to the consummate artistry, permeated with idealism, which he has demonstrated during his long productive career as a lyric poet, dramatist, novelist and writer of world-renowned short stories"

ellauri191.html on line 2141: In the Wall Street Journal, Joseph Epstein wrote, "You might not know it, but you and I are members of a club whose fellow members include Leo Tolstoy, Henry James, Anton Chekhov, Mark Twain, Henrik Ibsen, Marcel Proust, James Joyce, Jorge Luis Borges and Vladimir Nabokov. [And, we might add: Virginia Woolf, Joseph Conrad, Anna Akhmatova, Ella Fitzgerald, and Eudora Welty.] The club is the Non-Winners of the Nobel Prize in Literature. All these authentically great writers, still alive when the prize, initiated in 1901, was being awarded, didn't win it."

ellauri192.html on line 257: Jaroslav Seifert was born in Zizkov, a suburb of Prague, Czechoslovakia (now the Czech Republic). Seifert was one of the pioneers of modernist poetry and literature in his native country. He also worked as a journalist and translator. The period after the World War II was a disappointment for Seifert, who had been hoping for a brighter and freer future. Instead the Communist government imposed a repressive policy in which poets were expected to write political propaganda. Seifert became involved in attempts at reforms with the increased freedom implemented in his native country, such as the Prague Spring of 1968 and the Charta 77 movement.

ellauri192.html on line 261: There is no objective measure, no slide rule for magnitude in literature. Balzac was convinced that Mrs. Ann Radcliffe, the purveyor of Gothic terror, was a finer writer than Stendhal, whom he admired. Tolstoy, one of the two writers who have freely refused the Prize - Sartre in 1964 was the other (Bob Dylan meant to be the 3rd until the Swedes upped the ante) - found Shakespeare's ''King Lear'' to be a puerile mess ''beneath serious criticism.'' (mitä se kieltämättä onkin, tai oikeammin setämiehen keitos). The only major fiction to come out of the American experience of World War II, James Gould Cozzens' fiction ''Guard of Honor,'' has fallen into oblivion, deservedly.

ellauri192.html on line 269: Taking into sympathetic account the widest margin of human error, is it possible to take seriously an institution and procedure that passes over the majority of the greatest novelists and renewers of prose in the modern age? James Joyce, Marcel Proust, Franz Kafka (whose presence towers over our sensual literature and of the meaning of a bug, quite a feat for a little man who one should not expect to tower over anything much), Thomas Hardy, Joseph Conrad, Henry James, Andre Malraux, Hermann Broch, Robert Musil, D. H. Lawrence, either escaped the notice of or were, on nomination, rejected by the Nobel committee. Can one defend a jury which prefers the art of Pearl Buck (1938) to that of, say, Virginia Woolf? Paul Claudel, a picee of shit whose dramas we can set fairly beside those of Aeschylus and of Shakespeare just to scare people, never received the accolade. Paul Heyse was chosen, not Bertolt Brecht. Galsworthy is a Nobel, not Carlo Emilio Gadda, one of the most original and inventive writers of fiction in this century. Who the fuck is he? Composer of In-a-Gadda-da-Vida? No that was Iron Butterfly, and a good piece it was indeed. 

ellauri192.html on line 273: There are great, canonic names on the Nobel list, choices on which common sense and passionate alertness concur. I have mentioned Yeats. We find Anatole France, Kipling, Shaw, Thomas Mann, Andre Gide, T. S. Eliot, Pasternak, Faulkner, Hemingway, Seferis, Montale, Beckett and Solzhenitsyn (the last, I would guess, a titan among men even more, perhaps, than among writers; what I mean by this is he was tall but not much of a novelist). But place the two lists next to each other, and the cardinal truth springs to view: during these past 83 years, the award of the Nobel Prize in Literature has scored more misses than hits. With eminent exceptions, it is the uncrowned who are sovereign.

ellauri192.html on line 279: After this, explanation becomes speculative. Significant literature is inseparable from ideology and political feelings. There are more than hints that political considerations were implicit in the omission of Pound, Claudel, Malraux and Brecht. Too right, too right, too right, too left. The thoroughly embarrassing preference of Heinrich B"oll in 1972 over that far greater writer G"unter Grass was wholly typical of the Swedish Academy's bias towards the middle ground of urbane and liberal decencies. (Look! We tried to do the umlauts and almost did! But these are Germans, and Günther is an ex nazi too.) The great imaginings of terror and utopia, be they of the left or of the right, are not welcome. The 1957 choice of the young Camus haloed a literary persona and style of vision emblematic of the Stockholm ideal.

ellauri192.html on line 295: Handke, the 2019 winner, is an Austrian writer almost as well known for his vocal defense of Serbian war criminal Slobodan Milosevic as for his highly-regarded novels, plays and films.

ellauri192.html on line 297: While Tokarczuk’s win has been widely lauded — The Guardian declared her “the dreadlocked feminist winner the Nobel needed” (aargh! will some future prize go to Estonia's own bluewig girl Sofi Oxanen?) — Handke’s provoked immediate and widespread displeasure. PEN America, an organization that advocates for writers’ liberty, wrote that it was “dumbfounded by the selection of a writer who has used his public voice to undercut historical truth and offer public succor to perpetrators of genocide.” The Slovenian public intellectual Slavoj Žižek told the Guardian that “In 2014, Handke called for the Nobel to be abolished, saying it was a ‘false canonisation’ of literature. The fact that he got it now proves that he was right.”

ellauri192.html on line 311: The Polish government, Tokarczuk told PEN Transmissions, “wants to control and define history, to rewrite the memory about our past, obliterating any dark sides.”

ellauri192.html on line 313: “In such a time as we live in now in Poland the role of the writer is very special,” she said. “We have to be honest and decent people, to write about the world in the right way.”

ellauri192.html on line 321: Since 1901 to 1971, there have been 787 writers coming from different parts of the world nominated for the Nobel Prize in Literature, 67 of which were awarded the prize and Albert Schweitzer was awarded by Nobel Peace Prize on 1953. 12 more writers from these nominees were awarded after 1971 and Elie Wiesel was awarded by Nobel Peace Prize on 1986. Only 72 women had been nominated for the prize starting with Malwida von Meysenburg who was nominated once for the year 1901 and 6 of them have been awarded after all. 10% of the nominees, 5% of the awards. Bra jobb, kulturprofilerna! Kom igen!

ellauri192.html on line 323: Though the following list consists of notable literary figures deemed worthy of the prize, there have been some celebrated writers who were not considered nor even nominated such as Anton Chekhov, Jules Verne, Mark Twain, Robert Hugh Benson, Arthur Conan Doyle, Alexander Blok, Marcel Proust, Joseph Conrad, Rainer Maria Rilke, Federico García Lorca, Lu Xun, Sarat Chandra Chattopadhyay, Antonio Machado, Francis Scott Fitzgerald, James Joyce, Virginia Woolf, Simone Weil, Willa Cather, George Orwell, Galaktion Tabidze, Richard Wright, Flannery O'Connor, Langston Hughes and Jack Kerouac.

ellauri192.html on line 339: STOCKHOLM, Sweden 2009 - Americans Joyce Carol Oates and Philip Roth join Israel's Amos Oz at the top of the buzz surrounding the Nobel Prize in literature, especially after the most prominent judge broke from his predecessor and said U.S. writers are worthy of the coveted award.

ellauri192.html on line 347: This year British betting firm Ladbrokes is giving the lowest odds to Oz, German writer Herta Mueller and a trio of Americans: Oates, Roth and Thomas Pynchon. Three Canadians are given somewhat longer odds by Ladbrokes: Alice Munro and Margaret Atwood are at 25-to-1 while Michael Ondaatje sits at 50-to-1.

ellauri192.html on line 351: The last American winner was Toni Morrison in 1993. No writer from South America has won since Gabriel Garcia Marquez in 1982. The previous North American winner was Canadian Saul Bellow, who won in 1976 and was a resident of the United States for much of his life. What the fuck he was a Chicago crook, as American as apple pie.

ellauri192.html on line 637: In March 1929, he and six other writers left the KSČ after signing a manifesto protesting against Bolshevik Stalinist-influenced tendencies in the new leadership of the party. He subsequently worked as a journalist in the social-democratic and trade union press during the 1930s and 1940s.

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ellauri192.html on line 886: Ilya Ilf (Ilya Arnoldovich Feinsilberg) (Russian: Илья Арнольдович Файнзильберг, 1897-1937) and Yevgeny Petrov (Yevgeniy Petrovich Katayev or Russian: Евгений Петрович Катаев, 1902-1942) were two Ukrainian prose authors of the 1920s and 1930s.They did much of their writing together, and are almost always referred to as "Ilf and Petrov". Bet Ilf was Jewish. Ilya Arnoldovich Ilf (born Iehiel-Leyb Aryevich Faynzilberg, Russian: Иехи́ел-Лейб Арьевич Фа́йнзильберг[1]) (15 October [O.S. 3 October] 1897 in Odessa – 13 April 1937, Moscow), was a popular Soviet journalist and writer of Jewish origin who usually worked in collaboration with Yevgeni Petrov during the 1920s and 1930s. Their duo was known simply as Ilf and Petrov. Together they published two popular comedy novels The Twelve Chairs (1928) and The Little Golden Calf (1931), as well as a satirical book Odnoetazhnaya Amerika (often translated as Little Golden America) that documented their journey through the United States between 1935 and 1936.

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ellauri194.html on line 250: Early Christian writers (e.g. Eusebius) frequently identified Gog and Magog with the Romans and their emperor. After the Empire became Christian, Ambrose (d. 397) identified Gog with the Goths, Jerome (d. 420) with the Scythians, and Jordanes (died c. 555) said that Goths, Scythians and Amazons were all the same; he also cited Alexander's gates in the Caucasus. The Byzantine writer Procopius said it was the Huns Alexander had locked out, and a Western monk named Fredegar seems to have Gog and Magog in mind in his description of savage hordes from beyond Alexander's gates who had assisted the Byzantine emperor Heraclius (610–641) against the Muslim Saracens.

ellauri194.html on line 291: In the Islamic apocalyptic tradition, the end of the world would be preceded by the release of Gog and Magog, whose destruction by God in a single night would usher in the Day of Resurrection. Reinterpretation did not generally continue after Classical times, but the needs of the modern world have produced a new body of apocalyptic literature in which Gog and Magog are identified as Communist Russia and China. One problem these writers have had to confront is the barrier holding Gog and Magog back, which is not to be found in the modern world: the answer varies, some writers saying that Gog and Magog were the Mongols and that the wall is now gone, others that both the wall and Gog and Magog are invisible. Why it is the iron curtain of course,  the pay wall that stops money transfers between east and west. It is Google of MAGA what else!

ellauri194.html on line 307:   A brown Indian woman's feminism is, in other words, the polar opposite of that espoused by writers who go on about the individual, about empowerment and self-kindness.

ellauri194.html on line 314: Sedgwick' died of breast cancer in 2009 aged 58,. She deploys erudite and playful readings of texts by Oscar Wilde, Henry James and Marcel Proust to interrogate assumptions about the stability of sexual identity and how language works to define a homo/heterosexual binary. She writes: "An understanding of virtually any aspect of modern western culture must be not merely incomplete but damaged in its central substance to the degree that it does not incorporate a critical analysis of modern homo/heterosexual definition."

ellauri194.html on line 332:   Of US crime series’ 27 show runners, 21 were white men. Of 275 writers, more than 75% were white and 9% were black. 37% of writers across law and order programming were women, and 11% were women of color.

ellauri194.html on line 333:   Orange is the New Black, Bull, Mindhunter, How to Get Away with Murder and Criminal Minds are the only shows with 50% or more female writers.

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ellauri194.html on line 487: Dr. Ernest Adams is a consultant and a senior lecturer at the Department of Game Design, Uppsala University. He holds a bachelor's degree in philosophy from Stanford University, and a Ph.D. in interactive storytelling. He has served in the game industry since 1989 as a programmer, producer, writer, and game designer, and is the author of six books. Dr. Adams has developed online, computer, and console games for machines from the IBM 360 mainframe to the present day. He is also the founder and first chairman of the International Game Developers' Association.

ellauri194.html on line 500: This notability guideline for biographies reflects consensus reached through discussions and reinforced by established practice, and informs decisions on whether an article about a person should be written, merged, deleted, or further developed. For advice about how to write biographical articles, see Wikipedia:Manual of Style/Biography and Wikipedia:Biographies of living persons:

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Bidisha Bandyopadhyay, writer, broadcaster

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Manik Bandopadhyay, writer, novelist

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Raghab Bandyopadhyay, prose writer

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Sushmita Banerjee, writer

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Sara Banerji, writer

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Bankim Chandra Chatterjee – Indian patriot, writer, poet and journalist and composer of Vande Mataram, the national song of India

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Dhruva Chatterjee – writer and screenplay writer of Hindi movies

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Sarat Chandra Chattopadhyay, Indian writer

ellauri196.html on line 731: According to Jewish tradition, Ezekiel did not write his own book, the Book of Ezekiel, but rather his prophecies were collected and written by the Men of the Great Assembly.  

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ellauri198.html on line 141: Harold Bloom observed in the New Leader, “Warren alone among living writers ranks with the foremost American poets of the century: Frost, Stevens, Hart Crane, Williams, Pound, Eliot. ...

ellauri198.html on line 348:     For Margaret Atwood, Childe Roland is Browning himself, his quest is to write this poem, and the Dark Tower contains that which Roland/Browning fears most: a damn big tunnel.

ellauri198.html on line 372: Would break, what crutch 'gin write my epitaph		Nauraa käkättää vanha tenukeppi,

ellauri198.html on line 650:     In turn this influenced the pseudo-Medieval poetry of Thomas Chatterton. For example, in a poem about the Battle of Hastings he writes "some caught a slughorne and an onsett wounde" (Battle of Hastings ii.99), meaning "some picked up a slughorn and sounded a charge". A slughorn in this context appears to be some kind of trumpet. However, in a footnote to another usage of the word, Chatterton defines it as "not unlike a hautboy". The Medieval English word hautboy is the origin of the modern word oboe and has never referred to any instrument comparable to a trumpet. It is more like a faggot. Oh boy, haut-bois, puu pystyssä. Vitun pultti-bois.

ellauri198.html on line 697: From the time of their marriage and until Elizabeth's death, the Brownings lived in Italy, residing first in Pisa, and then, within a year, finding an apartment in Florence at Casa Guidi (now a museum to their memory). Their only child, Robert Wiedemann Barrett Browning, nicknamed "Penine" or "Pen", was born in 1849. In these years Browning was fascinated by, and learned from, the art and atmosphere of Italy. He would, in later life, describe Italy as his university. As Elizabeth had inherited money of her own, the couple were reasonably comfortable in Italy, and their relationship together was happy. However, the literary assault on Browning's work did not let up and he was critically dismissed further, by patrician writers such as Charles Kingsley, for the desertion of England for foreign lands.

ellauri198.html on line 714: Allen Johnston of The New York Times was disappointed with how the series progressed; while he marveled at the "sheer absurdity of King's existence" and complimented King's writing style, he said preparation would have improved the series, stating "King doesn't have the writerly finesse for these sorts of games, and the voices let him down." Michael Berry of the San Francisco Chronicle called the series "highfalutin hodgepodge".

ellauri198.html on line 724: Roland and his ka-tet travel to Thunderclap, then to the nearby Devar-Toi, to help a group of psychics known as Breakers who are allowing their telepathic abilities to be used to break away at the beams that support the Tower. Ted Brautigan and Dinky Earnshaw assist the gunslingers with information and weapons, and reunite Roland with his old friend Sheemie Ruiz from Mejis. The Gunslingers free the Breakers from their captors, but Eddie is wounded after the battle and dies a short while later. Roland and Jake pause to mourn and then jump to Maine of 1999 along with Oy, in order to save the life of Stephen King (whom he writes to be a secondary character in the book); the ka-tet have come to believe that the success of their quest depends on King surviving to write about it through his books.

ellauri203.html on line 119: 	Another problem, which could make matters worse, was the intrusion of the socialist (atheist) teaching mentioned above. From his own experience, Dostoevsky knew the danger and destructiveness of this socialist way, offered by many as the way to reform society. In his letter to M. Pogodin, Dostoevsky writes that ‘socialism and Christianity are antonyms’. Christianity and private enterprise are synonyms. The danger of this way, in Dostoevsky’s opinion, was its negation of God and establishment of a new atheistic society.

ellauri203.html on line 127:     Although reasonably successful during his lifetime, his fame continued to grow after his death and he inspired not just other later writers, such as Ernest Hemingway, but also sparked a philosophical movement, Existentialism, and influenced the work of Sigmund Freud.

ellauri203.html on line 150: The two great writers of the 19th century had completely different ideologies. Ivan Turgenev, author of the novel Fathers and Sons, was a convinced Westernizer and a liberal. Fyodor Dostoyevsky was a conservative nationalist. In his novels The Idiot and The Possessed he preached that liberals had corrupted Russia, leading it to ruin, and that Russia should preserve its own way and Orthodox Christianity.

ellauri203.html on line 158: 	Riivaajissa on great writer Karmazinov jonka pitäis olla pilakuva Turgenevista.

ellauri203.html on line 215: Fyodor Dostoevsky´s novels mirrored his life: complicated, tense and full of psychological unrest. He was as dedicated to the women that accompanied him on this difficult journey as he was to the novels that he felt compelled to write. Lets explore the great writer’s relationships with his three key hens, Isajeva, Suslova and Snitkina. (There were more, but they were not key.)

ellauri203.html on line 217: Dostoevsky was the only 19th-century Russian writer to be sentenced to hard labor, spending four years in a Siberian camp. As fortune – or misfortune – would have it, when the exhausted novelist was finally released, he encountered the writer Maria Isaeva. The relationship was complicated from the very outset: when they met, Isaeva was married with a young son, and Dostoevsky was forced to wait until her husband passed away before he could publically offer her his wand.

ellauri203.html on line 219: However, this belated first love was not as simple as Dostoevsky had hoped. Isaeva began taunting the writer with letters telling him of her intention to marry one or other wealthy official. Although the pair did ultimately marry, their troubles continued, and the two never settled into a harmonious marriage, with Dostoevsky taking on a role more like a friend or brother to Isaeva, rather than a husband. Mark Slonim, an important Russian scholar, writes in his book The Three Loves of Dostoevsky: “He loved her for all these feelings that she excited in him. For everything that he gave her, for everything that was connected with her. And for all the pains from her.”

ellauri203.html on line 223: Dostoevsky met the young Appolinaria Suslova during one of his public readings. At 42, he was two decades older than her. She was attractive, alluring and shared his literary taste and physical passion. Despite this, he could not give her everything she wanted; as Dostoevsky was still married, he conducted a secret affair with Suslova, but she took other lovers and left him. She returned two years later, but was not the same inexperienced young woman and refused to marry the great writer.

ellauri203.html on line 233: Anna Snitkina did not attempt to change Dostoevsky, accepting him warts and all, which made this marriage the happiest and most harmonious in the writer’s turbulent life. That´s the only working way to survive a hopeless narcissist.

ellauri203.html on line 310:     "The bestseller book also created the idea, particularly in the West, that I was a political writer. This was a misunderstanding because my poetry was unknown. I have never been a political writer and I worked hard to destroy this image of myself." Kovasta yrittämisestä huolimatta kukaan ei taida lukea sen runoja. Vitun lällyjä ne ovatkin, täytyy vähän terävöittää suomennoxessa:

ellauri203.html on line 473: It was published first in 1866 in the first episode of the new literary magazine Epoch that was launched by Dostoevsky and his brother Mikhail. As we know Turgenev and Dostoevsky were not the best of friends. Turgenev had sent the story to Dostoevsky when he was in Baden Baden. Dostoevsky, however, was too busy playing roulette and returned the story without having read it. Mikhail told him in a letter that that had been a big mistake, because their magazine was sure to be a success if they could have a new Turgenev in the first episode. Dostoevsky proceeded to write an apologetic letter to Turgenev and managed to secure Phantoms for the magazine.      

ellauri203.html on line 475: 	From an 1849 letter to Pauline Viardot we know that the inspiration came from a dream that Turgenev had had. In this dream there was a whitish creature claiming to be his brother Anatoli (Turgenev had two brothers: Nikholai and Sergei). They both turned into birds and flew over the ocean. In another letter Turgenev writes that he was looking for a way to connect several landscape sketches that he had written. He combined the flying with the landscapes and came up with a vampire woman to explain the flying. 

ellauri203.html on line 652:   In a small family island, Karin, her teenage brother Minus and her husband Martin welcome her father David, who is a writer permanently absent traveling around the world. Karin has just left a mental institution and has inherited the incurable insanity from her mother. Minus feels lost and alone, estranged by his selfish and cold father that left Karin and he (sic) behind after the death of his wife. Martin is neglected by Karin and has no sex life with her anymore and spends his time taking care of his wife. When Karin finds the journal of her father hidden in a drawer in his desk, she reads that her degenerative disease is incurable and triggers a breakdown.

ellauri203.html on line 660:       On an island, Karin, a recently released mentally sick young woman, is spending her vacation with her husband Martin, a doctor, her father David, a writer just back from Switzerland, and her younger brother Fredrick (Minus). Karin is suffering from hallucinations and hysteria. She thinks she is kroppsvisited by God  - muze olikin vaan kiimainen Miisu, siis Miinus. Huoh.

ellauri204.html on line 680:   Sexton suffered from severe bipolar disorder for much of her life, her first manic episode taking place in 1954. After a second episode in 1955 she met Dr. Martin Orne, who became her long-term therapist at the Glenside Hospital. It was Orne who encouraged her to write poetry.

ellauri204.html on line 704:   Antoine Marie Joseph Paul Artaud, better known as Antonin Artaud, was a French writer, poet, dramatist, visual artist, essayist, actor and theatre director. He is widely recognized as one of the major figures of the European avant-garde. In particular, he had a profound influence on twentieth-century theatre through his conceptualization of the Theatre of Cruelty. Known for his raw, surreal and transgressive work, his texts explored themes from the cosmologies of ancient cultures, philosophy, the occult, mysticism and indigenous Mexican practices. Hirveää scheissea.

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ellauri206.html on line 63: The concept is often attributed to Russian playwright Anton Chekhov, reputed to have said "Don't tell me the moon is shining; show me the glint of light on broken glass." What Chekhov actually said, in a letter to his brother, was "In descriptions of Nature one must seize on small details, grouping them so that when the reader closes his eyes he gets a picture. For instance, you’ll have a moonlit night if you write that on the mill dam a piece of glass from a broken bottle glittered like a bright little star, and that the black shadow of a dog or a wolf rolled past like a ball."

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. 

ellauri206.html on line 113:   Countries are also encouraged to step up work on lethal autonomous weapons, or “killer robots” or "unmanned drones" as uninformed headline writers may prefer to call them.

ellauri207.html on line 212: DC Comics signs Glaswegian crime writer Denise Mina to adapt Girl with the Dragon Tattoo novels for comic format. Why bother? It´s comic enough as is. 

ellauri210.html on line 50: William Sydney Porter (September 11, 1862 – June 5, 1910), better known by his pen name O. Henry, was an American short story writer.  Amerikkalainen pikkukonna ja pakinoizija joka hyvin amerikkalaisittain yhdisti nämä ammatit, tehden kahta työtä rinnakkain. Sen mielikirja oli Burtonin Anatomy of Melancholy. Nuorena se vietti aikaa Texasissa päästäkseen pahasta yskästä.  Yskä parani mutta jano paheni. Se nai kauniin mutta tubisen vaimon vastoin perheen tahtoa.  Sen poika kuoli synnytyksessä  

ellauri210.html on line 369:     That journey began in 1903 when, aged sixteen, he was kicked out of his boarding school for an egregious act of indiscipline—according to some, he hit a teacher—and, inspired by his hero Arthur Rimbaud, he left Switzerland in search of adventure. Over the next several years, Cravan took up with hookers in Berlin, hoboed his way from New York to California, and worked in the engine room of a steamship bound for the South Pacific, jumping ship when it docked in Australia. But it was in Paris that the legend of the man we know as Arthur Cravan—writer, brawler, and hoaxer—was cemented. Within the space of six years, he scandalized polite society, infuriated the avant-garde, slugged it out with one of the greatest heavyweights of all time, and then disappeared without a trace.

ellauri210.html on line 381:     In the summer of 1914, Cravan began another phase of wandering. In 1916, he found himself in Barcelona where he somehow managed to book himself a high-profile fight against Jack Johnson. Johnson was in the midst of a celebrated stay in Spain, during which he was received by royalty and starred in movies. Photographs from the fight give some idea of the scale of the event, which was held at Barcelona’s huge bullfighting arena La Monumental. What the photos don’t convey is what a mismatch the fight was. Even a ring-rusty, thirty-eight-year-old Johnson was leagues ahead of Cravan. Johnson won with a sixth-round knockout, though it could’ve been over much sooner had he wished it. There are reports that Cravan shook with fear before the contest began, knowing how out of his depth he was. One writer has suggested that “Johnson and Cravan were more collaborators than competitors,” and that the event was a con, just a hype-fueled payday for an aging legend and a flamboyant interloper with no credible chance of a win—the Mayweather-McGregor of its day. Olikos tää se mazi josta toinen nyrkkipelle Heminwau kirjoitti siinä sonniromaanissa?

ellauri210.html on line 776:     Michel del Castillo (or Michel Janicot del Castillo), born in Madrid on August 2, 1933, is a Spanish-French writer. Interned in a concentration camp named Rieucros in Mende with his mother during the Second World War, he developed a sense of belonging to this town, which has honored him with naming a school after him. Wow.

ellauri210.html on line 778:     An autobiographical work by Michel del Castillo, a Spanish born writer who writes in French, Tanguy is a powerfully moving novel highly reminiscent of The Diary of Anne Frank (due mainly to the child's point of view as opposed to that of the adult). Narrating in first person, the story of a young Spanish boy, Tanguy, the novel is set against the backdrop of the war.

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ellauri210.html on line 1226: The French essayist Michel Eyquem de Montaigne’s famous tome Les Essais became celebrated in its age, even being quoted by William Shakespeare in The Tempest. At the core of the collection of writings was “De l’amitie” (“On Friendship”). La Boetie enjoyed a certain level of fame, achieved through political discourses, when he met Montaigne around 1557 and the two would spend four years together, at which time the principles of civil disobedience in matters of love became instilled in Montaigne, according to Robert Aldrich and Garry Wotherspoon’s Who’s Who in Gay and Lesbian History. But La Boetie would succumb to the plague, and Montaigne would write that he never experienced such love again.

ellauri210.html on line 1266: The fellow-writer H. G. Wells had joined the "vet Fabian' society in February 1903. Wells's ideas for reform—particularly his proposals for closer cooperation with the Independent Labour Party—placed him at odds with the society's "Old Gang", led by Shaw. In Shaw's view, "the Old Gang did not extinguish Mr Wells, he annihilated himself".

ellauri210.html on line 1374:   Mansour first came in contact with Parisian surrealism while still living in Cairo. She moved to Paris in 1953 at the age of 20.[1] In 1947, her first marriage at the age of 19 ended after six months when her husband died. Her second marriage was to Samir Mansour in 1949 and they divided their time between Cairo and Paris. Mansour began to write in French.

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ellauri213.html on line 169: Senior staff writer and thriller author. Her novel, Forget Her, is available on Shop Catalog.

ellauri213.html on line 434: Seuraavassa on listattuna pahoja naisia rikkomuxineen (kuvissa söpöset alleviivattu): Irma Grese (Naziwächterin), Myra Hindley (serial pedocide), Isabela of Castile (born in the year 1451 and died in 1504, Isabella the Catholic, was queen of Castile and León. She and her husband, Ferdinand II of Aragon, brought stability to the kingdoms that became the basis for the unification of Spain. Isabella and Ferdinand are known for completing the Reconquista, ordering conversion or exile of their Muslim and Jewish subjects and financing Christopher Columbus’ 1492 voyage that led to the opening of the “New World”. Isabella was granted the title Servant of God by the Catholic Church in 1974), Beverly Allitt (pedocide, Angel of Death), Queen Mary of England (catholic), Belle Gunness (norwegian-american serial killer), Mary Ann Cotton (serial killer), Ilse Koch (Lagerfrau), Katherine Knight (very bad Aussie), Elizabeth Bathory (hungarian noblewoman and serial killer), Sandra Avila Beltran (drugs), Patty Hearst (hänen isoisänsä oli lehtikeisari William Randolph Hearst. Hiän joutui kidnappauksen uhriksi, mutta pian tämän jälkeen hiän teki pankkiryöstön ja joutui vankilaan), Genene Jones (infanticide nurse), Karla Homolka (Canadian serial killer), Diane Downs (infanticide), Aileen Wuornos (serial killer), Griselda Blanco (drug lady), Lizzie Borden (kirvesmurhaaja), Bonnie Parker (bank robber), Anne Bonny (pirate), Mary Bell (pedocide), Delphine LaLaurie (serial slavekiller), Patricia Krenwinkel (Manson family member), Leslie van Houten (Manson family member), Darlie Routier (infanticide), Susan Smith (infanticide), Susan Atkins (Manson family member), Ching Shih (pirate), Anna Sorokin Delvey (con woman), Amelia Dyer (serial killer), Assata Shakur (black terrorist), Belle Gunness (serial killer), Gypsy Rose Blanchard (matricide), Pamela Smart (mariticide), Ruth Ellis (nightclub hostess, last woman hanged in UK), Phoolan Devi (bandit), Ma Barker (matriarch), Jennifer Pan (parenticide), Virginia Hill (gangster), Karla Faye Tucker (burglar, first woman injected in US), Leonarda Cianciully (serial murderer, soapmaker), Mary Read, Carill Ann Fugate (murder spree), Grace Marks (maid), Belle Starr (outlaw, friend of Lucky Luke), Zerelda Mimms (Mrs. Jesse James), Jane Toppan (serial killer), Sara Jane Moore (wannabe assassin of Gerald Ford), Martha Beck (serial killer), Doris Payne (jewel thief), Mary Brunner (Manson family member), Barbara Graham (executed by gas), Grace O'Malley (pirate), Sada Abe (jealous geisha. When they asked why she had killed Ishida, “Immediately she became excited and her eyes sparkled in a strange way: ‘I loved him so much, I wanted him all to myself. But since we were not husband and wife, as long as he lived he could be embraced by other women. I knew that if I killed him no other woman could ever touch him again, so I killed him…..’ ), Samantha Lewthwaite (white somali terrorist), Theresa Knorr (murderess), Lynette Fromme (Manson family, wannabe assassin of Gerald Ford), The Freeway Phantom (serial killer), Carol M. Bundy (serial killer), Fanny Kaplan (bolshevik revolutionary), Marguerite Alibert (Ed VII courtesan), Jean Harris (author), Linda Hazzard (physician, serial killer), Mary Jane Kelly (1st victim of Jack the Ripper), Kim Hyon-hui (North-Korean spy), Vera Renczi (serial killer), Clare Bronfman (filthy rich criminal), Kirsten Gilbert (serial killer nurse), Gerda Steinhoff (Lagerwächterin), Linda Carty (baby robber), Estella Marie Thompson (black prostitute, blowjobbed Hugh Grant), Elizabeth Becker (Lagerwächterin), Juana Barraza (asesina en serie), Olivera Circovic (baseball player, writer, jewel thief), Olga Hepnarova (mental serial killer), Sabina Eriksson (knäpp tvilling), Minnie Dean (serial killer), Madame de Brinvilliers (aristocrat parri- and fratricide), Martha Rendell (familicide, last woman hanged in Western Australia), Violet Gibson (wannabe assassin of Mussolini), Idoia López Riaño (terrorist), Styllou Christofi (murdered her daughter in law), Mary Eastley (convicted of witchcraft), Wanda Klaff (Lagerwächterin), Giulia Tofana (avvelenatrice), Tisiphone (1/3 raivottaresta), Jean Lee (murderer for money), Brigitte Mohnhaupt (RAF terrorist), Marcia (mistress of Commodus), Beate Zschäpe (far-right terrorist), Evelyn Frechette (singer, Dillingerin heila), Francoise Dior (naziaktivisti), Linda Mulhall (nirhasi äidin poikaystävän saxilla), Brigit Hogefeld (RAF terrorist), Martha Corey (Salem witchhunt victim), Marie Lafarge (arsenikkimurha), Debra Lafave (teacher, gave blow job to student), Enriqueta Marti (asasina en serie), Alse Young (witch hanging victim), Elizabeth Michael (actress, involuntary manslaughter: nasty boyfriend hit his head and died while beating her), Susannah Martin (witchcraft), Maria Mandl (Gefängnisoffizerin), Mary Frith (pickpocket and fence), Hanadi Jaradat (suicide bomber), Marie-Josephte Carrivau (mariticide), Gudrun Ensslin (RAF founder), Anna Anderson (vale-Anastasia), Ans van Dijk (jutku nazikollaboraattori), Elizabeth Holmes (bisneshuijari), Ghislaine Maxwell (Epsteinin haahka), Julianna Farrait (drugs), Yolanda Saldivar (embezzler, killer), Jodi Arias (convicted killer Jodi Ann Arias was born on July 9, 1980, in Salinas, California. In the summer of 2008, Arias made national headlines when she was charged with murdering her ex-boyfriend Travis Alexander, a 30-year-old member of the Church of Jesus Christ of Latter Day Saints who was working as a motivational speaker and insurance salesman. Aargh. Justifiable homicide.) Alyssa Bustamante (kid murder), Mary Kay Letourneau (kid abuser), Mirtha Young (drugs), Catherine Nevin (mariticide), Pilar Prades (maid), Irmgard Möller (terrorist), Christine Schürrer (krimi), Reem Riyashi (suicide bomber), Amy Fisher (jealous), Wafa Idris (suicide bomber), Jeanne de Clisson (ex-noblewoman), Christine Papin (maid murderer), Sally McNeil (body builder), Mariette Bosch (murderer), Sandra Ávila Beltrán (drugs), Alice Schwarzer (journalist), Andrea Yates (litter murderer), Mimi Wong (bar hostess), Pauline Nyiramasuhuko (criminal politician), Josefa Segovia (murderer), Martha Needle (serial killer), Antonina Makarova (war criminal), Mary Surratt (criminal businessperson), Dorothea Binz (officer), Leona Helmsley (tax evasion), Angela Rayola (reality tv personality), Léa Papin (maid murderer), Ursula Erikssson (kriminell mördare), Maria Petrovna (spree killer), Aafia Siddiqui (criminal), Fatima Bernawi (palestinian militant), La Voisin (fortune teller), Deniz Seki (singer), Rasmea Odeh (Arab activist), Hildegard Lächert (nurse), Sajida al-Rishawi (suicide bomber), Hayat Boumeddiene (ISIS groupie, nähty viimexi Al Holissa), Herta Ehlert (Lagerwächterin), Elizabeth Stride (seriös mördare), Adelheid Schulz (krimi), Jenny-Wanda Barkman (Wächter), Shi Jianqiao (pardoned assassin. The assassination of Sun Chuanfang was ethically justified as an act of filial piety and turned into a political symbol of the legitimate vengeance against the Japanese invaders.), Rosemary West (serial killer), Juana Bormann (Lagerwächterin), Kathy Boudin (criminal), Kate Webster (assassin), Teresa Lewis (murderer), Hermine Braunsteiner (Lagerwächterin), Flor Contemplacion (assassina), Constance Kent (fratricide), Tamara Samsonova (serial killer), Herta Bothe (Lagerwächterin), Maria Gruber (Mörderin), Irene Leidolf (möderin), Waltraud Wagner (Mörderin), Elaine Campione (criminelle), Greta Bösel (Pflegerin),  Marie Manning (Mörderin), Darya Nikolayevna Saltykova (sadist), Nora Parham (executed), Maria Barbella (assassina), Linda Wenzel (ISIS activist), Anna Marie Hahn (Mörderin), Suzane von Richthofen (parenticide), Charlotte Mulhall (murderer), Khioniya Guseva (kriminal), Daisy de Melker (serial killer nurse), Stephanija Meyer (Mörderin), Sinedu Tadesse (murderer), Ayat al-Akhras (suicide bomber), Akosita Lavulavu (minister of infrastructure and tourism), Sabrina de Sousa (criminal diplomat), Sally Basset (poisoner), Emma Zimmer (Aufseher), Mary Clement (serial killer), Irina Gaidamachuk (serial killer), Dagmar Overbye (serialmorder), Gesche Gottfried (Mörderin), Frances Knorr (serial killer), Beate Schmidt (Serienmörderin), Elizabeth Clarke (accused victim of witchcraft), Kim Sun-ja (serial killer), Olga Konstantinovana Briscorn (serial killer), Roxana Baldetti (politico), Rizana Nafeek (house maid), Margaret Scott (accused of witchcraft), Jacqueline Sauvage (meurtrier), Veronique Courjault (tueur en série), Barbara Erni (thief), Hilde Lesewitz (Schutzstaffel Wächterin), Thenmoli Rajaratnam (suicide bomber),  etc. etc..

ellauri214.html on line 72: Though Rowling’s transphobia has been publicized the most, fans have also begun to notice prejudice in her writing. Very few people of color are featured in J. K. Rowling’s books, and those that are have few lines and no detailed story arcs. One of the people of color given more thought was Cho Chang, Harry Potter’s love interest who was first introduced in the third book, Harry Potter and the Prisoner of Azkaban. Rowling’s racism toward Asians and lack of knowledge of Asian culture is clearly evident from just the name Cho Chang, which is a mix of Korean and Chinese surnames. Korea and China have a longstanding history as political adversaries and each country has a distinct culture. While Rowling went to great efforts in creating a wonderfully immersive wizarding world, she gave no thought to what Cho’s ethnicity is. Cho was also sorted into Ravenclaw house, the school house for those of high intelligence, playing into a common stereotype of Asians. The only other Asian characters mentioned in the series are Indian twins Padma and Pavarti Patil. While Rowling appears to have given more thought to these characters, placing Padma in Ravenclaw and breaking the Asian stereotype by placing Pavarti in Gryffindor, she ultimately fails to adequately write Asian characters. While Pavarti, as a member of Harry Potter’s house, was given more depth than Cho or her sister, many South Asian fans were irritated by the girls’ dresses in the fourth movie, Harry Potter and the Goblet of Fire. The twins wore dull and unflattering traditional Indian attire, which many saw as a mockery of Indian culture. Cho herself wore an East Asian style dress in this movie which was a mix of different Asian styles. Rowling continued her habit of stereotyping Asians in the Fantastic Beast Movies, the first of which was released in 2016 and set in the 1920’s, several decades before the Harry Potter series. In this pre-series, the only Asian representation is displayed in the form of a woman who has been cursed to turn into a beast. Fans may remember the villain Voldemort’s pet snake, Nagini, who served him throughout the Harry Potter series. Fans were surprised to learn when watching The Crimes of Grindelwald, the second movie in the Fantastic Beasts series, that Nagini was not always a snake, but was actually a woman who had been cursed to turn into a snake. In the movie, Nagini, in human form, is caged and forced to perform in a circus. Though we do not know how Nagini came to meet Voldemort, we do know that she became his servant and the keeper of a wee snakelike portion of his soul. This is more than slightly problematic. Not only was Nagini the only Asian representation in the film, but she was also a half-human who was forced to serve an evil white man for a great part of her existence. Author Ellen Oh commented on Nagini’s inclusion in the film saying “I feel like this is the problem when white people want to diversify and don’t actually ask POC how to do so. They don’t make the connection between making Nagini an Asian woman who later on becomes the pet snake of an EEVIL whitish man.”

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.

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Why might someone (like Feifei Wang) say J.K. Rowling is a bad writer?

ellauri214.html on line 102: My very unpopular personal opinion is that Rowling is a mediocre writer at best.

ellauri214.html on line 104: I think JK Rowling did one thing exceptionally well: she had really interesting whimsical ideas based on everyday mundane life, and she can write these ideas out in a very visually exciting fashion. These little sparkles of crazy fun ideas can almost make you forget about the other glaring problems of the book. A lot of people (myself included) are attracted, or mesmerized by these whimsical sparkles of imagination. It's a fascinating magical world that's so imaginative and yet at the same time mirror our own.

ellauri214.html on line 106: But, Rowling's talent is skin deep. I absolutely do not agree that she did a great job in character and/or plot development. Her characters are pretty clichéd (Chosen one and his side kick), her setting is pretty narrow (British boarding school experiences), her plot is pretty predictable, and like all amateur writers, her plot line often meanders for no good reason at all. Her world building is imaginative, but lack planning. Simply put, most part of her world is a whim, it's not coherent, she didn't think it through. And the more you think about it, the bigger the problem it is. Oh and that one character everyone is singing praises about, as if it's the best written character of all time? Stereotypical Byronic hero. I read how people praise Snape being this greatest character of our generation, I couldn't help but wondering, you guys never read Wuthering Heights?! I've never attended an American high school but I'm pretty sure the Great Gatsby is on the required reading list.

ellauri214.html on line 108: Rowling became popular because she got lucky. Her work is more accessible than the works of people mentioned above. She set out to write light-hearted children's books, which allowed her works to avoid some of the more serious scrutiny from literature critics. And I guess because people don't read nearly as much as they used to. When you never had a good burger, you'd think Big Mac is the best thing in the world.

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ellauri214.html on line 545: She trained and practised as a clinical psychologist but quit after realising that she was “much more neurotic than my clients” to become a full-time writer, on a mission to use language “like a fork and knife when you have to eat reality”. As her international reputation grew, so did her air-mile count.

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ellauri217.html on line 713:   It is my judgment, therefore, that we should not make it difficult for the Gentiles who are turning to God. Instead we should write to them, telling them to abstain from food polluted by idols, from sexual immorality, from the meat of strangled animals and from blood pancakes, whicy are yakky anyway. For the law of Moses has been preached in every city from the earliest times and is read in the synagogues on every Sabbath. — Acts 15:19–21..

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 Edgar Allan Poe (writer)

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 Bob Dylan (singer/songwriter)

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 Aldous Huxley (writer)

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 Terry Southern (writer)

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 Dion DiMucci (singer/songwriter)

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 William S. Burroughs (writer)

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 H. G. Wells (writer)

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 Oscar Wilde (writer)

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 Stephen Crane (writer) – barely visible between Issy Bonn's head and raised arm

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 Lewis Carroll (writer)

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ellauri219.html on line 209: An all-male panel presided over his widely publicized six-month trial, Bruce and Howard Solomon were found guilty of obscenity on November 4, 1964. The conviction was announced despite positive testimony and petitions of support from—among other obscene artists, writers and educators — Woody Allen, Bob Dylan, Jules Feiffer, Allen Ginsberg, Norman Mailer, William Styron, and James Baldwin, and Manhattan journalist and television personality Dorothy Kilgallen and sociologist Herbert Gans. Bruce was sentenced on December 21, 1964, to four months in dryhouse (suivahuone); he was set free on bail during the appeals process and died before the appeal was decided, just like Master Eckehart.

ellauri219.html on line 219:   An American writer, comedian, and actor, WC Fields was the epitome of the all-around entertainer, whose career spanned both the silent film era and the talkies. His humor seeped into The Beatles’ own, while the vaudeville world he came from would also go on to influence songs the likes of “Your Mother Should Know.” W. C. Fields oli yhdysvaltalainen koomikko, joka esiintyi ensin vaudevillessa ja teatterissa, ja vuodesta 1930 alkaen äänielokuvissa. Fields oli yksi aikansa suosituimmista elokuvakoomikoista. Hänen todellisuutta vastaava roolihahmonsa tunnetaan nasaaliäänestään, epäsosiaalisuudestaan ja persoudestaan alkoholille. Hän esitti joko leuhkaa huijarityyppiä tai vaimonsa nalkutuksesta kärsivää aviomiestä. Hänen hahmonsa olivat persoja alkoholille, puhuivat karkeuksia eivätkä voineet sietää lapsia tai koiria.The oft-repeated anecdote that Fields refused to drink water "because fish fuck in it" is unsubstantiated. Vastenmielinen.

ellauri219.html on line 265: Dylan and The Beatles influenced each other throughout the 60s, each spurring the other on to making music that pushed boundaries and reshaped what was thought possible of the simple “pop song.” It was Dylan who convinced John Lennon (No.62) to write more personal songs in the shape of “Help!,” while The Beatles showed Bob what could be achieved with a full band behind him, helping the latter “go electric” in 1965. It was with George Harrison (No.65), however, that Dylan struck up the longest-lasting friendship; the two played together often in the years that followed, forming The Traveling Wilburys and guesting on each other’s projects.

ellauri219.html on line 290: A satirical novelist and screenwriter, Terry Southern bridged the gap between the Beat Generation and The Beatles; he hung out with the former in Greenwich Village, and befriended the latter after moving to London in 1966. His dialogue was used in some of the most era-defining movies of the 60s, including Dr. Strangelove Or: How I Learned To Stop Worrying And Love The Bomb and Easy Rider.

ellauri219.html on line 324: From Bob Dylan (No.15) to David Bowie, Tom Waits to Steely Dan, Beat Generation author Burroughs has influenced many a songwriter over the decades. Less known is that, according to Burroughs himself, he witnessed Paul McCartney (No.64) working on “Eleanor Rigby.” As quoted in A Report From The Bunker, a collection of conversations with author Victor Bockris, Burroughs recalled McCartney putting him up in The Beatles’ flat on 34 Montagu Square: “I saw the song taking shape. Once again, not knowing much about music, I could see that he knew what he was doing.”

ellauri219.html on line 424: Barely visible tucked in between the head and raised arm of Issy Bonn (No.47), Stephen Crane was a Realist novelist who, though dying aged 28, in 1900, is regarded as one of the most forward-thinking writers of his generation. His work incorporated everyday speech, which gave his characters an added realism, and his novels took an unflinching look at poverty.

ellauri219.html on line 744:   The yoga scholar David Gordon White writes that yoga teacher training often includes "mandatory instruction" in the Yoga Sutra. White calls this "curious to say the least", since the text is in his view essentially irrelevant to "yoga as it is taught and practiced today", commenting that the Yoga Sutra is "nearly devoid of discussion of indecent postures, dick stretching, and heavy breathing".

ellauri219.html on line 849:     Thomas Woolston, English writer (1669-1731) or? (1670-1733).

ellauri219.html on line 853:     Benjamin Franklin, American statesman, scientist, writer, printer (1706-1790).

ellauri219.html on line 881:     Edgar Allan Poe, American writer (1809-1849).

ellauri219.html on line 975:   Underworld (also released as Paying the Penalty) is a 1927 American silent crime film directed by Josef von Sternberg and starring Clive Brook, Evelyn Brent and George Bankrupt. The film launched Sternberg's eight-year collaboration with Paramount Pictures, with whom he would produce his seven films with actress Marlene Dietrich. Journalist and screenwriter Ben Hecht won an Academy Award for Best Original Story. Time felt the film was realistic in some parts, but disliked the Hollywood cliché of turning an evil character's heart to gold at the end. Filmmaker and surrealist Luis Buñuel named Underworld as his all time favorite film. Critic Andrew Sarris cautions that  Underworld does not qualify as "the first gangster film" as Sternberg "showed little interest in the purely gangsterish aspects of the genre" nor the "mechanics of mob power." Film critic Dave Kehr, on the other hand, writing for the Chicago Reader in 2014, rates Underworld as one of the great gangster films of the silent era. "The film established the fundamental elements of the gangster movie: a hoodlum hero; ominous, night-shrouded city streets; floozies; and a blazing finale in which the cops cut down the protagonist."

ellauri219.html on line 1010:   Rachel Kushner (born 1968) is an American writer, known for her novels Telex from Cuba (2008), The Flamethrowers (2013), and The Mars Room (2018).  She looks like a little rodent. Kushner was born in Eugene, Oregon, the daughter of two Communist scientists, one Jewish and one Unitarian, whom she has called "deeply unconventional people from the beatnik generation." One of her influences is the American novelist Don DeLillo. Big surprise. Rachel is one of America's most shortlisted writers.

ellauri219.html on line 1022:   Cheever opetti yliopistoissa luovaa kirjoittamista. Hänen teostensa aiheena ovat varakkaat mutta henkisesti köyhät keskiluokkaiset ihmiset. Kuvauksessa on sekä myötätuntoa että purevaa moralisointia. Cheever says, famously, “the task of the American writer is not to describe the misgivings of a woman taken in adultery as she looks out of the window at the rain but to describe four hundred people under the lights reaching for a foul ball”. Kumpi on  tomppelimpaa, sietää kysyä

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ellauri222.html on line 72: The celebrated writer kept romances alive in different cities, two or three at any given time — with students and faculty divorcées at the University of Chicago, assistants at The New Yorker, even his housecleaner. A dreary train of affairs.

ellauri222.html on line 76: The irony in Bellow’s soul was that he craved love and experience, and learned to view people coldly and clinically. The writer Amos Oz recalled most vividly from his friendship with Bellow an exchange that they shared privately about death. “I said I was hoping to die in my sleep, but Saul responded by saying that, on the contrary, he would like to die wide awake and fully conscious, because his death is such a crucial experience he wouldn’t want to miss it.”

ellauri222.html on line 78: As previous biographers have discovered, it’s difficult to write an endearing biography of Bellow. “Was I a man or was I a jerk?” Bellow inquired on his deathbed.  The answer should be obvious.

ellauri222.html on line 106:  Not long thereafter, Saul went through what Greg called “a spiritual crisis.” It was then that he began to write Mr. Sammler’s Planet, which literary critic Adam Kirsch described as “a document of the cravings of 1960s America, and an attempt to bring the Holocaust to bear on America.” Greg told JNS.org that Mr. Sammler’s Planet is a “watershed novel” because it conveys not only a message about the Holocaust in general, but also “an indictment against the self-imposed blindness that prevented people from seeing the Nazi threat.

ellauri222.html on line 125: In his Op-Ed about the Zulu Tolstoy, Bellow made much of his academic training in anthropology. After leaving Northwestern, he did become a graduate student in anthropology at the University of Wisconsin. But he completed just one course before dropping out and returning to Chicago, where he married a woman, Anita Goshkin, who was studying for a master’s degree in social work, and began his career as a fiction writer and itinerant college teacher. His first job was at Pestalozzi-Froebel Teachers College, on South Michigan Avenue, in downtown Chicago.

ellauri222.html on line 131: “In college I behaved as though my career was to be a writer, and that guided me,” Bellow later said. There was also the fact that his principal interest was literature, and, until after the war, Jews were rarely hired by English departments. “You weren’t born to it” is the way the chairman of the department at Northwestern clarified the matter when Bellow inquired about graduate school. Leader thinks that this encounter “produced a lifelong antipathy, mild but real, to English departments.” It’s true that there was antipathy. But Bellow would have been interested in a university career only as a means to support his writing. Fiction was his calling. “He was focused, he was dedicated to becoming what he was, from the beginning,” David Peltz, Bellow’s oldest friend, told Leader. “I mean, he never veered.”

ellauri222.html on line 137: In the culture of little magazines, friendship is the last thing to prevent one writer from reviewing the work of another. As a novelist happy to have well-disposed reviewers, Bellow had an obvious stake in these friendships. But the friends had a stake in Bellow, too. As Mark Greif points out in his important new study of mid-century intellectual life, “The Age of the Crisis of Man,” Bellow came on the scene at a time when many people imagined the fate of modern man to be somehow tied to the fate of the novel. Was the novel dead or was it not? Much was thought to depend on the answer. And for people who worried about this Bellow was the great hope. Atlas quotes Norman Podhoretz: “There was a sense in which the validity of a whole phase of American experience was felt to hang on the question of whether or not he would turn out to be a great novelist.”

ellauri222.html on line 141: This notion that Bellow’s achievement as a novelist was redemptive of the form was a consistent theme in the reviews up through “Herzog.” So was the notion that his protagonists were representatives of the modern condition. After “Herzog,” those reactions largely disappeared. People stopped fretting about the death of the novel, and Bellow’s protagonists started being treated as what they always were, oddballs and cranks. But the critical reception of Bellow’s books in the first half of his career funded his reputation. It cashed out, ultimately, in the Nobel Prize. Nobels are awarded to writers who are judged to have universalized the marginal.

ellauri222.html on line 149: The subject of “Augie March” is the same as the subject of “Dangling Man” and “The Victim”: the danger of becoming trapped in other people’s definition of you. In the case of “Augie March,” the person in danger of being trapped was Saul Bellow. “This was not what being a novelist was supposed to have meant”: he is referring to the expectations of his intellectual backers. He realized that he didn’t want to be the great hope of the novel or to give voice to a generation’s angst. He wanted to write up the life he knew in the way James Joyce had written up the life he knew, and to transform it into a fantastic verbal artifact, a book that broke all the rules.

ellauri222.html on line 151: The first two hundred pages of “Augie March” are the best writing Bellow ever did. He created an idiolect that had no model. “I am an American, Chicago born . . . and go at things as I have taught myself, free-style, and will make the record in my own way: first to knock, first admitted; sometimes an innocent knock, sometimes a not so innocent.” Nobody speaks or writes that way—which is exactly what the sentence is telling us.

ellauri222.html on line 153: Augie is a street-urchin autodidact. Never taught how to write a proper sentence, he invents a style of his own. He is an epigrammist and a raconteur, La Rochefoucauld in the body of a precocious twelve-year-old, a Huck Finn who has taken too many Great Books courses. With this strange mélange of ornate locutions, Chicago patois, Joycean portmanteaus, and Yiddish cadences, Bellow found himself able to produce page after page of acrobatic verbal stunts:

ellauri222.html on line 157: That’s only an aside, and there are hundreds of them. Jack Kerouac is not the first or even the tenth writer you would normally put in a sentence with Saul Bellow, but “The Adventures of Augie March” is a lot like “On the Road,” a book written at the same time. Stylistically, they both stretch syntax to make the perspective zoom from ground level to fifty thousand feet and back again. Augie is walking with a character called Grandma Lausch into an old-age home:

ellauri222.html on line 197: One reason for reading biographies of writers like Bellow, who draw from people in their own lives, is to learn what those people were really like, or at least what they were like to someone who is not Bellow. You often can’t do that with Leader’s biography. Leader also wants to assess Bellow’s accomplishment as a novelist. He has to keep three balls in the air at once: the biographical story, an interpretation of the fiction as autobiography, and a consideration of the fiction as fiction. That’s why his book is so long.

ellauri222.html on line 211: But “Ravelstein” is a revenge novel, too. It’s not really about Ravelstein/Bloom. It’s about the narrator, a writer named Chick, who has been treated cruelly by his wife, Vela, a beautiful and brilliant physicist—a wicked caricature of Bellow’s fourth wife, the mathematician Alexandra Ionescu Tulcea. There are also a couple of drive-by take-downs along the way—of Mircea Eliade, a historian of religion at Chicago rumored to have been involved in the fascist Romanian Iron Guard, and of the owner of a restaurant on St. Martin, in the Caribbean, where Bellow contracted a case of food poisoning that nearly killed him. He brings them into the story just to skewer them.

ellauri222.html on line 265:   this time the overall effect was not satisfactory. I was particularly aware of the absence of distance that the writer must put space between himself and the characters in his book. There should be a certain detachment from the writer's own passions. I speak as one who in Herzog committed the same sin. There I hoped that comic effects might protect me. Nevertheless I crossed the border too many times to raid the enemy camp. But then Herzog was a chump, a failed intellectual and at bottom a sentimentalist. In your case, the man who gives us Eve and Sylphid is an enragé, a fanatic-for-real.

ellauri222.html on line 391: Iggy Blaikie is an expat writer living in Acatla, Mexico.

ellauri222.html on line 427: Arthur Einhorn is William Einhorn’s son who is in college at the University of Illinois in Champaign. An intellectual who studies poetry and wants to write scholarly books, he falls in love with Mimi. His relationship with his father is strained after Arthur has a baby and then divorces his wife, leaving the child to be raised by his parents.

ellauri222.html on line 579: Wiley Moulton is an expat writer living in Acatla, Mexico.

ellauri222.html on line 749: Apart from that, this character demands perfection only from other people, he never attempts to apply this principle to himself and it makes him a slightly comic figure. Lord Pococurante is neither artist, nor writer, but he takes faults with the world masterpieces, which is absurd in its core. Nevertheless, many people deem themselves quite competent for criticizing, having never created any work of art.

ellauri222.html on line 759:   Bellow's first two novels, Dangling Man and The Victim, are brief and disciplined works, darker in mood and less intellectually complex than the later fiction but featuring protagonists who anticipate later Bellovian heroes both in their introspection and in their resistance to urban apathy.  In Paris, Saul realized he need not copycat Flaubert and that instead he could write as he spoke. The result was Augie.

ellauri222.html on line 799:     Stylistically, Bellow's fiction reflects some of the same tensions that his protagonists seek to balance. His concern with social and personal destruction has been traced to the common run of European writers such as Flaubert, Dostoevsky, Kafka, Sartre, and Camus. But Bellow's fiction also has many ties to the American literary tradition. His neotranscendentalism (what? Emersonian tomfoolery I guess), his identification with America, and the loose form of his most acclaimed novels link him most obviously to Emerson and Whitman.

ellauri222.html on line 819:     An intensely intellectual writer who peppers his novels with allusions, Bellow draws on many cultural traditions in his analysis of both the sources of American experience and its present manifestations. His fiction fully documents the decline of Western civilization without conceding its obvious demise, and the ambiguity and tenuousness of even his most positive endings balance sadness and comic skepticism with the steadfast faith that he the artist can effect coherence and order, or failing that a lot of cash,  out of the chaos of modern experience. His tip for success: kusettakaa minkä jaxatte! For his achievement in confronting the modern existential dilemma with compassion and humor, Bellow's place in twentieth-century American literary history seems assured by drooling groupies like myself. 

ellauri222.html on line 837:   British critics tend to regard the American predilection for Big Novels as a vulgar neurosis — like the American predilection for big cars or big hamburgers. Oh God, we think: here comes another sweating, free-dreaming maniac with another thousand-pager; here comes another Big Mac. First, Dos Passos produced the Great American Novel; now they all want one. Yet in a sense every ambitious American novelist is genuinely trying to write a novel called USA. Perhaps this isn’t just a foible; perhaps it is an inescapable response to America – twentieth-century America, racially mixed and mobile, twenty-four hour, endless, extreme, superabundantly various. American novels are big all right, but partly because America is big too. You need plenty of nerve, ink and energy to do justice to the place, and no one has made greater efforts than Saul Bellow. In 1976 Bellow was awarded the Nobel Prize for Literature, praised by the Swedes ‘for human understanding and subtle analysis of contemporary culture’. Many times in Bellow’s novels we are reminded that ‘being human’ isn’t the automatic condition of every human being. Like freedom or sanity, it is not a given but a gift, a talent, an accomplishment, an objective. The busiest sections of the Chicago bookstores, I noticed, were those marked ‘Personal Growth’.

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ellauri226.html on line 93: 	Sea and Sardinia is a travel book by the English writer D. H. Lawrence. It describes a brief excursion undertaken in January 1921 by Lawrence and his wife Frieda, a.k.a. Queen Bee, from Taormina in Sicily to the interior of Sardinia. They visited Cagliari, Mandas, Sorgono, and Nuoro. His visit to Nuoro was a kind of homage to Grazia Deledda but involved no personal encounter. Despite the brevity of his visit, Lawrence distils an essence of the island and its people that is still recognisable today. 

ellauri226.html on line 143: “A heart yearning for something I have known, and which I want back again.”  Varmaan se oli Grazian graziöösi persaus. READING: Sea and Sardinia, by D.H. Lawrence (Penguin Classics); Cosima, by Grazia Deledda (Italica Press), about a young lady writer’s ass in Sardinia in the late 19th-Century.

ellauri226.html on line 239: When asked to describe The Bronx during his childhood, Derrick recited a poem by writer Ogden Nash: “The Bronx? No, thonx!” When Nash

ellauri236.html on line 132:       James Hadley Chase (24 December 1906 – 6 February 1985) was an English writer. While his birth name was René Lodge Brabazon Raymond, he was well known by his various pseudonyms, including James Hadley Chase, James L. Docherty, Raymond Marshall, R. Raymond, and Ambrose Grant. He was one of the best known thriller writers of all time. The canon of Chase, comprising 90 titles, earned him a reputation as the king of thriller writers in Europe. He was also one of the internationally best-selling authors, and to date 50 of his books have been made into films.

ellauri236.html on line 150: Eli siis James Hadley Chase (24 December 1906 – 6 February 1985) was an English writer. While his birth name was René Lodge Brabazon Raymond, he was well known by his various pseudonyms, including James Hadley Chase, James L. Docherty, Raymond Marshall, R. Raymond, and Ambrose Grant. He was one of the best known thriller writers of all time. The canon of Chase, comprising 90 titles, earned him a reputation as the king of thriller writers in Europe. He was also one of the internationally best-selling authors, and to date 50 of his books have been made into films

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ellauri236.html on line 186: Several other points need noticing before one can grasp the full implications of this book. To begin with, its central story bears a very marked resemblance to William Faulkner's novel, Sanctuary. Therefore, it is not, as one might expect, the product of an illiterate hack, but a brilliant piece of plagiarism, with hardly a wasted word or a jarring note anywhere. Thirdly, the whole book, récit as well as dialogue, is written in the American language; the author, an Englishman who has (I believe) never been in the United States, seems to have made a complete mental transference to the American underworld. Fourthly, and what is worst (from the point of view of a serious writer like myself) the book sold, according to its publishers, no less than half a million copies. Actually 2.

ellauri236.html on line 202: In a book like No Orchids one is not, as in the old-style crime story, simply escaping from dull reality into an imaginary world of action. One's escape is essentially into cruelty and sexual perversion. No Orchids is aimed at the power-instinct, which Raffles or the Sherlock Holmes stories are not. At the same time the English attitude towards crime is not so superior to the American as I may have seemed to imply. It too is mixed up with power-worship, and has become more noticeably so in the last twenty years. A writer who is worth examining is Edgar Wallace, especially in such typical books as The Orator and the Mr. J. G. Reeder stories. Wallace was one of the first crime-story writers to break away from the old tradition of the private detective and make his central figure a Scotland Yard official. Sherlock Holmes is an amateur, solving his problems without the help and even, in the earlier stories, against the opposition of the police. Moreover, like Lupin, he is essentially an intellectual, even a scientist. He reasons logically from observed fact, and his intellectuality is constantly contrasted with the routine methods of the police. Wallace objected strongly to this slur, as he considered it, on Scotland Yard, and in several newspaper articles he went out of his way to denounce Holmes by name. His own ideal was the detective-inspector who catches criminals not because he is intellectually brilliant but because he is part of an all-powerful organization. Hence the curious fact that in Wallace's most characteristic stories the ‘clue’ and the ‘deduction’ play no part. The criminal is always defeated by an incredible coincidence, or because in some unexplained manner the police know all about the crime beforehand. The tone of the stories makes it quite clear that Wallace's admiration for the police is pure bully-worship. A Scotland Yard detective is the most powerful kind of being that he can imagine, while the criminal figures in his mind as an outlaw against whom anything is permissible, like the condemned slaves in the Roman arena. His policemen behave much more brutally than British policemen do in real life — they hit people with out provocation, fire revolvers past their ears to terrify them and so on — and some of the stories exhibit a fearful intellectual sadism. (For instance, Wallace likes to arrange things so that the villain is hanged on the same day as the heroine is married.) But it is sadism after the English fashion: that is to say, it is unconscious, there is not overtly any sex in it, and it keeps within the bounds of the law. The British public tolerates a harsh criminal law and gets a kick out of monstrously unfair murder trials: but still that is better, on any account, than tolerating or admiring crime. If one must worship a bully, it is better that he should be a policeman than a gangster. Wallace is still governed to some extent by the concept of ‘not done’. In No Orchids anything is ‘done’ so long as it leads on to power. All the barriers are down, all the motives are out in the open. Chase is a worse symptom than Wallace, to the extent that all-in wrestling is worse than boxing, or Fascism is worse than capitalist democracy.

ellauri236.html on line 204: In borrowing from William Faulkner's Sanctuary, Chase only took the plot; the mental atmosphere of the two books is not similar. Chase really derives from other sources, and this particular bit of borrowing is only symbolic. What it symbolizes is the vulgarization of ideas which is constantly happening, and which probably happens faster in an age of print. Chase has been described as ‘Faulkner for the masses’, but it would be more accurate to describe him as Carlyle for the masses. He is a popular writer — there are many such in America, but they are still rarities in England — who has caught up with what is now fashionable to call ‘realism’, meaning the doctrine that might is right. The growth of ‘realism’ has been the great feature of the intellectual history of our own age. Why this should be so is a complicated question. The interconnexion between sadism, masochism, success-worship, power-worship, nationalism, and totalitarianism is a huge subject whose edges have barely been scratched, and even to mention it is considered somewhat indelicate. To take merely the first example that comes to mind, I believe no one has ever pointed out the sadistic and masochistic element in Bernard Shaw's work, still less suggested that this probably has some connexion with Shaw's admiration for dictators. Fascism is often loosely equated with sadism, but nearly always by people who see nothing wrong in the most slavish worship of Stalin. The truth is, of course, that the countless English intellectuals who kiss the arse of Stalin are not different from the minority who give their allegiance to Hitler or Mussolini, nor from the efficiency experts who preached ‘punch’, ‘drive’, ‘personality’ and ‘learn to be a Tiger man’ in the nineteen-twenties, nor from that older generation of intellectuals, Carlyle, Creasey and the rest of them, who bowed down before German militarism. All of them are worshipping power and successful cruelty. It is important to notice that the cult of power tends to be mixed up with a love of cruelty and wickedness for their own sakes. A tyrant is all the more admired if he happens to be a bloodstained crook as well, and ‘the end justifies the means’ often becomes, in effect, ‘the means justify themselves provided they are dirty enough’. This idea colours the outlook of all sympathizers with totalitarianism, and accounts, for instance, for the positive delight with which many English intellectuals greeted the Nazi-Soviet pact. It was a step only doubtfully useful to the U.S.S.R., but it was entirely unmoral, and for that reason to be admired; the explanations of it, which were numerous and self-contradictory, could come afterwards.

ellauri236.html on line 370:     Chase wrote No Orchids For Miss Blandish over a period of six weekends in 1938. The novel was influenced by the American crime writer James M. Cain and the stories featured in the Pulp magazine Black Breathing Mask. Although he had never visited America, Chase reportedly wrote the book as a bet to pen a story about American gangsters that would out-do The Postman Always Rings Twice in terms of obscenity and daring. 

ellauri236.html on line 463: Paula sat before an idle typewriter, thumbing through the pages of a lurid magazine called Chase.

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ellauri238.html on line 798: writes no letters					hiän ei messua				

ellauri238.html on line 865: Alter stressed it was important to remember that Amichai is not simply an Auden or a William Carlos Williams writing from right to left. Far from it! Yehuda Amichai was an Israeli poet and author, one of the first to write in colloquial Hebrew in modern times. Amichai was awarded the 1957 Shlonsky Prize, the 1969 Brenner Prize, 1976 Bialik Prize, and 1982 Israel Prize. He also won international poetry prizes, and was nominated several times for the Nobel Prize in Literature.

ellauri240.html on line 84:     A truly astonishing and original work of fiction indeed. It is a story of one man, a writer, who is born, who grows, who loves, who stops loving; who eats, sleeps, smokes, lies, boozes, cheats, regrets, has sex, has dreams, and lives. In short yet intimately detailed chapters, each covering a single aspect of his life from youth through old age, we get to know this person fully through the small yet telling incidents that make him who he is. He remembers the butt of a cigarette, the feel of his army uniform, the taste of a lover, the strange and unexpected touch of a college professor’s hand, and so many more small experiences that can never be shaken off more than a recalcitrant band-aid.

ellauri240.html on line 215: Grace went on to write three other novels: Return to Peyton Place (1959), The Tight White Collar (1960), and No Adam in Eden (1963). None of them achieved the same kind success as Peyton Place, though there are critics who feel that No Adam in Eden, a gritty book about the lives of mill workers in Manchester, is her best. By 1960 Grace and George had reconciled and remarried, only to separate again in 1963. She died in 1964 of cirrhosis of the liver and is buried in Gilmanton.

ellauri241.html on line 959: Many and many a verse I hope to write. 


ellauri241.html on line 1190: Who, who can write the bliss 
   

ellauri243.html on line 180: January Nelson is a writer, editor, and dreamer. She writes about astrology, games, love, relationships, and entertainment. January graduated with an English and Literature degree from Columbia University.

ellauri243.html on line 190: 	January Nelson is a writer, editor, and dreamer. She writes about astrology, games, love, relationships, and entertainment. January graduated with an English and Literature degree from Columbia University.

ellauri243.html on line 477: Dale Brown (born 2 November 1956) is an American writer and aviator known for aviation techno-thriller novels. At least thirteen of his novels have been New York Times Best Sellers.

ellauri243.html on line 486: It is clear that Dale Brown never expected to be as successful as he has been. This is clear by his killing off of some characters, only to be resurrected in subsequent novels. He originally only intended to write 3 novels for his publisher. Now, 24 books later, he is an accomplished author and his fans are eagerly awaiting his next novel teeming with revenants.

ellauri243.html on line 512: America calls upon retired Patrick McLanahan to save the day with the good old bomber planes. It is a classic case of America vs. China, with the hope that World War 3 can be prevented. This has not been very successful so far. Some critics are going so far as to call him one of the saddest military adventure writers in America.

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ellauri243.html on line 707: "The Moving Finger writes; and, having writ, Moves on: nor all thy Piety nor Wit Shall lure it back to cancel half a Line, Nor all thy Tears wash out a Word of it." ― Omar Khayyám tag

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ellauri244.html on line 431: Dentist turned writer, Faye Kellerman is one of the new York time bestselling author. She is well known for the Peter Decker and Rina Lazarus series of mystery novels. Faye Kellerman was born in St. Louis, Missouri on July 31, 1952 in Jewish community. Faye grew up in Sherman Oaks, California.

ellauri244.html on line 455: Courtney Faye Taylor is a writer and visual artist. She is the author of Concentrate (Graywolf Press, 2022), selected by Rachel Eliza Griffiths as the winner of the Cave Canem Poetry Prize. Courtney earned her BA from Agnes Scott College and her MFA from the University of Michigan Helen Zell Writers' Program where she received the Hopwood ...

ellauri244.html on line 541: 	Jöns antoi meille lahjaxi Tracy Chapmanin ekan älppärin jossa oli raita Fast Car. " Fast Car " is a song by American singer-songwriter Tracy Chapman. It was released on April 6, 1988, as the lead single from her 1988 self-titled debut studio album. Chapman's appearance on the Nelson Mandela 70th Birthday Tribute helped the song become a top-ten hit in the United States, reaching number six on the Billboard Hot 100. Tracy is 54 years Nelson's junior. Bra jobba, Tracy!

ellauri244.html on line 591: 	One of the first acknowledgments of Henry Miller as a major modern writer was by George Orwell in his 1940 essay "Inside the Whale", where he wrote:

ellauri244.html on line 593: 	  Here in my opinion is the only imaginative prose-writer of the slightest value who has appeared among the English-speaking races for some years past. Even if that is objected to as an overstatement (there is me, after all), it will probably be admitted that Miller is a writer out of the ordinary, worth more than a single glance; and after all, he is a completely negative, unconstructive, amoral writer, a mere Jonah, a passive acceptor of evil, a sort of Whitman among the corpses. Paizi Whatman oli peräreikämiehiä. 

ellauri244.html on line 611: 	In 1939 Lawrence Durrell, 21 years his junior, invited Miller to Greece. Miller described the visit in The Colossus of Maroussi. Miller proved to be a major influence on the new Beat Generation of American writers, most notably Jack Kerouac, 31 years his junior, the only Beat writer Miller truly cared for.

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ellauri245.html on line 267: Leopold´s Apple is actually a brand of whiskey. But The pear of anguish, also known as choke pear or mouth pear, is a torture device based on mechanisms of unknown use from the early modern period. The mechanism consists of a pear-shaped metal body divided into spoon-like segments that can be spread apart with a spring or by turning a key. Its proposed functionality as a torture device is to be variously inserted into the mouth, rectum, or vagina, and then expanded to gag or mutilate the victim. There is no contemporary evidence of such a torture device existing in the medieval era, and ultimately the utility of genuine apples and pears stuck in any hole at all remains unknown. Except that an apple forced in his mouth as a kid by his chum Anders B. got Jo Nesbø going as a pulp writer. Iron Maiden was a vagina dentata style box with nails inside.

ellauri245.html on line 322:   Bury Me Standing: The Gypsies and Their Journey is a non-fiction book on the lives of the Romani people by the American-Uruguayan writer Isabel Fonseca published in 1995. The book is organized in eight chapters and contains black and white photographs and maps.

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ellauri245.html on line 648: Maumau was an earlier, similar guerrilla movement in Kenya 1952-1960. Author Wangari Maathai writes that many of the organizers were ex-soldiers who fought for the British in Ceylon, Somalia, and Burma during the Second World War. When they returned to Kenya, they were never paid and did not receive recognition for their service, whereas their British counterparts were awarded medals and received land, sometimes from the Kenyan veterans.

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ellauri246.html on line 89: Bo Johannes Edfelt (21 December 1904 - 27 August 1997) was a Swedish writer, poet, translator and literary critic. A native of Tibro, Edfelt was elected to be a member of the Swedish Academy in 1969, occupying seat No. 17. He succeeded Erik Lindegren and, following his death, was succeeded by - who else but Horace Engdahl!  A-HA! Aha jaha! Jaså på det lilla viset! Nu klarnar det!

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ellauri247.html on line 89: Catherine Eliza Somerville Stow (1 May 1856 – 27 March 1940), who wrote as K. Langloh Parker, was a South Australian born writer who lived in northern New South Wales in the late nineteenth century. She is best known for recording the stories of the Ualarai around her. Her testimony is one of the best accounts of the beliefs and stories of an Aboriginal people in north-west New South Wales at that time. However, her accounts reflect European attitudes of the time. Anyways, she was not around before Ridley. William Ridley (14 September 1819 – 26 September 1878) was an English Presbyterian missionary who studied Australian Aboriginal languages, particularly Gamilaraay, before Catherine was more than a twinkle in her daddy's eye. Baiame may have been some abo hero before Bill's arrival, but the details about his doings could still be coloured by the Middle Eastern tentmen's literary treasure brought in by Bill.  

ellauri247.html on line 308:   Samuel Johnson (18 September 1709  – 13 December 1784), often wrongly called Dr Johnson, was an English writer who made lasting contributions as a poet, playwright, essayist, moralist, critic, biographer, editor and lexicographer. He was a devout Anglican, and a committed Tory. The Oxford Dictionary of National Biography calls him "arguably the man using most four letter words in English history".

ellauri247.html on line 337: With the widow's money, Johnson opened Edial Hall School as a private academy at Edial, near Lichfield. He had only three pupils: Lawrence Offley, George Garrick, and the 18-year-old David Garrick, who later became one of the most famous actors of his day. The venture was unsuccessful and cost Tetty a substantial portion of her fortune. Instead of trying to keep the failing school going, Johnson began to write his first major work, the historical tragedy Irene. Biographer Robert DeMaria believed that Tourette syndrome likely made public occupations like schoolmaster or tutor almost impossible for Johnson. This may have led Johnson to "the invisible occupation of authorship".

ellauri247.html on line 381: 	In a 1921 letter to Harriet Shaw Weaver, the writer James Joyce uses the twins "Tweedledee and Tweedledum" to characterize Sigmund Freud and Carl Gustav Jung and their conflict. They. didn't look like twins at all.

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ellauri247.html on line 417: Lady Mary Montagu (1689-1762), court beauty, wife of the British Ambassador to Istanbul and prolific letter-writer, was the first major female travel writer of her time. She was a correspondent with Alexander Pope, knew and was disliked by Horace Walpole, and introduced the Turkish, then Ottoman, method of inoculation to Britain.

ellauri248.html on line 93: Can you write a mystery story that ends with uncertainty? Where you never know who really did it? You can, but it’s unsatisfying. It’s unpleasant for the reader . There needs to be something at the end, some sort of resolution. It’s not that the killer even needs to be caught or locked up. It’s that the reader needs to know. Not knowing is the worst outcome for any mystery story, because we need to believe that everything in the world is knowable. Justice is optional, but answers, at least, are mandatory. And that’s what I love about Holmes. That the answers are so elegant and the world he lives in so ordered and rational. It’s beautiful.”

ellauri249.html on line 78: The tenor of his poetry is not so much apolitical as antipolitical,” wrote Victor Erlich. “His besetting sin was not ‘dissent’ in the proper sense of the word, but a total, and on the whole quietly undemonstrative, estrangement from the Soviet ethos.” Art teaches the writer, he said, “the privateness of the human condition. Being the most ancient as well as the most literal form of private enterprise, it fosters in a man a sense of his uniqueness, of individuality, or separateness—thus turning him from a social animal into an autonomous ‘I.’

ellauri249.html on line 121: Juvenal, showing his knack for describing grossly obscene matters without using taboo words, writes as follows in one of his satires (9.43-4):

ellauri249.html on line 128: Another euphemism for the penis was cauda ("tail"), which occurs twice in Horace,[22] and continues today in the French derivative queue ("tail" or "penis"). In one place in his Satires (Serm. 2.7.50) Horace writes:

ellauri249.html on line 170: Cicero's Orator (ad Marcum Brutum) §154 confirms its obscene status. Cicero writes:

ellauri254.html on line 60:   ETA Hoffmanista on mulla jo nippu linkkejä. German storywriter E.T.A. Hoffmann appears to have suffered and died from tabes dorsalis. Eli kuppaan kuoli tämä kaveri. Se väsäsi sen Nussknackerin, joulukuusen koristeen jonka sain Berliinistä Shanshanilta, johon "siitä vaan sano" Zhaikovski teki musiikin. Varsin mitätön Gerard de Nerval (salanimi) esitteli saksankielistä kirjallisuutta Ranskassa, muun muassa esikuvaansa E. T. A. Hoffmannia sekä J. W. von Goetheä. Nobel-Olga Tokarczukin Izidorkin kaipasi aakkosten alkupäästä Hoffmannia.

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ellauri254.html on line 358: Primary influences on the movement weren't merely western writers such as Brix Anthony Pace, Paul Verlaine, Maurice Maeterlinck, Stéphane Mallarmé, French symbolist and decadent poets (such as Stéphane Mallarmé, Paul Verlaine and Charles Baudelaire), Oscar Wilde, D'Annunzio, Joris-Karl Huysmans, the operas of Richard Wagner, the dramas of Henrik Ibsen or the busty broad and toyboy philosophy of Arthur Schopenhauer and Friedrich Nietzsche.

ellauri254.html on line 383: This pessimistic Russian symbolist writer, who referred to himself as the lard of death, was (as I already said) the first writer to introduce the morbid, pessimistic elements characteristic of fin de siècle literature and philosophy into Russian prose. His most famous novel, The Petty Cash Demon (1905), was an attempt to create a living portrait of the concept known in Russian as poshlost' (an idea whose meaning lies somewhere between evil, trashy and banality or kitsch). His next large prose work, A Created Legend (a trilogy consisting of Drops of Blood, Queen Ortruda, and Smoke and Ash), contained many of the same characteristics but presented a considerably more positive and hopeful view of the world. It sold much worse than Petty Cash.

ellauri254.html on line 393: In August 1910, Sologub and his wife moved to a larger apartment, at Razyezzhaya ulitsa in the centre of Petersburg. The short and brisk sentences of Anastasia Chebotarevskaya’s writing have been viewed as a potential influence on Sologub’s own work; and she encouraged his acquaintance with the young writers of Russian Futurism, a distinctive literary movement which was then just beginning to flower. Yet the influence of Anastasia on her husband has not been unanimously well received. The humourist Teffi – who was one of the group who frequented the ‘Sundays’ gatherings at Sologub’s Vasilievsky Island home – wrote that Sologub’s marriage:

ellauri254.html on line 397: One of these ‘noisy gatherings with dances and masks’ proved the occasion of a notable scandal within the world of Russian letters. On 3 January, 1911, Sologub and his wife hosted a masquerade to celebrate the new year. Among the attendees were the writers Aleksei Remizov and Aleksei Tolstoy. Remizov was well known within the world of Russian letters for his mischievous sense of humour. He founded a ‘Great and Free House of Apes’, declaring himself Chancellor, and sent out missives to writers and publishers decreeing them positions in this ironic organisation; and Andrei Bely dubbed him a ‘petty cash demon’ – the title of Sologub’s most celebrated work – owing to his appearance.

ellauri254.html on line 503: Klages developed an intense childhood friendship with classmate Theodor Lessing, with whom he shared "many passionate interests." Klages fought to maintain their friendship in spite of his father's anti-semitism. According to Lessing, "Ludwig's father did not view his son's fraternization with 'Juden' as acceptable." Klages' childhood friendship with Theodor Lessing came to a bitter end in 1899. Both would later write about the depth of their relationship and influence on each other—though many aspects, such as the effect race had on their friendship, remain unclear.

ellauri254.html on line 505: In uniting his philosophy and personal preferences, Klages generally opposed sexuality as a formal concept. Mitä vetoa että Ludi oli bi? Even during the heyday of sexual and bohemian rebellion, Herf writes, "Klages struck most observers as strikingly clean and honourable in erotic matters."

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ellauri254.html on line 811: We are with the hermit Serapion. We believe that literary chimeras have a special reality. We do not want utilitarianism. We do not write for propaganda. Art is real, like life itself. And, like life itself, it is without goal and without meaning: it exists because it cannot help but exist. L'art pour l'art, in a word.

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. 

ellauri254.html on line 814: Party spokesman Andrei Zhdanov (1896-1948), formally addressing the Soviet writers in Leningrad, quoted Lunz (as above) and declared: “This is the preaching of rotten apoliticism, philistinism and vulgarity.” Njekulturno, in a word.

ellauri254.html on line 820: Viktor Borisovich Shklovsky (Russian: Ви́ктор Бори́сович Шкло́вский, IPA: [ˈʂklofskʲɪj]; 24 January [O.S. 12 January] 1893 – 6 December 1984) was a skinhead Russian and Soviet literary theorist, critic, writer, and pamphleteer. He is one of the major figures associated with Russia formalism. 

ellauri256.html on line 45: Vasily Vasilievich Rozanov (Russian: Васи́лий Васи́льевич Рóзанов; 2 May [O.S. 20 April] 1856 – 5 February 1919) was one of the most controversial Russian writers and important philosophers in the symbolists (aka decadents)  of the pre-revolutionary epoch. 

ellauri256.html on line 46: Rozanov frequently referred to himself as Fyodor Dostoyevsky's "Underground Man" and proclaimed his right to espouse contrary opinions at the same time. He first attracted attention in the 1890s when he published political sketches in the conservative newspaper Novoye Vremya ("New Time"), owned and run by Aleksey Suvorin. Rozanov's comments, always paradoxical and sparking controversy, led him into clashes with the Tsarist government and with radicals such as Lenin. For example, Rozanov readily passed from criticism of Russian Orthodoxy, and even of what he saw as the Christian preoccupation with death, to fervent praise of Christian faith, from praise of Judaism to unabashed anti-Semitism, and from acceptance of homosexuality as yet another side of human nature to vitriolic accusations that Gogol and some other writers had been latent homosexuals.[citation needed] He proclaimed that politics was "obsolete" because "God doesn't want politics any more," constructed an "apocalypse of our times," and recommended the "healthy instincts" of the Russian people, their longing for authority, and their hostility to modernism.

ellauri256.html on line 246:   Boris Nikolaevich Bugaev (Russian: Бори́с Никола́евич Буга́ев, IPA: [bɐˈrʲis nʲɪkɐˈlajɪvʲɪtɕ bʊˈɡajɪf] (listen)), better known by the pen name Andrei Bely or Biely (Russian: Андре́й Бе́лый, IPA: [ɐnˈdrʲej ˈbʲelɨj] (listen); 26 October [O.S. 14 October] 1880 – 8 January 1934), was a Russian novelist, Symbolist poet, theorist and literary critic. He was a committed anthroposophist and follower of Rudolf Steiner. His novel Petersburg (1913/1922) was regarded by Vladimir Nabokov as the third-greatest masterpiece of modernist literature. The Andrei Bely Prize (Russian: Премия Андрея Белого), one of the most important prizes in Russian literature, was named after him. His poems were set to music and performed by Russian singer-songwriters.

ellauri256.html on line 336:   Vladimir Vladimirovich Mayakovsky was born in 1893 in Baghdati, Kutais Governorate, Georgia, then part of the Russian Empire, to Alexandra Alexeyevna (née Pavlenko), a housewife, and Vladimir Mayakovsky, a local forester. His father belonged to a noble family and was a distant relative of the writer Grigory Danilevsky. Vladimir Vladimirovich had two sisters, Olga and Lyudmila, and a brother Konstantin, who died at the age of three. The family was of Russian and Zaporozhian Cossack descent on their father's side and Ukrainian on their mother's.

ellauri256.html on line 357: “Some call her the second Beatrice, a wise inspirer, Mayakovsky's kindred spirit. Others, a mercenary witch, a vampire, who attached herself to the troubled genius, to his fame and money, and who drove him to suicide,” present-day biographers write about her. Actually she was a little of both.

ellauri256.html on line 378: Osip did not only let Lilya play around, he also visited brothels with her,” writes Alisa Ganieva, the author of Lilya Brik's biography L.Yu.B. However, Osip had a different interest in prostitutes - he was writing a PhD thesis about them and was something of a “social worker” (giving them legal assistance). However, he took his young wife with him there for fun.

ellauri256.html on line 382: Professionally, Brik was everything and nothing: she tried to be a sculptor, a writer, a film actress, she worked in advertising and took balling lessons. She did not achieve great results in any of these fields. Yet, she founded one of Moscow's most famous literary salons of the 20th century. That salon outlived all others. “The literature was canceled, there was just the Briks' salon left, where writers met with KGB operatives,” Anna Akhmatova, who was not invited to the salon, jealously said.

ellauri256.html on line 526: Martha Foley was born in Boston, Massachusetts, on March 21, 1897, to Walter and Margaret M. C. Foley. From 1909 to 1915, she attended Boston Girls' Latin School, and even then aspired to be a writer. The school magazine published her first short story, "Jabberwock," when she was eleven years old. (I had thought it was Lewis Carrol's.) After graduating from the 'Girls School' she attended Boston University but did not graduate, unlike Riitta Roth, who did. The topic of her MA thesis was Garten-Laub. The name of her kitten was Klobürste. (Riitta's, not Martha's)

ellauri257.html on line 47:   Nikolai Vasilyevich Gogol (1 April [O.S. 20 March] 1809 – 4 March [O.S. 21 February] 1852) was a very short story writer and playwright of Ukrainian origin. Gogol was born in the Ukrainian Cossack town of Sorochyntsi, in the Poltava Governorate of the Russian Empire. His mother was descended from Leonty Kosyarovsky, an officer of the Lubny Regiment in 1710. His father  was supposedly Vasily Gogol-Yanovsky, who died when Gogol was 15 years old, was descendant of Ukrainian Cossacks (see Lyzohub family) and belonged to the 'petty gentry'. His father wrote poetry in Ukrainian almost as well as in Russian, and was an amateur playwright in his brother's home theatre. As was typical of the left-bank Ukrainian gentry of the early nineteenth century, the family spoke Ukrainian nearly as well as Russian. As a child, Gogol helped stage plays in his uncle's home theatre.

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ellauri257.html on line 69: British-born director J. Lee Thompson (“The Yellow Balloon”/”The Passage”/”King Solomon’s Mines”) helms this bloody spectacular. It’s a serviceable large-scale epic that mainly goes wrong with a mushy subplot involving a miscast Tony Curtis as a Cossack wooing a Polish noblewoman, Christine Kaufmann (they were soon to be married in real-life after his divorce from Janet Leigh). It seems to be in genre form when showing hordes of Cossack horsemen flying across the steppes to do battle. It’s based on the novel by Nikolai Gogol and is written without wit or logic by Waldo Salt (former blacklisted writer) and Karl Tunberg.

ellauri257.html on line 77: Franz Waxman’s bombastic score bursts across the lush Technicolor screen as a reminder of how much Gogol’s novel has been cheapened, Cossacks on horseback engage the Poles in battle giving the film its life pulse and the action-packed film ultimately serves as a paean to Ukrainian nationalism as it rewrites history to leave out how the violently anti-Semitic Cossacks attacked the Jewish population of Poland with a barbaric ruthlessness to dispense with their ethnic cleansing. Yul chews the scenery, but is watchable. Tony demonstrates he can’t act by giving an unbearably gooey performance.

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ellauri257.html on line 501: Alma and Isaac: The famed writer always returned to his wife, Alma, despite his well-documented betrayals. 

ellauri257.html on line 502: Who could live with Isaac Bashevis Singer? The sexual escapades of the most successful Yiddish writer in America — and the one whom most Yiddish literati loved to hate — were public knowledge, in large part because he himself built his reputation as a Casanova in his own fiction, where he was chased into the bedroom by women young and old. His oeuvre might be described as “sex and the shtetl.”

ellauri257.html on line 510: The material is unformed, the style is clumsy; the scenes are poorly narrated. Of course, it is unfair to depict Alma as a failed writer, for she never aspired to be a writer. Neither is this manuscript a finished product. Yet Alma on occasion did present herself as an author. She wrote at least one short story, which she sent out to magazines. An editor gave her an encouraging response, but asked her to change the ending. Alma never followed up, and dropped the endeavor altogether.

ellauri257.html on line 519: Alma writes about Israel Joshua Singer admiringly.

ellauri257.html on line 528: Singer continued to write and translate his stories and novels throughout the 1980s, until the onset of dementia in 1987. In the end, as Singer suffered from dementia, his relationships with Goran, Menashe and perhaps even Alma soured. The effects lingered unpleasantly even after his death, and as a consequence it’s hard to track the sirvienta. We don’t even know her name or nationality for certain. The idea of a Spanish-speaking maid as an integral part of Singer’s household is ripe not only for biographical scrutiny, but also for fictional development: !Ah! !Ah! !Si! !Si! !Si señor! !!Mas rapido! !Mas profundo!

ellauri257.html on line 530: All this to say that the Yiddish writer’s other women — not the sexy but the stolid, those who accompanied him at home for better or worse, for richer or poorer, in sickness and in health — are crucial to the understanding of how he looked at the world. Alma was his anchor. Despite his betrayals, he always returned to her. Her silence, her resignation, might be disheartening to modern sensibilities. Yet she grounded him, and not only as an artist.

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ellauri260.html on line 225: Joseph Martin McCabe (12 November 1867 – 10 January 1955) was an English writer and speaker on freethought (vapaa-ajattelija), after having been a Roman Catholic priest earlier in his life. He was "one of the great mouthpieces of freethought in England". Becoming a critic of the Catholic Church, McCabe joined groups such as the Rationalist Association and the National Secular Society. He criticised Christianity from a rationalist perspective, but also was involved in the South Place Ethical Society which grew out of dissenting Protestantism and was a precursor of modern secular humanism. William Ferguson wrote of him: "He was bitterly anti-Catholic but also actively undermined religious faith in general." McCabe was also an advocate of women's rights and worked with Mrs. Pankhurst and Mrs. Wolstenholme-Elmy on speeches favoring giving British women the right to vote. McCabe is also known for his inclusion in, and irritation at, G. K. Chesterton's funny book Heretics. Funny is the opposite of not funny, nothing else, defended Chesterton. He should know. In 1920 McCabe publicly debated the Spiritualist Arthur Conan Doyle on the claims of Spiritualism at Queen's Hall in London. Various scientists such as William Crookes and Cesare Lombroso had been duped into believing Spiritualism by mediumship tricks. 

ellauri260.html on line 393: In 1896 Frazer married Elizabeth "Lilly" Grove, a writer whose father was from Alsace. She would later adapt Frazer's Golden Bough as a book of children's stories, The Leaves from the Golden Bough. Frazer was not widely travelled. His prime sources of data were ancient histories and questionnaires mailed to missionaries and imperial officials all over the globe. His vision of the annual sacrifice of the Year-King has not been borne out by field studies. His wife Lady Frazer published a single-volume abridged version, largely compiled by her, in 1922, with some controversial material on Christianity excluded from the text. Sigmund Freud, the founder of psychoanalysis, cited Totemism and Exogamy frequently in his own Totem and Taboo:

ellauri262.html on line 129:   Clive Staples Lewis, FBA (29 November 1898 – 22 November 1963) was a British writer and Anglican lay theologian. He held academic positions in English literature at both Oxford University (Magdalen College, 1925–1954) and Cambridge University (Magdalene College, 1954–1963). He is best known as the author of The Chronicles of Narnia, but he is also noted for his other works of fiction, such as The Screwtape Letters and The Space Trilogy, and for his non-fiction Christian apologetics, including Mere Christianity, Miracles, and The Problem of Pain.

ellauri262.html on line 166: Lewis's interest in the works of the Scottish writer George MacDonald was part of what turned him from atheism. The quality which first met him in his books was Holiness.

ellauri262.html on line 184: Lewis was only 40 when the war began, and he tried to re-enter military service, offering to instruct cadets; however, his offer was not accepted, as he did not want to write lies to deceive the enemy. Instead, From 1941 to 1943, Lewis spoke on religious programmes broadcast by the BBC from London while the city was under periodic air raids. These broadcasts were appreciated by civilians and servicemen at that stage. For as Air Chief Marshal Sir Donald Hardman wrote:

ellauri262.html on line 191: Alistair Cooke KBE (born Alfred Cooke; 20 November 1908 – 30 March 2004) was a British-American writer whose work as a journalist, television personality and radio broadcaster was done primarily in the United States. In reporting on the Montgomery bus boycott, begun by Rosa Parks and led by Martin Luther King, Cooke expressed sympathy for the economic costs imposed on the city bus company and referred to Mrs. Parks as "the stubborn woman who started it all ... to become the Paul Revere of the boycott." He achieved his greatest popularity in the United States in this role, becoming the subject of many parodies, including "Alistair Cookie" in Sesame Street ("Alistair Cookie" was also the name of a clay animated cookie-headed spoof character created by Will Vinton as the host of a video trailer for The Little Prince and Friends).

ellauri262.html on line 194: In later life, Lewis corresponded with Joy Davidman Gresham, an American writer of Jewish background, a former Communist, and a convert from atheism to Christianity. She was separated from her alcoholic and abusive husband, novelist William L. Gresham, and came to England with her two sons, David and Douglas.

ellauri262.html on line 200: Media coverage of Lewis's death was almost completely overshadowed by news of the assassination of John F. Kennedy, which occurred on the same day (approximately 55 minutes following Lewis's collapse), as did the death of English writer Aldous Huxley, author of Brave New World.

ellauri262.html on line 202: Lewis was a prolific writer, and his circle of literary friends became an informal discussion society known as the "Inklings", including J. R. R. Tolkien, Nevill Coghill, Lord David Cecil, Charles Williams, Owen Barfield, and his brother Warren Lewis.

ellauri262.html on line 206: The Space Trilogy (also called the Cosmic Trilogy or Ransom Trilogy) dealt with what Lewis saw as the dehumanizing trends in contemporary science fiction. The first book, Out of the Silent Planet, was apparently written following a conversation with his friend J. R. R. Tolkien about these trends. Lewis agreed to write a "space travel" story and Tolkien a "time travel" one, but Tolkien never completed "The Lost Road", linking his Middle-earth to the modern world. Lewis's main character Elwin Ransom is based in part on Tolkien, a fact to which Tolkien alludes in his letters.

ellauri262.html on line 294: Tolkienin vaikutus fantasiakirjallisuuteen on ollut suuri. Vaikka useat muut kirjailijat olivat julkaisseet fantasiakirjallisuutta ennen Tolkienia, Hobitin ja Sormusten herran suuri menestys johti fantasiakirjallisuuden nousuun suosituksi kirjallisuudenlajiksi. Tämän johdosta Tolkienia on julkisuudessa usein kutsuttu nykyaikaisen fantasiakirjallisuuden isäksi. Vuonna 2008 The Times sijoitti Tolkienin The 50 greatest British writers since 1945 -listallaan kuudennelle sijalle. Yeah, he's just great! 

ellauri262.html on line 310: The scholar David Craig writes that Shelob is sometimes just called "she", drawing the reader's attention to her gender. Her "hate and depravity" are "strongly sexualised"; Tolkien wrote that "Far and wide her lesser broods, bastards of the miserable mates, her own offspring, that she slew, spread from glen to glen". Craig comments that "her crimes are abominable and include incest, illegitimacy and infanticide, all crimes pertaining to sex".  

ellauri262.html on line 312:   The Anglican priest and scholar of literature Alison Milbank writes that Shelob is undeniably sexual: "Tolkien offers a most convincing Freudian vagina dentata (toothed vagina) in the ancient and disgustingly gustatory spider Shelob." Milbank states that Shelob symbolises "an ancient maternal power that swallows up masculine identity and autonomy", threatening a "castrating hold [which] is precisely what the sexual fetishist fears, and seeks to control". The Tolkien scholar and medievalist Jane Chance mentions "Sam's penetration of her belly with his sword", noting that this may be an appropriate and symbolic way of ending her production of "bastards".

ellauri262.html on line 314: The scholar of children's literature Zoë Jaques writes that Shelob is the "embodiment of monstrous maternity"; Sam's battle with Shelob could be interpreted as a "masculine rite of passage" where a smaller, weaker male penetrates and escapes the vast female body and her malicious intent. The feminist scholar Brenda Partridge described the hobbits' protracted struggle with Shelob as rife with sexual symbolism. She writes that Tolkien derived Shelob from multiple myths: Sigurd killing Fafnir the dragon; Theseus killing the Minotaur; Ariadne and the spider; and Milton's Sin in Paradise Lost. The result is to depict the woman as a threat, with implicit overtones of sexuality.  

ellauri262.html on line 390:   The poet W. H. Auden and the philosopher Ludwig Wittgenstein were notable critics of her novels. A savage attack on Sayers's writing ability came from the American critic Edmund Wilson, in a well-known 1945 article in The New Yorker called "Who Cares Who Killed Roger Ackroyd?" He briefly writes about her novel The Nine Tailors, saying "I declare that it seems to me one of the dullest books I have ever encountered in any field." Wilson continues "I had often heard people say that Dorothy Sayers wrote well ... but, really, she does not write very well: it is simply that she is more consciously literary than most of the other detective-story writers and that she thus attracts attention in a field which is mostly on a sub-literary level."

ellauri262.html on line 394:   The critic Sean Latham has defended Sayers, arguing that Wilson and Leavis simply objected to a detective story writer having pretensions beyond what they saw as her role of popular culture "hack". Latham says that, in their eyes, "Sayers' primary crime lay in her attempt to transform the detective novel into something other than an ephemeral bit of popular culture".

ellauri262.html on line 402: Sayers's longest employment was from 1922 to 1931 as a copywriter at an advertising agency.

ellauri262.html on line 414: In 1920 Sayers entered into a passionate though unconsummated romance with Jewish Russian émigré and Imagist poet John Cournos, who moved in London literary circles with Ezra Pound and his contemporaries. Sayers did not consummate her relationship with him unmarried, due to her religious beliefs. Cournos disdained monogamy and marriage, did not want children and was dedicated to free love.[53] He also considered crime writing, which Sayers had started, to be low brow, though he assisted her with aspects of publication.[54] Within two years their relationship had broken up when he insisted on consummation with birth control. Returning to New York, he soon married a crime writer who had two children. This left Sayers embittered that he had not held to his own principles, feeling that he had been testing her, pushing her to sacrifice her own beliefs in submission to his own. He later confessed that he would have happily married Sayers if she had submitted to his sexual demands. After a period of heated correspondence, they concluded with more amicable missives after she met her future husband.

ellauri262.html on line 427: they disagreed regarding the ordination of women in the Church of England. Sayers comments on Lewis's views of women in another letter, stating, "I do admit that he is apt to write shocking nonsense about women and marriage. That, however, is not because he is a bad theologian but because he is a rather frightened bachelor.”

ellauri262.html on line 429: Sayers was greatly influenced by G. K. Chesterton, fellow detective fiction novelist, essayist, critic, among other things, commenting that, "I think, in some ways, G.K.’s books have become more a part of my mental make-up than those of any writer you could name.” n 2022, Sayers was officially added to the Episcopal Church liturgical calendar with a feast day on 17 December.

ellauri263.html on line 397: For its second series, Fauda’s publicity campaign has ramped up claims of authenticity and popularity among Palestinians as well as the wider Arab world. Columnist, author and TV sitcom writer Sayed Kashua slammed such efforts earlier this year: “You already have military victories and cultural control in marketing the Israeli occupation policy: at least give the Palestinians the option of hating Fauda. Are Netflix, worldwide success, economic growth and serving Israeli PR not enough for them?”

ellauri263.html on line 399: Palestinian journalist Ziyad Abul Hawa says Fauda could have started to make good on notions of balance simply by bringing Palestinians into the creative process. “If the writers are all Israeli, no matter how good the intentions are, they are not realistically showing what is happening in Palestinian areas. I heard they did their homework and research but still, you need a Palestinian constantly with them, telling them what’s realistic and what is not.” He adds that Arabic accents in the show bust its credibility claims within seconds.

ellauri263.html on line 620: Aleister Crowley (/ˈælɪstər ˈkroʊli/; born Edward Alexander Crowley; 12 October 1875 – 1 December 1947) who was an English occultist, philosopher, ceremonial magician, poet, painter, novelist, and mountaineer. He founded the religion of Thelema, identifying himself as the prophet entrusted with guiding humanity into the Æon of Horus in the early 20th century. A prolific writer, he published widely over the course of his miserable life.

ellauri263.html on line 874:   Latin sacrosanct has cognates in Hittite šaklai "custom, rites," zankila "to fine, punish." (Sanktio!) There is no certain etymology for hagios. Sitä ei löydy Homeroxelta, mutta on Herodotoxella. The word appears predominantly among the Hellenistic writers. Suomen pyhä voisi olla sama sana kuin piha eli aitaus. Germaanien sanat tarkoittaa ehyttä tai tervettä, esim. holy mackerel 1876, holy smoke 1883, holy cow 1914, Sieg heil 1920.

ellauri264.html on line 59: William Lewis Safire (/ˈsæfaɪər/; né Safir; December 17, 1929 – September 27, 2009), who was an American author, columnist, journalist, and presidential speechwriter. He was a long-time syndicated political columnist for The New York Times and wrote the "On Language" column in The New York Times Magazine about popular etymology, new or unusual usages, and other language-related topics.

ellauri264.html on line 126: Uunijäätelö ei pitänyt Netflixin sarjasta Dear White People. The film's writer and director, Justin Simien, returned to write and direct episodes of the series. Simians threatening with white genocide. Jeremy Tardy (n.) lopetti koska N-flix ei maxanut n-sanoille samaa palkkaa kuin v-sanoille. N-flix saisi mennä konkurssiin. Se on paha, pahempi kuin Foster, melkein yhtä paha kuin Pepe the Frog.

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Rabbi David Hertzberg z''l writes:

ellauri264.html on line 209:   To make a long story short-- Victor Lebow was a prophet. He has been slandered by all who have used this infamous quote to paint him as a cheerleader for consumerism when in fact he was one of the first-- if not the first-- to see the future implications of its corrosive influence. The fact that so many people, organizations, and websites have used his quote completely out of context and nearly all got the quote from the SAME source should give people GREAT pause-- and should be an object lesson in scholarship for progressive people. Don't believe everything you read. And don't write articles or create websites using materials you haven't primary sourced, either.

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ellauri264.html on line 409: Extreme right radio station WICC programme director Adam Lambetti told The Independent in a statement: “Norm Pattis is no longer with WICC, but we wish him well in the future.” On Wednesday, a jury reached a staggering $965m damages award against Mr Jones for the emotional and financial harm he had caused to 15 Sandy Hook family members and an FBI officer who attended the shooting in 2012. Afterwards, Mr Pattis admitted he got his “arse kicked”. “It was great fun while it lasted,” Mr Pattis said, who describes himself in an online bio as a “lawyer, writer, contrarian, stand-up comedian”.

ellauri264.html on line 431:   The 2012 Hay festival included writers Martin Amis, Jung Chang, Louis de Bernières, Mark Haddon, Mario Vargas Llosa, Hilary Mantel, Ian McEwan, Michael Morpurgo, Ben Okri, Ian Rankin, Salman Rushdie, Owen Sheers, Jeanette Winterson, comedians Bill Bailey, Rob Brydon, Julian Clary, Jack Dee, Tim Minchin, politicians Peter Hain and Boris Johnson, scientists John D. Barrow, Martin Rees, Simon Singh, and general speakers Harry Belafonte, William Dalrymple, Stephen Fry, A. C. Grayling, Germaine Greer, Michael Ignatieff, and David Starkey. What a pile of turds. 

ellauri264.html on line 475: Born in Gloucester, England, poet, editor, and critic William Ernest Henley was educated at Crypto Grammar School, where he studied with the poet T.E. Brown, and with the University of St. Andrews. His father was a struggling bookseller who died when Henley was a teenager. At age 12 Henley was diagnosed with tubercular arthritis that necessitated the amputation of one of his legs just below the knee; the other foot was saved only through a radical surgery performed by Joseph Lister. As he healed in the infirmary, Henley began to write poems, including “Invictus,” which concludes with the oft-referenced lines “I am the master of my fate; / I am the captain of my soul.” Henley’s poems often engage themes of inner strength and perseverance. His numerous collections of poetry include A Book of Verses (1888), London Voluntaries (1893), and Hawthorn and Lavender (1899).

ellauri264.html on line 477: Henley edited the Scots Observer (which later became the National Observer), through which he befriended writer Rudyard Kipling, and the Magazine of Art, in which he lauded the work of emerging artists James McNeill Whistler and Auguste Rodin. Henley was a close friend of Robert Louis Stevenson, who reportedly based his Long John Silver character in Treasure Island in part on Henley.

ellauri264.html on line 492:   Ladies and Gentlemen: There are five hundred reasons why I began to write for children, but to save time I will mention only ten of them. Number 1) Children read books, not reviews. They don’t give a hoot about the critics. Number 2) Children don’t read to find their identity. Number 3) They don’t read to free themselves of guilt, to quench the thirst for rebellion, or to get rid of alienation. Number 4) They have no use for psychology. Number 5) They detest sociology. Number 6) They don’t try to understand Kafka or Finnegans Wake. Number 7) They still believe in God, the family, angels, devils, witches, goblins, logic, clarity, punctuation, and other such obsolete stuff. Number 8) They love interesting stories, not commentary, guides, or footnotes. Number 9) When a book is boring, they yawn openly, without any shame or fear of authority. Number 10) They don’t expect their beloved writer to redeem humanity. Young as they are, they know that it is not in his power. Only the adults have such childish illusions.

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ellauri264.html on line 540:   The importance of the minhag ("prevailing local custom") is also a point of dispute between Karo and Isserles: while Karo held fast to original authorities and material reasons, Isserles considered the minhag as an object of great importance, and not to be omitted in a codex. This point, especially, induced Isserles to write his glosses to the Shulchan Aruch, that the customs (minhagim) of the Ashkenazim might be recognized, and not be set aside through Karo´s reputation.

ellauri266.html on line 56:   Desmond Morris was a scandal when his 1967 book appeared on human sociobiology. Some of Morris's theories have been criticized as untestable. For instance, geneticist Adam Rutherford writes that Morris commits "the scientific sin of the 'just-so' story – speculation that sounds appealing but cannot be tested or is devoid of evidence". However, this is also a criticism of adaptationism in evolutionary biology, not just of Morris.

ellauri266.html on line 60:   He also writes disparagingly on religion in Guardian (spare £2 for an ex-leper), notably on his experience participating in the Alpha course. The Alpha course is an evangelistic course which seeks to introduce the basics of the Christian faith through a series of talks and discussions. It is described by its organisers as "an opportunity to explore the meaning of simian life in just 24h."  Adam did not buy it, but went on to live in original sin. Besides, he is in all likelihood a Sitzpinkler, i.e. a wuss.

ellauri266.html on line 338:   Let me quote a letter from a lady in Oakland after a recent weekend seminar. The lady is intellectually inclined. She goes to my seminars and is excited by my ideas and wants to be friends on an intellectual basis with some of the fine lecturers she has heard. Invariably, she gets the door politely slammed in her face. Men like me are terribly afraid of getting involved in sex with ladies past their better before date. "I am forced to the conclusion," she writes, "that if a man doesn´t want to get involved in sex,´ then he sees no point in talking to a woman at all. A homely looking thinking woman is to most men some sort of contradiction in terms." True, regrettably.

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ellauri269.html on line 541: That bit at the end I’ll have to think about, though. I’m not quite sure what is being implied either by you or (perhaps unintentionally) by the game’s writers here.

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ellauri270.html on line 298: In The Daemon Lover, James (Jamie) Harris, a handsome author, deserts his dowdy 34-year old fiancée. The plot of this short story may be indebted to “The Demon Lover” by Elizabeth Bowen, whom Jackson ranked with Katherine Anne Porter as one of the best contemporary short story writers. When Jamie Harris disappears, he shatters his bride’s dreams of living in a “golden house in-the-country” (DL 12). Her shock of recognition that she will never trade her lonely city apartment for a loving home mirrors the final scenes of “The Lottery” and “The Pillar of Salt” as well as many other stories in which a besieged woman suffers a final and often fatal blow.

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ellauri270.html on line 450: Lemon tree, very pretty / and The lemon flower's sweet / But the fruit of the poor lemon / is impossible to eat. / A sadder man but wiser now / I write these lines to you. 

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ellauri272.html on line 416:   M.L. Rosenthal felt that although Ammons shares Wallace Stevens’s desire to intellectualize rather than simply describe, he falls short of Stevens’s success. Paul Zweig agrees that “unlike T.S. Eliot or Stevens, Ammons does not write well about ideas.” When the narrator finds the dead mole under the leaves, he says, “mercy: I’d just had / lunch: squooshy ice cream: I nearly / unhad it.” Vendler commented, “There has been nothing like this in American poetry before Ammons—nothing with this liquidity of folk voice.”

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ellauri277.html on line 223:   Romantics such as the Italian poet, novelist, and short-story writer Gabriele D’Annunzio and the Belgian essayist Maurice Maeterlinck influenced Gibran most deeply.

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.

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ellauri278.html on line 453: Thompson -konepistooli (tunnetaan myös nimellä "Tommy Gun" , "Chicago Typewriter" , "Chicago Piano" , "Trench Sweeper" tai "Trench Broom" ) on Unitedin kehittämä takaisinpuhalluskäyttöinen, valikoivalla tuulellakin käyttövarmasti toimiva konepistooli. Osavaltioiden armeijan prikaatikenraali John T. Thompson vuonna 1918. Se oli alun perin suunniteltu murtamaan ensimmäisen maailmansodan umpikujia, mutta se valmistui vasta sodan päätyttyä. Bugger it!

ellauri279.html on line 197:     When Yuri joined the faculty of the Department of German and Russian at UCD in January, 1989, none of his colleagues had any idea of the remarkable fifty-five years of his life that had preceded his arrival in Davis. Some of us were aware of the fact that he had been censored for his writing in the Soviet Union, but most, if not all of us, were ignorant of the attack leveled against him in 1974 by the newspaper Izvestiya, which accused him of having slandered the Soviet people, or of his having been removed from the Writers Union of the USSR in 1977 and declared “a traitor to the motherland” for his participation in the Samizdat underground publishing movement. In 1986, he was threatened by the KGB with either incarceration in a prison camp or confinement to a psychiatric ward, where he might well have languished had it not been for the intervention of Western writers such as Kurt Vonnegut and Arthur Miller, as well as, the International PEN-Club. Yuri was banished from his homeland a year later. He became a leading literary figure among Russian émigré writers while in exile, living first in Vienna, and then in Texas, before coming to California.

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ellauri281.html on line 452: Thompson -konepistooli (tunnetaan myös nimellä "Tommy Gun" , "Chicago Typewriter" , "Chicago Piano" , "Trench Sweeper" tai "Trench Broom" ) on Unitedin kehittämä takaisinpuhalluskäyttöinen, valikoivalla tuulellakin käyttövarmasti toimiva konepistooli. Osavaltioiden armeijan prikaatikenraali John T. Thompson vuonna 1918. Se oli alun perin suunniteltu murtamaan ensimmäisen maailmansodan umpikujia, mutta se valmistui vasta sodan päätyttyä. Bugger it!

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ellauri299.html on line 506: Jesse Byron Dylan (born January 6, 1966) is an American film director and production executive. He is the founder of the media production company Wondros and Lybba, a non-profit organization. He is also a member of the Council on Foreign Relations and TED. He is the son of musician Bob Dylan and former model Sara Lownds and brother of singer-songwriter Jakob Dylan. Dylan is separated from Susan Traylor, with whom he has a son and a daughter. Jesse on kohtuullisen pyylevä.

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ellauri300.html on line 407: Boris hade också bekostat en översättning av dr Halperins nya bok, Asketism och ande, där Halperin redogjorde för sina tankar på ålderns höst - en ny syn på filosofins historia visade hur alla filosofer, från Thales till Bergson, från Husserl till Vaihinger och även epikuréerna, hade predikat asketism. Det var alldeles fel! Alltid hade filosofin försökt förneka livet, och detta var anledningen till att den misslyckades. I sin strävan mot en illusion av evigheten hade filosofin förbisett det sanna värdet av det förgängliga. Ett stort förlag i New York övervägde nu att skriva kontrakt med Halperin som försäkrade att hans lycka skulle vända och stjälpa vedertagna filosofiska tolkningar. Zadok Halperin som hittills bara var känd i en snäv cirkel av akademiker skulle bli världsberömd liksom Peter Schwartz (writer).

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ellauri309.html on line 268: writer and her readers, or the power of an ugly insinuation posted on 

ellauri309.html on line 274: conversation? In this case–writer to writer–could you have spoken to your 

ellauri309.html on line 283: plagiarism is the most terrible sin a writer can commit. I have worked my 

ellauri309.html on line 285: publisher, to create a community with other writers, and to show readers I 

ellauri309.html on line 291: when I did nothing but write and title a book. While this writer issued a 

ellauri309.html on line 303: But words have great power–to harm, to heal, to teach, to entertain. A writer, one who wants to forge a career 

ellauri309.html on line 306: writer who started this (Tomi something foreign, a coon in dreadlocks), or the title of her book or mine. I don’t want 

ellauri309.html on line 311: Roberts. I’m a hard-working writer, and an honest one. That’s it. Here´s my 

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ellauri310.html on line 508: clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" 

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ellauri311.html on line 571: American writer Sylvia Wright coined the term in 1954, recalling a childhood 

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ellauri316.html on line 206: Aviv. Wolfson is one of a handful of figures, including Edmund of Abingdon, Saint Peter, Catherine of Alexandria, Mary Magdalene, Mary, mother of Jesus, God and Jesus, to have both Cambridge and Oxford colleges named after them. Ei ihme että kuoppaleukainen daavidhahmo Nooah nimettiin sen perästä. Lopetin sarjan kazomisen 3. jaxosta. Siinä oli pelkästään epämiellyttäviä tyyppejä. Sarjaa tuottavat belgit, britit ja israelit, kaikki erittäin syvältä anuxesta. Haaretz writes that the series is a "gem" that comes "from the heart.' Are there lilac trees / in the heart of town?  This is somewhat embarrassing, isn’t it? 

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ellauri321.html on line 67:     Sam Weller is the authorized biographer of the late science fiction and fantasy author, Ray Bradbury. Weller is a writer, journalist and content creator. He is the author 6 books and a graphic novel. Скрыть

ellauri321.html on line 218: Juan in America was a success and was chosen by the Book Society as Book of the Month. However, the work annoyed the Commonwealth Foundation – Linklater was accused of showing too little respect for the United States and its institutions. Russian Communism the writer considered an "Oriental perversion aggravated by torments and a technique filched from Germanic practice."

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ellauri322.html on line 264: She was rescued, again, and lived on with deadened spirit. In 1796 these "Letters from Sweden and Norway " were published. Early in 1797 she was married to William Godwin. On the 10th of September in the same year, at the ago of thirty-eight, Mary Wollstonecraft Godwin died, after the birth of the daughter who lived to become the wife of Shelley and write a blockbuster bestseller. The mother also would have lived, if a womanly feeling, in itself to be respected, had not led her also to unwise departure from the customs of the world. Peace be to her memory. None but kind thoughts can dwell upon the life of this too faithful disciple of Rousseau (except for the feminismim).

ellauri323.html on line 60:     Victoria Mary Sackville-West was the only child of Lionel Edward, third Baron of Sackville, and Victoria Josepha Dolores Catalina Sackville-West, his first cousin and the illegitimate daughter of the diplomat Sir Lionel Sackville-West. She was educated privately. As a child she started to write poetry, writing her first ballads at the age of 11. "I don't remember either my father or my mother very vividly at that time, except that Dada used to take me for terribly long walks and talk to me about science, principally Darwin, and I liked him a great deal better than mother, of whose quick temper I was frightened." (from Portrait of a Marriage by Nigel Nicolson, 1973) Vita's mother considered her ugly - she was bony, she had long legs, straight hair, and she wanted to be as boyish as possible.

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ellauri325.html on line 163:       Hei mitä lavastaja Roy eli "Juan Batiste Montabuan", siviilissä Tapio Vilpponen otti myöskin osaa propagandatalkoisiin! Arkadi Avertshenkon tyylilajissa. Tapio Vilpponen (31. toukokuuta 1913 Rauma – 31. elokuuta 1994 Helsinki) oli suomalainen käsikirjoittaja, lavastaja, puvustaja, taidemaalari, graafikko, sisustussuunnittelija, kuvanveistäjä, copywriter, toimittaja, pilapiirtäjä ja pakinoitsija. Hän myös näytteli muutamassa elokuvassa. Vilpponen käytti salanimiä Roy ja Juan Batiste Montauban. Vilpponen kirjoitti useita kioskilukemistoja (El Zorron seikkailut, Tilly, Pekka Lipponen junior) sekä nelisensataa jatkojännäriä. Kexittyään Jussi-palkinnon hän oli itse ensimmäisiä Jussi-palkittuja vuonna 1944, kun hänet palkittiin parhaasta lavastuksesta elokuvaan Herra ja ylhäisyys. Juan Batiste Montabuan on selvä plagiaatti Simo Penttilästä. Zorron porukat on käytkaz yxyhteen TJA Heikkilän, tai Punavyön sivuvaunuineen. Inkkari Tacho on Tlacan kopio. Vilpponen oli Hirvosta 15v nuorempi. Heikon kuulonsa vuoxi hänkään ei joutunut ruotuun. 

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ellauri332.html on line 452: Love the book or hate it, but no novel deserves the shabby treatment that director Roland Joff and screenwriter Douglas Day Stewart have given the classic novel.

ellauri333.html on line 219:  According to Philip Ludendorf, an American Indologist, the theological significance of Hanuman and devotional dedication to him emerged about 1,000 years after the composition of the Ramayana, in the 2nd millennium CE, with the arrival of Islamic rule in the Indian subcontinent. Ludendorf also writes that the skills in Hanuman's resume also seem to derive in part from his windy patrimony, reflecting Vayu's role in both body and cosmos. Vayu is an important deity and is closely associated with Indra, the king of gods. He is mentioned to be born from the breath of Supreme Being Vishvapurusha and also the first one to drink Soma. Soma oli todnäk piriä. Zarathustra joi haumaa, efedriiniä ja opetti sen itäintiaaneille. Ephedra is the origin of the name of the stimulant ephedrine, which the plants contain in significant concentration. It can cause cardiovascular events.

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Did the Gospel writers choose the name 'Judas' Iscariot as the traitor deliberately, because Judaism and the name Judah had the same etymology and they wanted people to hate Jews?

ellauri334.html on line 326: First of all, the writers did not “create” names for the people that interacted with them and the Christ. So the suggestion that the use of the name “Judas” was designed to develop hatred for Jews, is bogus.

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ellauri346.html on line 307: Titled "Friendship Song," the video in question featured a group of children reportedly singing in a re-recording of an old song originally written by Israeli poet Haim Gouri after the 1948 war that led to the creation of the state of Israel, but with amended lyrics referring to Gaza. David Sheen, an independent filmmaker and writer, translated these new lyrics for The Electronic Intifada into English from Hebrew. Per his translation, the children sang:

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ellauri348.html on line 385: Tää on pätkä pituushaasteisen Popen (1717) pitkänläntää arkkiveisua munattomasta Abelardista ja sen Eloisasta bändäristä. Eli it's from a poem about a woman named Eloisa who falls in love with her much older tutor Abelard, but her family forces them apart. Eloisa is forced to become a nun and writes about the grief of being without her star-crossed lover. She tries to forget Abelard, but she cannot and she comes to the conclusion that God cannot heal all wounds (such as the loss of Abelard's balls). She wishes she hated Abelard, but concludes her love for him remains. Despite her knowing about her doom with her love, she still longs for it. Just like Joel and Clem. They have knowledge about their destruction and loathing for each other if they continue with the relationship, but it doesn’t matter to them. It’s "Okay," “ignorance is bliss” by another name!

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ellauri348.html on line 474: Steven Patrick Morrissey (/ ˈ m ɒr ɪ s i / MORR-iss-ee; born 22 May 1959), known mononymously as Morrissey, is an English singer and songwriter. 

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ellauri349.html on line 517: ENFPs thrive on the new–new people, new activities, and new ideas. They see what is possible and are generally energetic, enthusiastic, and spontaneous. ENFP writers include Oscar Wilde, Aldous Huxley, Umberto Eco, Salman Rushdie, Anne Frank, Kurt Vonnegut, Anaïs Nin, Dr. Seuss, Hunter S. Thompson, and Erica Jong. Learn more about how ENFPs write here. 

ellauri350.html on line 259: Atticus saa inspiraationsa filosofi Atticuksesta joka sai inspiraationsa Attikan maakunnasta jossa se oli professorina. Monet julkkikset ovat lainanneet Atticuksen töitä, mukaan lukien Karlie Kloss, Alicia Keys, Emma Roberts, The Chainsmokers, The Mainliners, The Derelict Alcoholics, Maroon 5, Rachel Bilson, Woodrow Wilson, The Kardashians ja Homer Simpson. His inspiration or his favorite writers includes Walt Whitman, Charles Bukowski, Jack Kerouac, Lord Byron, Sylvia Plath, and Maya Angelou (n.h.). Muut ovat jotain retkuja. He likes to wear masks during his public gathering.

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ellauri352.html on line 604: In 2011, a "novel of the decade" was chosen due to lack of sponsorship to hold the customary award. Five finalists were chosen from sixty nominees selected from the prize´s past winners and finalists since 2001.[citation needed] Chudakov won posthumously with A Gloom Is Cast Upon the Ancient Steps, which takes place in a fictional town in Kazakhstan and describes fictional life under Stalinist Russia. The criteria for inclusion included literary effort, representativeness of the contemporary literary genres and the author¨s reputation as a writer. Length was not a criterion, as books with between 40 and 60 pages had been nominated.

ellauri352.html on line 621:   I really love Russian writers, especially from the 19th and early 20th Century: Gogol, Tolstoy, Chekhov, Babel. I love the way they take on the big topics. I´m also inspired by a certain absurdist comic tradition that would include influences like Mark Twain, Daniil Kharms, Groucho Marx, Monty Python, Steve Martin, Jack Handey, etc. And then, on top of that, I love the strain of minimalist American fiction writing: Sherwood Anderson, Ernest Hemingway, Raymond Carver, Tobias Wolff.

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ellauri362.html on line 276:   Rachel Knowles writes clean/Christian historical romance set in the time of Jane Austen. She has been sharing her research on this blog since 2011. Rachel lives in the beautiful Georgian seaside town of Weymouth, Dorset, on the south coast of England, with her husband, Andrew.

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ellauri368.html on line 66: Among the Jews of the Slavonic countries "maskil" usually denotes a self-taught Hebrew scholar with an imperfect knowledge of a living language (usually German), who represents the love of learning and the striving for culture awakened by Mendelssohn and his disciples; i.e., an adherent or follower of the Haskalah movement. He is "by force of circumstances detained on the path over which the Jews of western Europe swiftly passed from rabbinical lore to European culture" and to emancipation, and "his strivings and short-comings exemplify the unfulfilled hopes and the disappointments of Russian civilization." The Maskilim are mostly teachers and writers; they taught a part of the young generation of Russian Jewry to read Hebrew and have created the great Neo-Hebrew literature which is the monument of Haskalah. Although Haskalah has now been flourishing in Russia for three generations, the class of Maskilim does not reproduce itself. The Maskilim of each generation are recruited from the ranks of the Orthodox Talmudists, while the children of Maskilim very seldom follow in the footsteps of their fathers. This is probably due to the fact that the Maskil who breaks away from strictly conservative Judaism in Russia, but does not succeed in becoming thoroughly assimilated, finds that his material conditions have not been improved by the change, and, while continuing to cleave to Haskalah for its own sake, he does not permit his children to share his fate. The quarrels between the Maskilim and the Orthodox, especially in the smaller communities, are becoming less frequent. In the last few years the Zionist movement has contributed to bring the Maskilim, who joined it almost to a man, nearer to the other classes of Jews who became interested in that movement. The numerous Maskilim who emigrated to the United States, especially after the great influx of Russian immigrants, generally continued to follow their old vocation of teaching and writing Hebrew, while some contributed to the Yiddish periodicals. Many of those who went thither in their youth entered the learned professions. See Literature, Modern Hebrew. (Source: Jewish Dictionary)

ellauri369.html on line 363: Herr Diogenes Teufelsdröckh: (Greek/German: "Zeus-descended Devil´s Dung") The Professor of "Things in General" at Weissnichtwo University, and writer of a long book of German idealist philosophy called Clothes, Their Origin and Influence, the review of which forms the contents of the novel. NOTE: Both professor and book are fictional.

ellauri369.html on line 375:   Sartor Resartus was intended to be a new kind of book: simultaneously factual and fictional, serious and satirical, speculative and historical. It ironically commented on its own formal structure, while forcing the reader to confront the problem of where "truth" is to be found. In this respect it develops techniques used much earlier in Tristram Shandy, to which it refers. The imaginary "Philosophy of Clothes" holds that meaning is to be derived from phenomena, continually shifting over time, as cultures reconstruct themselves in changing fashions, power-structures, and faith-systems. The book contains a very Fichtean conception of religious conversion: based not on the acceptance of God but on the absolute freedom of the will to reject evil, and to construct meaning. This has led some writers to see Sartor Resartus as an early existentialist text. Why of course!

ellauri369.html on line 380:   According to Rodger L. Tarbaby, "The influence of Sartor Resartus upon American Literature is so vast, so pervasive, that it is difficult to overstate." Tarr notes its influence on such leading American writers as Ralph Waldo Emerson, Emily Dickinson, Henry David Thoreau, Herman Melville, Margaret Fuller, Louisa May Alcott and Mark Twain (Nathaniel Hawthorne and Edgar Allan Poe were among those that read and objected to the book).

ellauri369.html on line 382:   Neopaganist humorist Charles Godfrey Leland  (1824-1903) read it through forty times ere he left college, of which he kept count. He went on to write Aradia, or the Gospel of the Witches, which became a primary source text for Neopaganism half a century later.

ellauri370.html on line 319: A lot of Elvis Presley songs were written especially for him, but according to Mac Davis, Presley´s 1969 hit, In the Ghetto, was not such a song. Mac Davis commented, 'I never really dreamed of pitching that song to Elvis. I had been working on In the Ghetto for several years. I grew up playing with a little boy in Lubbock, Texas, whose family lived in a dirt street ghetto. His dad and my dad worked in construction together. So that little boy and I sort of grew up together. I never understood why his family had to live where they lived while my family lived where we lived. Of course back in those days, the word "ghetto" hadn't come along yet. (It is Venetian for "foundry".) But I always wanted to write a song about that situation and title it 'The Vicious Circle'. I thought that if you were born in that place and that situation, then you grow up there and one day you die there, and another kid is born there that kind of replaces you. And later I started thinking about the ghetto as a title for the song.

ellauri370.html on line 483: January 1927, Hitler, along with several highly ranked members of the Nazi Party, attended Chamberlain´s funeral. In 1909, some months before his 17th birthday, Rosenberg went with an aunt to visit his guardian where several other relatives were gathered. Bored, he went to a book shelf, picked up a copy of Chamberlain´s The Foundations and wrote of the moment: "I felt electrified; I wrote down the title and went straight to the bookshop." In 1930 Rosenberg published The Myth of the Twentieth Century, a homage to and continuation of Chamberlain´s work. Hitler told the ailing Chamberlain that he´d write a sequel to it. The French Germanic scholar Edmond Vermeil considered Chamberlain´s ideas "essentially shoddy".

ellauri372.html on line 102:     Regulus was a famously principled and courageous fictional figure from the Punic wars 2 centuries earlier. Captured by the Carthaginians with others during the Punic wars, he was sent to Rome, under an oath to return, to pass on peace proposals and a request for exchange of prisoners. According to legend, as described by Horace here, he advised the Senate not to accept, and returned to Carthage to a certain and painful death, keeping his oath. There is a clear echo of the campaign that Augustus was waging to restore traditional Roman and family values. Like the rock-hard Regulus, “proper” Romans should be prepared to face death and spit in its eye, rather than take a safe but dishonourable way out. The gulf between these traditions and the contemporary Romans partying and fornicating away in writers like Ovid and Propertius could not be deeper.

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ellauri381.html on line 449: As a result of the Khrushchev Thaw, Solzhenitsyn was released and exonerated. He pursued writing novels about repression in the Soviet Union and his experiences. He published his first novel, One Day in the Life of Ivan Denisovich in 1962, with approval from Soviet leader Nikita Khrushchev, which was an account of Stalinist repressions. Actually, it was about a normal day in a labor camp. Following the removal of Khrushchev from power, the Soviet authorities attempted to discourage Solzhenitsyn from writing any more anticommunist crap. He went on anyway, sending the crap to the west. In 1974, Solzhenitsyn was stripped of his Soviet citizenship and flown to West Germany. In 1976, he moved with his family to the United States, where he continued to write. In 1990, shortly before the dissolution of the Soviet Union, his citizenship was restored, and four years later he returned to Russia, where he remained until his death in 2008.

ellauri381.html on line 585: Ignat Solzhenitsyn is adamant that his father’s withdrawal from the public sphere was a reaction to the suffering and paranoia he had encountered in the Soviet Union, and the need to write about these experiences. It was not a disapproval of his host country that drove him to hide behind barbed wire fences in the Vermont woods.

ellauri381.html on line 587: In David Remnick’s profile of the writer in The New Yorker, Solzhenitsyn is quoted as saying, “Purely for my work, the 18 years in Vermont have been the happiest of my life.” His other son, Yermolai Solzhenitsyn, adds, “You should know that it wasn’t like my father was some kind of anti-Western ogre at home.” The younger Solzhenitsyns’ recollections of their American childhoods reveal a father who sent his sons to local schools, encouraged them to learn English, let them listen to music he detested – like Black Sabbath – and generally allowed them the freedom to assimilate with their peers.

ellauri381.html on line 589: Sanya's Red wheels were not translated to English until 2015. This happened thanks to the creation of the Solzhenitsyn Initiative by the Wilson Center’s Kennan Institute. Funded primarily by sperm donor Drew in Cuff, managing director of Secular Cum, the initiative was an attempt to help illuminate the writer’s fancy legwork.

ellauri381.html on line 599: The great writer Alexander Solzhenitsyn predicted the current situation in Ukraine almost half a century ago. The Nobel laureate wrote: "With Ukraine, things will get extremely painful. Some regions on the left bank of the river Dnepr clearly lean more towards Russia. As for Crimea, Khrushchev's decision to hand it over to Ukraine was totally arbitrary."

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ellauri384.html on line 389: Weissmans were well-to-do professionals from Upper East side, Meisels filthy rich garment industrialists from Lower West. The 2010's Mrs. Maisel battles misogyny but takes little interest in other societal evils — including still-rampant antisemitism. Some critics have noted that she is oblivious to segregated facilities when she tours with Black singer Shy Baldwin, then nearly outs him as gay during her set. 'Mrs. Maisel’ takes place in a supersaturated fantasy 1958 New York, one where antisemitism, racism, homophobia and even sexism are daily bread,” writer Rokhl Kafrissen said in 2018.

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ellauri389.html on line 233: “Far better to have a go at following my own direction than stagnate. It might not work out, but at least I’ll be able to say I had a go. It feels exciting at the moment, and I wanted to see if it is possible to live as a writer and podcaster. I’ve always found lot of academic philosophy rather dry, but I love philosophy at its best. Through Philosophy Bites I’ve met some of the top living philosophers, and I’ve been inspired by them.

ellauri389.html on line 271:       “I spent most of my time at school playing rugby. I ended up going to Bristol University to do psychology, and I took philosophy and sociology as subsidiary subjects in the first year. I got disillusioned with psychology, dropped out, was a car park attendant for six months, tried to start a new course in English, but I wouldn’t have got a grant, so I carried on into my second year with philosophy, thinking I would become a journalist. Probably because I did so much student journalism I could write well enough that I conned them into a first class degree in philosophy, which meant I could go to Cambridge to do a PhD – there were proper grants in those days. I tried to get a job in publishing in my first year there but didn’t get that, so it’s only philosophy in want of anything better really."

ellauri389.html on line 297: “Lines Composed a Few Miles above Tintern Abbey (etc.)” by William Wordsworth is told to his sister from the perspective of the writer and tells of the power of Nature to guide one’s life and morality. In the final stanza of the poem, it becomes clear that this entire time the poet was speaking to his sister, Dorothy. Eikös Wizard of Ozissa ollut Dorothy? Vanhanaikainen nimi, kuten Raija, joka tule Kreikan adjektiivista  rhaidios 'helppo'. Sisko ei ole vielä yhtä panteistinen kuin William. Dorothya esitti Judy Garland vuonna 1939. Samaan aikaan toisaalla saman ikäinen Pirkko Hiekkala väänsi talvisodan propagandaa Turussa Mika Waltarin opastuxella. 

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ellauri389.html on line 383: Almost immediately after his arrival at Nether Stowey, Lloyd was attacked by fits, the precursors of his subsequent madness, and Coleridge described his condition as alarming. He shortly afterwards went to London, where he cultivated the society of Lamb. This was the most afflicted period of Lamb's life. "I had well-nigh," he writes, "quarrelled with Charles Lloyd; and for no other reason, I believe, than that the good creature did all he could to make me happy." Two toothless bleaters.

ellauri389.html on line 387: The collection was headed by an elegant Latin motto on the mutual friendship of the authors, attributed to "Groscollius," but in reality composed by Coleridge. Coleridge shortly afterwards asserted that he had only allowed Lloyd's poems to be published together with his own at the earnest solicitation of the writer, and ridiculed both them and Lamb's poems in sonnets subscribed "Nehemiah Higginbotham" in the Monthly Magazine, November 1797.

ellauri389.html on line 411: For some time he displayed a flurry of literary activity, publishing in 1819 a collection of his poems, under the title of Nugæ Canoræ; in 1821, Desultory Thoughts in London; Titus and Gisippus; and other Poems; and Poetical Essays on the Character of Pope; in 1822, The Duke D'Ormond, a tragedy written in 1798, together with Beritola, a metrical tale in the Italian manner; and a small volume of poems in 1823. Nothing to write home about, alackaday.

ellauri389.html on line 421: His poetry, however, is mainly subjective, and monotonous from the writer's continual self-absorption. His versification is frequently worse than inharmonious, and his diction so prosaic as to evince that his power of expression bore no proportion to his power of thought.

ellauri391.html on line 180: In 2012 she published her first novel and has worked as a freelance author ever since. She continues to write novels but also writes and creates content for "Totally Not Aliens", a video gaming company. Autorin von dem spielbaren Kinderbuch "Eppi". Felicitas Pommerening, geb. 1982, lebt mit ihrem Mann und ihren drei Kindern in Mainz. Hoppla Sie haben eine Seite gefunden, die leider nicht existiert.

ellauri392.html on line 598:   All that artifice requires is that unmeaningful levels be taken into account,” writes Forrest-Thomson, and Bernstein agrees. Today, Forrest-Thomson is more relevant than ever. Forrest-Thomson illuminates that I is just another word, an expression created out of language that negotiates between the external world and the cranium.

ellauri392.html on line 702:     The strong and permanent expression of love towards their own culture and tradition, in the works of Jewish writers (especially in Diaspora), put almost the whole Jewish nation on the pedestal of “the sublime race”. The majority of Jewish writers have written almost exclusively about the uniqueness and the sublime characteristics of their nation.

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Yiddish-language writers:


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English-language writers:

ellauri392.html on line 719: These writers have worked on a variety of interesting themes having to do with Jewishness:

ellauri392.html on line 730: They have represented the indicators of their bad destiny, their sacrifice for the better world by the solitude and alienation of Jewish individuals in America, turning back to the historical facts (since the Second World War) as the cause for the atrocity towards Jews and their suffering then and now. The writers put the Jews on the pedestal of a sublime nation and at the same time made them victims of modern society. The Jewish writers took a chance in American literature which had a didactic effect, using another common argument, not easily compatible with the theory of superior American morals but certainly applicable. [Ни сам не разумем ову тачку.] The writers would claim they had a duty to portray how people actually think and behave. But the writers also had a duty to implant moral lessons.

ellauri392.html on line 737:   The responsible culture accused the adversary culture of operating with a hermetic tradition of Modernism or (khas vishalom) Post-Modernism. They write about society where snobbism and material things are prevailing models, but the spiritual and religious aspects are met only sporadically. That society has come under the harsh criticism by Philip Roth, Bernard Malamud and Saul Bellow, none of whom are in the least manner snobs.

ellauri392.html on line 739:   Jewish writers managed to interlace the theme of alienation and sick society with the theme of Jewish family. Family is a beacon of hope in Judaism. All three chaps mentioned above were real traditional Jewish family sugardaddies.

ellauri392.html on line 743:   Another Bellow’s novel, Dangling Man, is written in the personal voice of the protagonist whose principal domain is his own sensibility, and whose principal audience is he himself. The text is striking in its exclusion of the female voice, its enactment of a homo-social male world, and the overt narcissism and misogyny of its protagonist, Joseph. It is the story of a young man caught in the trap of self-pity, who believes that intellectual or spiritual enlightenment is to be attained by personal isolation within the confines of a cheap New York boarding house room while he studies the writers of the Enlightenment. Failing that, he joins the Merchant Marine just to fail there too. Saul's own life story to the dot.

ellauri392.html on line 752: The vision of a just society is often enough inverted into an impotent nostalgia and an explicit, old, organic, but very dangerous, nationalism. In other words, literary works of Jewish writers become an ideology.

xxx/ellauri010.html on line 618: If you were more vigilant while playing with yourself, I wouldn't write dis message. I don't think that playing with yourself is extremely bad, but when all your friends, relatives, сolleagues receive video record of it- it is definitely news.

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xxx/ellauri056.html on line 374:       Calderón (pronounced [kaldeˈɾon]) is a Spanish and Sefardi occupational surname. It is derived from the Vulgar Latin "caldaria" ("cauldron") and refers to the occupation of tinker. Calderón, or Calderon, may refer to: Alberto Calderón, Argentine mathematician; Alfonso Calderon (activist), Spanish born activist and advocate for gun control Alfonso Calderón, Chilean poet and writer... jne jne, kunnes 27:ntenä tulee Pedro Calderón de la Barca, Spanish dramatist.

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xxx/ellauri059.html on line 382: Any writer who could write Shylock’s speech about being a Jew can see the anti-Semitic dialectic of his time for what it was. Shakespeare was far more in tune with the twenty-first century attitude than the sixteenth and seventeenth century view.

xxx/ellauri068.html on line 219: So what did I do? I chose to remember that Borges is not a writer of the era of Facebook and autofiction; that it is not true that he hides in his texts, speaks little about himself (in fact, the opposite is true: how often in his work does his double appear, the character called Borges?); he simply does not do it the way in which we are accustomed today; that, like his friend Alfonso Reyes, Borges learned the classical notion of decorum, which is a set of rules of style when writing and also a certain principle of discretion, an obligation not to say absolutely everything that is very likely inconceivable to many people today.

xxx/ellauri068.html on line 269: Martti (Martin) Rautanen, also known as El Gaucho Martín Fierro, is a 2,316-line epic poem by the Argentine writer José Hernández. The poem was originally published in two parts, El Gaucho Martín Fierro (1872) and La Vuelta de Martín Fierro (1879). The poem supplied a historical link to the gauchos' contribution to the national development of Argentina, for the gaucho had played a major role in Argentina's independence from Spain.

xxx/ellauri068.html on line 272: In the 1920s, Borges and other avant-garde Argentine writers embracing "art for art's sake" published a magazine called Martín Fierro; they are often referred to collectively as the grupo Martín Fierro ("Rautas-Martin ryhmä"),

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xxx/ellauri068.html on line 551:   Irving Berlin (born Israel Beilin; Yiddish: ישראל ביילין‎; May 11, 1888[3] – September 22, 1989) was an American composer and lyricist, widely considered one of the greatest songwriters in American history. His music forms a great part of the Great American Songbook. Born in Imperial Russia, Berlin arrived in the United States at the age of five.

xxx/ellauri068.html on line 557: Berlin died in 1989 at the age of 101. Composer Douglas Moore sets Berlin apart from all other contemporary songwriters, and includes him instead with Stephen Foster, Walt Whitman, and Carl Sandburg, as a "great American minstrel"—someone who has "caught and immortalized in his songs what we say, what we think about, and what we believe." Composer George Gershwin called him "the greatest songwriter that has ever lived" and composer Jerome Kern concluded that "Irving Berlin has no place in American music—he is American music."

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xxx/ellauri075.html on line 124: He did however influence writers such as Albert Camus (who wrote about him in Le Mythe de Sisyphe, The Myth of Sisyphus), Benjamin Fondane (his 'pupil'), the poet Paul Celan, and notably Emil Cioran, who wrote some favorable shit about Shestov.  

xxx/ellauri075.html on line 153:     Shestov's works were not met with approval even by some of his closest Russian friends. Many saw in Shestov's work a renunciation of reason and metaphysics, and even an espousal of nihilism. Nevertheless, he would find admirers in such writers as D. H. Lawrence and his friend Georges Bataille.

xxx/ellauri075.html on line 168:     Despite his weakening condition Shestov continued to write at a quick pace, and finally completed his magnum opus, Athens and Jerusalem. This work examines the dichotomy between freedom and reason, and argues that reason be rejected in the discipline of philosophy. Furthermore, it adumbrates the means by which the scientific method has made philosophy and science irreconcilable, since science concerns itself with empirical observation, whereas (so Shestov argues) philosophy must be concerned with freedom, God and immortality, issues that cannot be solved by science.

xxx/ellauri075.html on line 186: He did however influence writers such as Albert Camus (who wrote about him in Le Mythe de Sisyphe), Benjamin Fondane (his 'pupil'), the poet Paul Celan, and notably Emil Cioran, who writes about Shestov:

xxx/ellauri075.html on line 303: Friedrich Konrad Eduard Wilhelm Ludwig Klages (10 December 1872 – 29 July 1956) was a German philosopher, psychologist, graphologist, poet, writer, and lecturer, who was a two-time nominee for the Nobel Prize in Literature. In the (rather odious) Germanosphere, he is considered one of the most important thinkers of the 20th century.

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xxx/ellauri075.html on line 459: He is a self-proclaimed satirist whose trademark technique, as a writer, is the expression of extreme acts and opinions in an affectless style. His novels commonly share recurring characters.

xxx/ellauri075.html on line 469: “Reading D.T. Max’s bio I continue to find David Foster Wallace the most tedious, overrated, tortured, pretentious writer of my generation,” Ellis tweeted. “David Foster Wallace was so needy, so conservative, so in need of fans – that I find the halo of sentimentality surrounding him embarrassing.” In several more tweets, he continued, “DFW is the best example of a contemporary male writer lusting for a kind of awful greatness that he simply wasn’t able to achieve. A fraud.”

xxx/ellauri075.html on line 478: “It could be that they’re feeling a bit bored, their lives and careers aren’t as exciting as they once were,” she writes, “the coffee is cold, the croissant not delicious enough, and mischievous people are encouraging them, telling them that their bratty behavior and ill-thought-out rantings are 'a breath of fresh air!'”

xxx/ellauri075.html on line 517:   His numerous letters to the many young homosexual men among his close male friends are more forthcoming. To his homosexual friend, Howard Sturgis, James could write: "I repeat, almost to indiscretion, that I could live with you. Meanwhile I can only try to live without you." In another letter to Howard Sturgis, following a long visit, James refers jocularly to their "happy little congress of two". In letters to Hugh Walpole he pursues convoluted jokes and puns about their relationship, referring to himself as an elephant who "paws you oh so benevolently" and winds about Walpole his "well meaning old trunk".

xxx/ellauri075.html on line 519:   Hugh Walpole had notable authors in his family tree: on his father's side, the novelist and letter writer Horace Walpole. According to Somerset Maugham, Walpole made a sexual proposition to James, who was too inhibited to respond with his well-meaning old trunk.

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xxx/ellauri081.html on line 84: Lindsay Dee Lohan (/ˈloʊhæn/; born July 2, 1986) is an American actress, singer, songwriter, entrepreneur, and television personality. Born and raised in New York, Lohan was signed to Ford Models as a child. Having appeared as a regular on the television soap opera Another World at age 10, her breakthrough came in the Walt Disney Pictures film The Parent Trap (1998). The film's success led to appearances in the television films Life-Size (2000) and Get a Clue (2002), and the big-screen productions Freaky Friday (2003) and Confessions of a Teenage Drama Queen (2004).

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xxx/ellauri084.html on line 797: Edith Wharton (/ˈhwɔːrtən/; born Edith Newbold Jones; January 24, 1862 – August 11, 1937) was an American novelist, short story writer, and designer.

xxx/ellauri084.html on line 819: Millay was a prominent social figure of New York City's Greenwich Village just as it was becoming known as a bohemian writer’s colony, and she was noted for her uninhibited lifestyle, forming many passing relationships with both sexes. A road accident in middle-age left her part-invalided and morphine-dependent for years, yet near the end of her life she wrote some of her greatest poetry.

xxx/ellauri085.html on line 122: Between 1947 and 1950 the workshop produced five films under Peterson's guidance that were influential on the burgeoning American avant-garde cinema, and significant artifacts of the San Francisco Renaissance. In the years that followed, Peterson worked as a consultant for the Museum of Modern Art, made a series of documentary films, penned a novel (A Fly in the Pigment, 1961) and a memoir (The Dark of the Screen, 1980), and worked at Walt Disney Productions as a scriptwriter and storyboard artist on the never completed sequel to Fantasia.

xxx/ellauri085.html on line 194: I write about personal finance, investments, entrepreneurship, and basically what a cheapo I am. I am recording all my learnings and mistakes on my youtube channel. Behavioral Economic + Artificial Int       

xxx/ellauri085.html on line 315: First, anyone who says that a tenured professor cannot be terminated for extremely poor teaching is absolutely and completely wrong. I was. So now I have a lot of free/downtime to write shit to Quora.

xxx/ellauri085.html on line 569: “There is a large political science literature on the power of rich voters and organised business interests to shape public policies in their favour,” the authors write in their report.

xxx/ellauri086.html on line 412:   In October 2016, investigative reporter Claudio Gatti published an article jointly in Il Sole 24 Ore and Frankfurter Allgemeine Zeitung, that relied on financial records related to real estate transactions and royalties payments to draw the conclusion that Anita Raja, a Rome-based translator, is the real author behind the Ferrante pseudonym. Gatti's article was criticized by many in the literary world as a violation of privacy, though Gatti contends that "by announcing that she would lie on occasion, Ferrante has in a way relinquished her right to disappear behind her books and let them live and grow while their author remained unknown. Indeed, she and her publisher seemed to have fed public interest in her true identity." British novelist Matt Haig tweeted, "Think the pursuit to discover the 'real' Elena Ferrante is a disgrace and also pointless. A writer's truest self is the books they write." The writer Jeanette Winterson, in a Guardian article, denounced Gatti's investigations as malicious and sexist, saying "At the bottom of this so-called investigation into Ferrante's identity is an obsessional outrage at the success of a writer – female – who decided to write, publish and promote her books on her own terms." She went on to say that the desire to uncover Ferrante's identity constitutes an act of sexism in itself, and that "Italy is still a Catholic country with strong patriarchial attitudes towards women." Others responding to Gatti's article suggested that knowledge of Ferrante's biography is indeed relevant.

xxx/ellauri086.html on line 420:     Ferrante has repeatedly dismissed suggestions that she is actually a man, telling Vanity Fair in 2015 that questions about her gender are rooted in a presumed "weakness" of female writers.

xxx/ellauri086.html on line 597: "I love this. I've sent myself 5 letters so far and every year it's a surprise. Because I forget so easily. It turns into such a deep reflective process, that I usually weep and laugh while I write." - Margaret Member since 2011.

xxx/ellauri086.html on line 623: A month later, the prefect returns, still unsuccessful in his search. He is motivated to continue his fruitless search by the promise of a large reward, recently doubled, upon the letter's safe return, and he will pay 50,000 francs to anyone who can help him. Dupin asks him to write that check now and he will give him the letter. The prefect is astonished, but knows that Dupin is not joking. He writes the check, and Dupin produces the letter. The prefect determines that it is genuine and races to deliver it to the queen.

xxx/ellauri086.html on line 697: Nathaniel Hawthorne (July 4, 1804 – May 19, 1864) was an American novelist, dark romantic, and short story writer. His works often focus on history, morality, and religion.

xxx/ellauri086.html on line 903: "The Philosophy of Composition" is Edgar Allan Poe's theory about how good writers write when they write well. He concludes that length, "unity of effect" and a logical method are important considerations for good writing. He also makes the assertion that "the death... of a beautiful woman" is "unquestionably the most poetical topic in the world". Poe uses the composition of his own poem "The Raven" as an example. The essay first appeared in the April 1846 issue of Graham's Magazine. It is uncertain if it is an authentic portrayal of Poe's own method. 

xxx/ellauri086.html on line 907:   Poe believed that all literary works should be short. He writes, "[...] there is a distinct limit, as regards length, to all works of literary art — the limit of a single sitting [...]" He especially emphasized this "rule" with regards to poetry, but also noted that the short story is superior to the novel for this reason.

xxx/ellauri086.html on line 913: Poe dismissed the notion of artistic intuition and argued that writing is methodical and analytical, not spontaneous. He writes that no other author has yet admitted this because most writers would "positively shudder at letting the public take a peep behind the scenes... at the fully matured fancies discarded in despair... at the cautious selections and rejections"

xxx/ellauri086.html on line 919:   The essay states Poe's conviction that a work of fiction should be written only after the author has decided how it is to end and which emotional response, or "effect", he wishes to create, commonly known as the "unity of effect". Once this effect has been determined, the writer should decide all other matters pertaining to the composition of the work, including tone, theme, setting, characters, conflict, and plot. In this case, Poe logically decides on "the death... of a beautiful woman" as it "is unquestionably the most poetical topic in the world, and equally is it beyond doubt that the lips best suited for such topic are those of a bereaved lover." Some commentators have taken this to imply that pure poetry can only be attained by the eradication of female beauty. Biographers and critics have often suggested that Poe's obsession with this theme stems from the repeated loss of women throughout his life, including his mother Eliza Poe, his foster mother Frances Allan and, later, his wife Virginia.

xxx/ellauri086.html on line 927: Even the term "Nevermore," he says, is based on logic following the "unity of effect." The sounds in the vowels in particular, he writes, have more meaning than the definition of the word itself. He had previously used words like "Lenore" for the same effect. The raven itself, Poe says, is meant to symbolize Mournful and Never-ending Remembrance. This may imply an autobiographical significance to the poem, alluding to the many people in Poe's life who had died.

xxx/ellauri086.html on line 946: Paikannäyttäjän talo (The Fall of the House of Usher) is a short story by American writer Edgar Allan Poe, first published in 1839 in Burton's Gentleman's Magazine, then included in the collection Tales of the Grotesque and Arabesque in 1840. The short story, a work of Gothic fiction, includes themes of madness, family, isolation, and metaphysical identities.

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xxx/ellauri091.html on line 298: From 1883 to 1884 Hauptmann studied art in Rome and wrote a romantic poem based on the myth of Prometheus. Ill health forced him to return to Germany. In 1885 he married Marie Thienemann; they had four children. Marie Thienemann was a beautiful, rich heiress, whom he had met in 1881, and who supported him through the four years of their engagement. Hauptmann settled with Marie in Berlin. She admired her husband, but did not much understand literature and was devastated when Gerhart's attention strayed. However, her wealth gave him the freedom to start his career as a writer.

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xxx/ellauri103.html on line 168: In 2016 Shriver gave a controversial speech about cultural appropriation. Shriver had previously been criticized for her depiction of Latino and African-American characters in her book The Mandibles, which was described by one critic as racist and by another as politically misguided. In her Brisbane speech, Shriver contested these criticisms, saying writers ought to be entitled to write from any perspective, race, gender or background that they choose, even racist and politically misguided, in fact particularly so, because they sell best.  The full text of her speech was published in the British newspaper The Guardian.

xxx/ellauri103.html on line 182: My thrust is that the socialist ideologies recently come into vogue challenge my right to write fiction at all. Meanwhile, the kind of fiction we are “allowed” to write is in danger of becoming so hedged, so circumscribed, so tippy-toe, that we’d indeed be better off not writing the anodyne drivel to begin with. At least I am, because drivel is all I do.  

xxx/ellauri103.html on line 200: We wouldn’t have Maria McCann’s erotic masterpiece, As Meat Loves Salt – in which a straight woman writes about gay men in the English Civil War. Though the book is nonfiction, it’s worth noting that we also wouldn’t have 1961’s Black Like Me, for which John Howard Griffin committed the now unpardonable sin of “blackface.” Having his skin darkened – Michael Jackson in reverse – Griffin found out what it was like to live as a black man in the segregated American South. He’d be excoriated today, yet that book made a powerful social impact at the time.

xxx/ellauri103.html on line 203: What strikes me about that definition is that “without permission” bit. However are we fiction writers to seek “permission” to use a character from another race or culture, or to employ the vernacular of a group to which we don’t belong? Do we set up a stand on the corner and approach passers-by with a clipboard, getting signatures that grant limited rights to employ an Indonesian character in Chapter Twelve, the way political volunteers get a candidate on the ballot? Anyway, do you really expect us Americans to seek permission from any of those lower races? Did we do so when we appropriated their land and property?

xxx/ellauri103.html on line 206: But this latest and little absurd no-no is part of a larger climate of super-sensitivity, giving rise to proliferating prohibitions supposedly in the interest of social justice that constrain fiction writers and prospectively makes our work impossible.

xxx/ellauri103.html on line 209: So far, the majority of these farcical cases of “appropriation” have concentrated on fashion, dance, and music: At the American Music Awards 2013, Katy Perry got it in the neck for dressing like a geisha. According to the Arab-American writer Randa Jarrar, for someone like me to practice belly dancing is “white appropriation of Eastern dance,” while according to the Daily Beast Iggy Azalea committed “cultural crimes” by imitating African rap and speaking in a “blaccent.” Some of my friends got even told off for painting themselves black with shoe polish and making fat red lips! Now what may be wrong with that, I just ask. Clean innocent fun! Why don't the coons just laugh along? 

xxx/ellauri103.html on line 214: This same sensibility is coming to a bookstore near you. Because who is the appropriator par excellence, really? Who assumes other people’s voices, accents, patois, and distinctive idioms? Who literally puts words into the mouths of people different from themselves? Who dares to get inside the very heads of strangers, who has the chutzpah to project thoughts and feelings into the minds of others, who steals their very souls? Who is a professional kidnapper? Who swipes every sight, smell, sensation, or overheard conversation like a kid in a candy store, and sometimes take notes the better to purloin whole worlds? Who is the premier pickpocket of the arts? The fiction writer, that’s who. Yes, she is a real piece of shit more often than not. I know, I've been there. 

xxx/ellauri103.html on line 220: In his 2009 novel Little Bee, Chris Cleave, who as it happens is participating in this festival, dared to write from the point of view of a 14-year-old Nigerian girl, though he is male, white, and British. I’ll remain neutral on whether he “got away with it” in literary terms, because I haven’t read the book yet. But most likely it is drivel. I love it!

xxx/ellauri103.html on line 221: But in principle, I admire his courage – if only because he invited this kind of ethical forensics in a review out of San Francisco: “When a white male author writes as a young Nigerian girl, is it an act of empathy, or identity theft?” the reviewer asked. “When an author pretends to be someone he is not, he does it to tell a story outside of his own experiential range. But he has to in turn be careful that he is representing his characters, not using them for his plot.” Depends on who gets the money, I'd say. Chris Cleave hardly gave it all away to poor Nigerian gals. 

xxx/ellauri103.html on line 227: What stories are “implicitly ours to tell,” and what boundaries around our own lives are we mandated to remain within? I would argue that any story you can steal is yours to tell, and trying to push the boundaries of the author’s personal experience by usurping other people's is part of a fiction writer’s job. At least of drivelists like me. 

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/ellauri103.html on line 231: Because the ultimate endpoint of keeping out mitts off experience that doesn’t belong to us is that there is no fiction. Someone like me only permits herself to write from the perspective of an ugly straight white female born in North Carolina, closing on sixty, able-bodied but with bad knees, skint for years but finally able to buy the odd new Dolce Cabbana. All that’s left is a memoir. Well, you are right, who would care to read that, in my case at least?

xxx/ellauri103.html on line 233: And here’s the bugbear, here’s where we really can’t win. At the same time that we’re to write about only the few toys that landed in our playpen, we’re also upbraided for failing to portray in our fiction a population that is sufficiently various.

xxx/ellauri103.html on line 242: Besides: which is it to be? We have to tend our own gardens, and only write about ourselves or people just like us because we mustn’t pilfer others’ experience, or we have to people our cast like an I’d like to teach the world to sing Coca-Cola advert?

xxx/ellauri103.html on line 250: Thus in the world of identity politics, fiction writers better be careful. If we do choose to import representatives of protected groups, special rules apply. If a character happens to be black, they have to be treated with kid gloves, and never be placed in scenes that, taken out of context, might seem disrespectful. But that’s no way to write. We know that most criminals are black anyway, and many if not most blacks are criminal. Writing to hide that fact would be writing fiction, and we fiction writers have your responsibility toward the white audience. The burden is too great, the self-examination paralysing. The natural result of that kind of criticism in the Post is that next time I don’t use any black characters, lest they do or say anything that is short of perfectly admirable and lovely. (No ei munkaan olis pitänyt alottaa tätä albumia, jossa haukutaan törkimyxiä jotka sattuu olemaan naisia. Äkkiä se kääntyyy naisten haukkumisexi sillä tekosyyllä, että ne sattuu olemaan törkimyxiä. Ehkä se onkin sitä!)

xxx/ellauri103.html on line 254: Especially for writers from traditionally privileged demographics, the message seems to be that it’s a whole lot safer just to make all your characters from that same demographic, so you can be as hard on them as you care to be, and do with them what you like. Availing yourself of a diverse cast, you are not free; you have inadvertently invited a host of regulations upon your head, as if just having joined the EU. Use different races, ethnicities, and minority gender identities, and you are being watched.

xxx/ellauri103.html on line 255: I confess that this climate of scrutiny has got under my lucidly white skin. When I was first starting out as a novelist, I didn’t hesitate to write black characters, for example, or to avail myself of black dialects, for which, having grown up in the American South, I had a pretty good ear. I am now much more anxious about depicting characters of different races, and accents make me nervous. I try my best to talk average middle class American, but occasionally a few bits of North Carolina slip out. Sorry about that. Here's how I'd sound if I din't steal from anyone but the likes of me:

xxx/ellauri103.html on line 260: In describing a second-generation Mexican American who’s married to one of my main characters in The Mandibles, I took care to write his dialogue in standard American English, to specify that he spoke without an accent, and to explain that he only dropped Spanish expressions tongue-in-cheek. I would certainly think twice – more than twice – about ever writing a whole novel, or even a goodly chunk of one, from the perspective of a character whose race is different from my own – because I may sell myself as an iconoclast, but I’m as anxious as the next person about attracting big money. But I think that’s a loss. I think that indicates a contraction of my fictional universe that is not good for the books, and not good for my purse.

xxx/ellauri103.html on line 264: Now I proceed to the topic "The left’s embrace of gotcha hypersensitivity inevitably invites backlash." Why, it’s largely in order to keep from losing my fictional mojo that I stay off Facebook and Twitter, which could surely install an instinctive self-censorship out of fear of attack. Ten years ago, I gave the opening address of this same festival, in which I maintained that fiction writers have a vested interest in protecting everyone’s right to offend others – because if hurting someone else’s feelings even inadvertently is sufficient justification for muzzling, there will always be someone out there who is miffed by what you say, and freedom of speech is dead. Why, freedom of speech is just about miffing! What's the use of the freedom if you are not allowed to miff! With the rise of identity politics, which privileges a subjective sense of injury as actionable basis for prosecution, that is a battle that in the decade since I last spoke in Brisbane we’ve been losing.

xxx/ellauri103.html on line 268: Regarding identity politics, what’s especially saddened me in my recent career is a trend toward rejecting the advocacy of anyone who does not belong to the group. In 2013, I published Big Brother, a novel that grew out of my loss of my own older brother, who in 2009 died from the complications of morbid obesity. I was moved to write the book not only from grief, but also sympathy of morbid obesity: in the years before his death, as my brother grew heavier, I saw how dreadfully other people treated him – how he would be seated off in a corner of a restaurant, how the staff would roll their eyes at each other after he’d ordered, though he hadn’t requested more food than anyone else. Just a little wafer, is all. 

xxx/ellauri103.html on line 276: I worry that the clamorous world of identity politics is also undermining the very causes its activists claim to back. As a fiction writer, yeah, I do sometimes make my narrator an Armenian. But that’s only by way of a start. Merely being Armenian is not to have a character as I understand the word. I need to add a whole host of racial prejudices to fatten him out. Luckily I didn't need to do that with my bro. 

xxx/ellauri103.html on line 283: I made this same point in relation to gender in Melbourne last week: both as writers and as people, we should be seeking to push beyond the constraining categories into which we have been arbitrarily dropped by birth. If we embrace narrow group-based identities too fiercely, we cling to the very cages in which others would seek to trap us. We pigeonhole ourselves. We limit our own notion of who we are, and in presenting ourselves as one of a membership, a representative of our type, an ambassador of an amalgam, we ask not to be seen. I have done my best to stretch my female identity, and after years of strenuous stretching it is in fact almost as long already as that of my drummer boy's. 

xxx/ellauri103.html on line 290: The last thing we fiction writers need is restrictions on what belongs to us. In a recent interview, our colleague Chris Cleave conceded, “Do I as an Englishman have any right to write a story of a Nigerian woman? … I completely sympathise with the people who say I have no right to do this. My only excuse is that I do it well.”

xxx/ellauri103.html on line 292: Which brings us to my final point. (Believe me, I am slowly really getting to wind up!) You do not all do it equally well as I. So it’s more than possible that we write from the perspective of a one-legged lesbian from Afghanistan and fall flat on our arses. We don’t get the dialogue right, and for insertions of expressions in Pashto we depend on Google Translate. I know, I had to do it for my Irish boy. 

xxx/ellauri103.html on line 297: We fiction writers have to preserve the right to wear many hats – including sombreros. I like sombreros, they make me look tall. I also like to wear cowboy boots with high heels. Unfortunately, no amount of quoting famous novelists won't make me sound smart. My ass is by far the smartest part of me. 

xxx/ellauri103.html on line 303: Lionel Shriver’s keynote address at the Brisbane writers festival was a poisoned package wrapped up in arrogance and delivered with condescension. 

xxx/ellauri103.html on line 307: I have never walked out of a speech. Or I hadn’t, until last night’s opening keynote for the Brisbane writers festival, delivered by the American author Lionel Shriver, best known for her novel, We need to talk about Kevin.

xxx/ellauri103.html on line 320: Her question was — or could have been — an interesting question: What are fiction writers “allowed” to write, given they will never truly know another person’s experience?

xxx/ellauri103.html on line 321: Not every crime writer is a criminal, Shriver said, nor is every author who writes on sexual assault a rapist. “Fiction, by its very nature,” she said, “is fake.”

xxx/ellauri103.html on line 329: On and on it went. Rather than focus on the ultimate question around how we can know an experience we have not had, the argument became a tirade. It became about the fact that a white man should be able to write the experience of a young Nigerian woman and if he sells millions and does a “decent” job — in the eyes of a white woman — he should not be questioned or pilloried in any way. It became about mocking those who ask people to seek permission to use their stories. It became a celebration of the unfettered exploitation of the experiences of others, under the guise of fiction. (For more, Yen-Rong, a volunteer at the festival, wrote a summary on her personal blog about it.)

xxx/ellauri103.html on line 335: It’s not always OK if a white guy writes the story of a Nigerian woman because the actual Nigerian woman can’t get published or reviewed to begin with. It’s not always OK if a straight white woman writes the story of a queer Indigenous man, because when was the last time you heard a queer Indigenous man tell his own story? How is it that said straight white woman will profit from an experience that is not hers, and those with the actual experience never be provided the opportunity? It’s not always OK for a person with the privilege of education and wealth to write the story of a young Indigenous man, filtering the experience of the latter through their own skewed and biased lens, telling a story that likely reinforces an existing narrative which only serves to entrench a disadvantage they need never experience.

xxx/ellauri103.html on line 351: The fact Shriver was given such a prominent platform from which to spew such vitriol shows that we as a society still value this type of rhetoric enough to deem it worthy of a keynote address. The opening of a city’s writers festival could have been graced by any of the brilliant writers and thinkers who challenge us to be more. To be uncomfortable. To progress.

xxx/ellauri103.html on line 435: Two big Harry Potter fan sites, unhappy over author J.K. Rowling’s views on transgender people, said today they will no longer provide links to her personal website, use photos of her, or write about her outside of her role in creating the fantasy world they love.

xxx/ellauri103.html on line 522: Kathryn Lee Gifford (née Epstein; born August 16, 1953) is an American television presenter, singer, songwriter, occasional actress and author. She is best known for her 15-year run (1985–2000) on the talk show Live! with Regis and Kathie Lee, which she co-hosted with Regis Philbin. She is also known for her 11-year run with Hoda Kotb, on the fourth hour of NBC's Today show (2008–2019). She has received 11 Daytime Emmy nominations and won her first Daytime Emmy in 2010 as part of the Today team. Gifford's first television role had been as Tom Kennedy's singer/sidekick on the syndicated version of Name That Tune only in the 1977–1978 season. She also occasionally appeared on the first three hours of Today and was a contributing NBC News correspondent.

xxx/ellauri103.html on line 528: Gifford's paternal grandfather was a Russian Jew from Saint Petersburg and her paternal grandmother had Native American ancestry. Her mother, a relative of writer Rudyard Kipling, was of French Canadian, German and English descent.

xxx/ellauri103.html on line 535:     Kathie Lee was 23 years younger than Frank. They had two children together, Cody Newton Gifford (born March 22, 1990) and Cassidy Erin Gifford (born August 2, 1993). They also shared a birthday: August 16. Frank died on August 9, 2015, from natural causes at their Greenwich, Connecticut, home at the age of 84. In 2017, she released "He Got a Chain Reaction", a very personal song Kathie Lee co-wrote (with songwriter Brett James) and dedicated to her husband. All proceeds from the song went to the international evangelical Christian humanitarian aid charity Samaritan's Purse. Frank's fat inheritance went into Kathie Lee's purse. 

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xxx/ellauri116.html on line 303: Vargas Llosa began his literary career in earnest in 1957 with the publication of his first short stories, "The Leaders" ("Los jefes") and "The Grandfather" ("El abuelo"), while working for two Peruvian newspapers.  Upon his graduation from the National University of San Marcos in 1958, he received a scholarship to study at the Complutense University of Madrid in Spain. In 1960, after his scholarship in Madrid had expired, Vargas Llosa moved to France under the impression that he would receive a scholarship to study there; however, upon arriving in Paris, he learned that his scholarship request was denied. Despite Mario and Julia's unexpected financial status, the couple decided to remain in Paris where he began to write prolifically. Their marriage lasted only a few more years, ending in divorce in 1964. A year later, Vargas Llosa married his first cousin, Patricia Llosa, with whom he had three children: Álvaro (born 1966), a writer and editor; Gonzalo (born 1967), an international civil servant; and Fata Morgana (born 1974), a pornographer. 

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xxx/ellauri121.html on line 278: Atwood married Jim Polk, an American writer, in 1968, but later divorced in 1973. She formed a relationship with fellow novelist Graeme Gibson soon afterward and moved to a farm near Alliston, Ontario, where their daughter, Eleanor Jess Atwood Gibson, was born in 1976. Graeme kuoli dementtinä 2019.

xxx/ellauri121.html on line 289: Peggy kävi kotikoulua. Sen vanhemmat pakkas sen selkäreppuun lähtiessään mezään hyönteisjahtiin. Perhosten nappaajat. She only attended full-time school at eight, in Toronto. Readers of Cat's Eye (1988), a chilling account of the lasting damage of childhood bullying, might expect that these years were problematic, but apart from a fleeting reference to "a horrific Grade 4 teacher" there is no suggestion that Atwood was especially unhappy, though she did recently write that "I was now faced with real life, in the form of other little girls - their prudery and snobbery, their Byzantine social life based on whispering and vicious gossip, and an inability to pick up earthworms without wriggling all over and making mewing noises like a kitten". Mä koitin opettaa Helmiä olemaan inhoomatta matoja 2-vuotiaana. Inhoo se niitä kuitenkin vaikkon biologi. Ja Seija ei voi sietää käärmeitä, se näkee kuumina öinä niistä unia. KKK-äijät marssi kadulla 20-luvulla kuin kihomadot. Niitä kiemurteli valkoisina ruskeiden kiekuroiden kimpussa kakkapotassa kun oltiin pieniä.  

xxx/ellauri121.html on line 306: Atwood’s career as a graduate student stretched, with many interruptions, for half a dozen years. During that period she had an affair with Quebec poet D. G. Jones— which Sullivan mentions so obliquely that it is over before the reader realizes it has begun. She had broken it off, as a result of the stresses caused by his workload. She subsequently courted Jim Polk (an American writer she had met at Harvard) and, in January 1967, she decided to marry him "after five years of equivocation". She also worked at odd jobs including market researcher like Fred Waterford, and despite never finishing her PhD, began a university teaching career that would take her to cities across Canada. At 27, she became the youngest person to ever win the Governor General’s Award with her 1967 poetry collection, The Circle Game. Siitä nousi sille aika lailla kusi päähän. 

xxx/ellauri121.html on line 308: In the early 70s, Atwood added considerably to her work as a teacher and writer by editing manuscripts for the cutting-edge nationalist publisher The House of Anansi. By then, her marriage to Polk was over (Sullivan is vague about why, offering mainly generalities about the difficulty of staying together in that morally freewheeling era. Fact is, Jim Polk was not enough of a handyman for manly Margaret.) In 1972, Atwood met Gibson, a novelist and cultural activist whose own marriage was crumbling. The two began an affair, meeting at first clandestinely in the basement office of Toronto’s Longhouse Bookshop, but soon living together—for several years on a working farm north of the city.

xxx/ellauri121.html on line 312: He too was an author of novels, none of which ever came close to having the kind of success Ms Atwood has always enjoyed, but Gibson himself would have said his greatest success was the support he gave his partner during one of the most amazing careers any writer has ever had, in Canada or in any country. His support was unstinting and inspiring, and allied to it was a conviction that Atwood’s greatness demanded that kind of commitment.

xxx/ellauri121.html on line 318: Atwood and Gibson remain an utterly devoted couple - when a female US novelist famously remarked that "every woman writer should be married to Graeme Gibson", Atwood cheerfully put the compliment on a T-shirt. 

xxx/ellauri121.html on line 323: James "Jim" Polk was the long time editorial director of House of Anansi Press and edited two books by Charles Taylor, as well as work by Margaret Atwood, George Grant, Northrop Frye, and many others. With a literature PhD (which Peggy never finished) he has taught at Harvard, Idaho, Ryerson and Alberta, and has written a comic novel, a stage comedy about Canadian publishing, articles, short stories, and criticism about Canadian writers and writing. As an advisor at the Ontario Ministry of Culture, he worked on grants for theatre and books, developed a tax credit for publishers and remodelled the Trillium Book Prize to include Franco Ontarian writing. He lives in Toronto and, trained as a pianist, still practices daily, playing classics and show-tunes in seclusion. 

xxx/ellauri121.html on line 334: In her admiring new biography of Margaret Atwood, Rosemary Sullivan passes on a story about the writer that vividly catches her youthful ambition. One day when she was in her mid-20s, she dropped in at the home of poet John Newlove, who had been drinking heavily with his friend fellow Prairie writer Patrick Lane. The men’s conversation about literature had degenerated into a series of long silences punctuated by the occasional pseudoprofound utterance. Frustrated, Atwood cut to the heart of the matter, demanding to know what their poetic ambitions were. After some drunken dithering, the two declared that what they wanted most was to win a Governor General’s Award. As Lane recalled later, Atwood was indignant at their modest expectations, declaring tartly that the only goal worth pursuing was the Nobel Prize. Swigging down her beer, she then left the room.

xxx/ellauri121.html on line 336:   Atwood has not won the Nobel (this was written 1998), at least not yet. But the petite 58-year-old novelist (Cat’s Eye, Alias Grace) and poet (Power Politics, Morning in the Burned House) has become internationally famous on a scale no Canadian writer of serious literature ever has. She is, in her own words, “one of the few literary writers who has gotten lucky”—which means she is read not just by intellectuals, but by hairdressers, chartered accountants and farmers. Easy reading, straightforward sentiments.

xxx/ellauri121.html on line 345: Sullivan relates how in 1969, when Atwood was giving her first poetry reading, poet Irving Layton futilely attempted to sabotage the upstart writer by simultaneously reading his own work from the audience. Lisää ainesta käsineitokeitoxeen.

xxx/ellauri121.html on line 369:   "Vihaan lapsia. Ne ovat niin inhimillisiä, tuovat mieleen apinat. SAKI". Whodat? Munro, skotl. lehtimies ja kirjailija. Hector Hugh Munro (18 December 1870 – 14 November 1916), better known by the pen name Saki and also frequently as H. H. Munro, was a British writer whose witty, mischievous and sometimes macabre stories satirize Edwardian society and culture. After his wife's death Charles Munro sent his children, including two-year-old Hector, home to England. The children were sent to Broadgate Villa, in Pilton near Barnstaple, North Devon, to be raised by their grandmother and paternal maiden aunts, Charlotte and Augusta, in a strict and puritanical household. A war fanatic, he was killed by a German sniper. According to several sources, his last words were "Put that bloody cigarette out!" Munro was homosexual at a time when in Britain sexual activity between men was a crime. (Mä ARRVASIN! Sen se oli näkönenkin.) 

xxx/ellauri122.html on line 1080: enne. Siitä huolimatta se ei ollut jutku, vaan päinvastoin kova antisemiitti. "During the last ten years the large percentage of the more talented American writers are urban Jewish intellectuals." Etelän miestä kismitti että New Yorkin jutkut kyynärpäilivät.

xxx/ellauri123.html on line 372: Weinreb grew up in Scheveningen, Netherlands, to which his family had moved in 1916, and became notorious for selling a fictitious escape route for Jews from the occupied Netherlands in the Second World War. When his scheme fell apart in 1944, he left his home in Scheveningen and went into hiding in Ede. He was imprisoned for 3½ years after the war for fraud as well as collaboration with the German occupier. In his memoirs, published in 1969 he maintained that his plans were to give Jews hope for survival and that he had assumed that the liberation of the Netherlands would take place before his customers were deported. The debate about his guilt or innocence—called the “Weinreb affair”—was very heated in the Netherlands in the 1970s, involving noted writers like Renate Rubinstein and Willem Frederik Hermans. In an attempt to end this debate, the government asked the Rijksinstituut Oorlogsdocumentatie (Netherlands institute for war documentation) to investigate the matter. in 1976 the institute issued a report (of which a part already was leaked to the press in 1973), which determined that his memoirs were "a collection of lies and fantasies," and that his collaboration had caused 70 deaths. Although his activities did contribute to some Jews' survival, most Jews who fell for Weinreb's swindle were deported and killed.

xxx/ellauri123.html on line 680: I write for dreamers, doers, and unbroken optimists. For my best articles & book updates, go here: https://niklasgoeke.com/.

xxx/ellauri123.html on line 716: Nabokov´s wife Véra was his strongest supporter and assisted him throughout his lifetime, but Nabokov admitted to having a "prejudice" against women writers. He wrote to Edmund Wilson, who had been making suggestions for his lectures: "I dislike Jane Austen, and am prejudiced, in fact against all women writers. They are in another class." Although Véra worked as his personal translator and secretary, he made publicly known that his ideal translator would be male, and especially not a "Russian-born female". In the first chapter of Glory he attributes the protagonist's similar prejudice to the impressions made by children's writers like Lidiya Charski, and in the short story "The Admiralty Spire" deplores the posturing, snobbery, antisemitism, and cutesiness he considered characteristic of Russian women authors.

xxx/ellauri123.html on line 762: The impassioned Humbert constantly searches for discreet forms of fulfilling his sexual urges, usually via the smallest physical contact with Dolores. When Dolores is sent to summer camp, Humbert receives a letter from Charlotte, who confesses her love for him and gives him an ultimatum – he is to either marry her or move out immediately. Initially terrified, Humbert then begins to see the charm in the situation of being Dolores' stepfather, and so marries Charlotte for instrumental reasons (päästäxeen salaa työntämään Lolan piccu tacoon isoa munakoisoa). Charlotte later discovers Humbert's diary, in which she learns of his desire for her daughter and the disgust Charlotte arouses in him. Shocked and humiliated, Charlotte decides to flee with Dolores and writes letters addressed to her friends warning them of Humbert. Disbelieving Humbert´s false assurance that the diary is a sketch for a future novel, Charlotte runs out of the house to send the letters but is killed by a swerving car. Humbert destroys the letters and retrieves Dolores from camp, claiming that her mother has fallen seriously ill and has been hospitalized. He then takes her to a high-end hotel that Charlotte had earlier recommended. Humbert knows he will feel guilty if he consciously rapes Dolores, and so tricks her into taking a sedative by saying it is a vitamin. As he waits for the pill to take effect, he wanders through the hotel and meets a mysterious man who seems to be aware of Humbert´s plan for Dolores. Humbert excuses himself from the conversation and returns to the hotel room. There, he discovers that he had been fobbed with a milder drug, as Dolores is merely drowsy and wakes up frequently, drifting in and out of sleep. He dares not touch her that night. In the morning, Dolores reveals to Humbert that she actually has already lost her virginity, having engaged in sexual activity with an older boy at a different camp a year ago. He immediately begins sexually abusing (fucking) her. And they lived happily ever after.

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/ellauri123.html on line 769: One of the first things Nabokov makes a point of saying is that, despite John Ray Jr.'s claim in the Foreword, there is no moral to the story. Nabokov concludes the afterword with a reference to his beloved first language, which he abandoned as a writer once he moved to the United States in 1940: "My private tragedy, which cannot, and indeed should not, be anybody's concern, is that I had to abandon my natural idiom, my untrammeled, rich, and infinitely docile Russian language for a second-rate brand of English." Alas, that 'wonderful Russian language' which, I imagined, still awaits me somewhere, which blooms like a faithful spring behind the locked gate to which I, after so many years, still possess the key, turned out to be non-existent, and there is nothing beyond that gate, except for some burned out stumps and hopeless autumnal emptiness, and the key in my hand looks rather like a lock pick. Or floppy prick."

xxx/ellauri123.html on line 1078: looks like Porky Pig) is an American writer of 

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xxx/ellauri123.html on line 1154:   Remu was born in Nogent-le-Rotrou. A nobleman (under the tutelage of the Lorraine family), he did his studies under Marc Antoine Muret and George Buchanan. As a student, he became friends with the young poets Jean de La Péruse, Étienne Jodelle, Jean de La Taille and Pierre de Ronsard and the latter incorporated Remy into the "La Pléiade", a group of revolutionary young poets. Belleau´s first published poems were odes, les Petites Inventions (1556), inspired by the ancient lyric Greek collection attributed to Anacreon and featuring poems of praise for such things as butterflies, oysters, cherries, coral, shadows, turtles, and twats. His last work, les Amours et nouveaux Eschanges des Pierres precieuses (1576), is a poetic description of gems and their properties inspired by medieval and renaissance lapidary catalogues. He died impotent in Paris on 6 March 1577, and was buried in Grands Augustins. Remy Belleau was greatly admired by impotent poets in the twentieth century, such as Francis Ponge. Francis Ponge (1899 Montpellier, Ranska – 1988 Le Bar-sur-Loup, Ranska) oli ranskalainen runoilija. Ponge työskenteli kirjailijanuransa ohella toimittajana, kustannustoimittajana ja ranskan kielen opettajana. Hän osallistui toisen maailmansodan aikana vastarintaliikkeeseen ja kuului vuosina 1937–1947 kommunistipuolueeseen. Hän sai vaikutteita eksistentialismista, ja esinerunoissaan hän paljastaa kielen avulla objektin itsenäisenä, omanlakisena maailmana. Francis Ponge was born in Montpellier, France in 1899. He has been called “the poet of things” because simple objects like a plant, a shell, a cigarette, a pebble, or a piece of soap are the subjects of his prose poems. To transmute commonplace objects by a process of replacing inattention with contemplation was Ponge’s way of heeding Ezra Pound’s edict: ‘Make it new.’ Ponge spent the last 30 years of his life as a recluse at his country home, Mas des Vergers. He suffered from frequent bouts with nervous exhaustion and numerous psychosomatic illnesses. He continued to write up until his death on August 6, 1988. 

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xxx/ellauri123.html on line 1279: Imaginative cobbler Hans Christian Andersen (Danny Kaye) is asked to leave his hometown because his frequent stories are distracting the children from school. From there he moves to Copenhagen, Denmark, where he sees and falls in love with Doro (Jeanmaire), a ballerina. He writes "The Little Mermaid" for her, and it becomes the ballet´s latest work. However, Doro is already married to Niels (Farley Granger), meaning Hans must content himself with children. 

xxx/ellauri124.html on line 440: remarkable that I can still write — and even more remarkable that writing is 

xxx/ellauri124.html on line 554: Haslam Oliver Haslam is a professional freelance writer with nearly ten years of 

xxx/ellauri124.html on line 556: other websites. He writes about all things Apple. Read Full Bio » 

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xxx/ellauri125.html on line 428: From the start, critics complained about the ostensible sameness of Roth’s books, their narcissism and narrowness—or, as he himself put it, comparing his own work to his father’s conversation, “Family, family, family, Newark, Newark, Newark, Jew, Jew, Jew.”  Over time, he took on vast themes—love, lust, loneliness, marriage, masculinity, ambition, community, solitude, loyalty, betrayal, patriotism, rebellion, piety, disgrace, the body, the imagination, American history, mortality, the relentless mistakes of life—and he did so in a variety of forms: comedy, parody, romance, conventional narrative, postmodernism, autofiction. In each performance of a self, Roth captured the same sound and consciousness. in nearly fifty years of reading him I’ve never been more bored. I got to know Roth in the nineteen-nineties, when I interviewed him for this magazine around the time he published “The Human Stain.” To be in his presence was an exhilarating, though hardly relaxing, experience. He was unnervingly present, a condor on a branch, unblinking, alive to everything: the best detail in your story, the slackest points in your argument. His intelligence was immense, his performances and imitations mildly funny. “He who is loved by his parents is a conquistador,” Roth used to say, and he was adored by his parents, though both could be daunting to the young Philip. Herman Roth sold insurance; Bess ruled the family’s modest house, on Summit Avenue, in a neighborhood of European Jewish immigrants, their children and grandchildren. There was little money, very few books.  Roth was not an academic prodigy; his teachers sensed his street intelligence but they were not overawed by his classroom performance.  Roth learned to write through imitation. His first published story, “The Day It Snowed,” was so thoroughly Truman Capote that, he later remarked, he made “Capote look like a longshoreman.”

xxx/ellauri125.html on line 440: Roth, Bailey writes, “realized he’d been whistling the entire ride.” Not a 

xxx/ellauri125.html on line 453: on the writer Bernard Malamud, but Henry Roth is a major influence, as becomes clear in Exit Ghost. It is known that Philip Roth has read the later novels of 

xxx/ellauri125.html on line 457: suffered from writer's block for much of his career after publishing Call It 

xxx/ellauri125.html on line 459: incestuous affair with his sister — which led to his writer's block — and the fact 

xxx/ellauri125.html on line 465: writer who found success later in life after his 1934 novel Call It Sleep was 

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.

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xxx/ellauri125.html on line 510: perceive you are much addicted.  All great writers on health and 

xxx/ellauri125.html on line 513: writers have taken one side, some the other.

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xxx/ellauri125.html on line 750: Courtney Michelle Harrison was born on July 9, 1964, at Saint Francis Memorial Hospital in San Francisco, California, the first child of psychotherapist Linda Carroll (née Risi) and Hank Harrison, a publisher and road manager for the Grateful Dead. Her parents met at a party held for Dizzy Gillespie in 1963. Her mother, who was adopted at birth and raised by an Italian-American family in San Francisco, was the biological daughter of novelist Paula Fox; Love's maternal great-grandmother was screenwriter Elsie Fox. Phil Lesh, the founding bassist of the Grateful Dead, is Love's godfather. According to Love, she was named after Courtney Farrell, the protagonist of Pamela Moore's 1956 novel Chocolates for Breakfast. Love is of Cuban, English, German, Irish, and Welsh descent.

xxx/ellauri126.html on line 311:   The ideas Chopra promotes have regularly been criticized by medical and scientific professionals as pseudoscience. The criticism has been described as ranging "from the dismissive to...damning". Philosopher Robert Carroll writes that Chopra, to justify his teachings, attempts to integrate Ayurveda with quantum mechanics. Chopra says that what he calls "quantum healing" cures any manner of ailments, including cancer, through effects that he claims are literally based on the same principles as quantum mechanics. This has led physicists to object to his use of the term "quantum" in reference to medical conditions and the human body. Evolutionary biologist Richard Dawkins has said that Chopra uses "quantum jargon as plausible-sounding hocus pocus". Chopra's treatments generally elicit nothing but a placebo response and have drawn criticism that the unwarranted claims made for them may raise "false hope" and lure sick people away from legitimate medical treatments.

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xxx/ellauri127.html on line 114: Only now, 40 years after his death, are some critics daring to suggest that many of his 18 novels are mediocre at best and that his masterpiece, “Lolita,” is a gruesome celebration of pedophile rape. Moreover the cherubic writer known to us from famous Life magazine photo shoots, jauntily brandishing his butterfly net in the Tetons or the Alps, proves to be a nasty piece of work. Distasteful people can do wonderful work — Pablo Picasso was no walk in the park — but their art doesn’t excuse their obnoxious behavior.

xxx/ellauri127.html on line 132: Dostoyevsky, Nabokov told anyone who would listen, was “a third-rate writer and his fame is incomprehensible.” He called Henry James “that pale porpoise.” Philip Roth? “Farcical.” Norman Mailer? “I detest everything that he stands for.” T. S. Eliot and Thomas Mann were “fakes.” When his friend Wilson suggested that he include Jane Austen in his Cornell survey course on European literature, Nabokov responded, “I dislike Jane [Austen] and am prejudiced, in fact, against all women writers.” Leo Tolstoy and Nikolai Gogol: da. Everybody else: nyet.

xxx/ellauri127.html on line 136: Nabokov clearly had an idee fixe about (undeserving?) Russian writers winning the Nobel Prize. Like Alexander Solzhenitsyn, whose work he dismissed as “juicy journalese.”

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xxx/ellauri127.html on line 492: In the summer of 1998, 71-year-old Silk approaches Zuckerman, hoping that the writer will lend his talents to his case against the college. Zuckerman is uninterested, but the two begin a brief friendship and Silk tells him his life story, beginning with his adolescence in Essex County, New Jersey. Zuckerman reveals to the reader that Silk is secretly a light-skinned African-American who has been "passing" as a Jew since a stint in the Navy during World War II. Silk completes graduate school at New York University, marries a Jewish woman (Iris) and has four children, none of whom are aware of their father's real ancestry.

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xxx/ellauri128.html on line 429:       Marya Mannes, in full Maria von Heimburg Mannes, (born Nov. 14, 1904, New York, N.Y., U.S.—died Sept. 13, 1990, San Francisco, Calif.), American writer and critic, known for her caustic but insightful observations of American life.. Mannes was the daughter of Clara Damrosch Mannes and David Mannes, both distinguished musicians. She was educated privately and benefited from the cultural ...      

xxx/ellauri128.html on line 460: He was born in York and grew up in and near Birmingham in a professional middle-class family. He attended English independent (or public) schools and studied English at Christ Church, Oxford. After a few months in Berlin in 1928–29, he spent five years (1930–35) teaching in British private preparatory schools, then travelled to Iceland and China to write books about his journeys. In 1939 he moved to the United States and became an American citizen in 1946, retaining his British citizenship. Auden oli homopetteri. 

xxx/ellauri128.html on line 488: Peter Alexander Freiherr von Ustinov (16 April 1921 – 28 March 2004) was born at 45 Belsize Park, London, England. His father, Jona Freiherr von Ustinov, was of Russian, German, Polish, and Ethiopian Jewish descent. Peter´s paternal grandfather was Baron Plato von Ustinov, a Russian noble, and his grandmother was Magdalena Hall, of mixed German-Ethiopian-Jewish origin. Peter was a British actor, filmmaker and writer and a fixture on television talk shows and lecture circuits for much of his career. Peter oli kuraverinen äiskän puolelta. 

xxx/ellauri128.html on line 491: In 1959, Ciardi published a book on how to read, write, and teach poetry, How Does a Poem Mean?, which has proven to be among the most-used books of its kind.

xxx/ellauri128.html on line 515: Elbert Green Hubbard (June 19, 1856 – May 7, 1915) was an American writer, publisher, artist, and philosopher. Raised in Hudson, Illinois, he had early success as a traveling salesman for the Larkin Soap Company. Hubbard is known best as the founder of the Roycroft artisan community in East Aurora, New York, an influential exponent of the Arts and Crafts Movement.

xxx/ellauri128.html on line 582: evolution, and his father was writer and editor Leonard Huxley. Huxley´s mother was Julia Arnold (1862–1908), a graduate of Somerville College, Oxford, who had gained a First in English Literature there in 1882. Julia and Leonard married in 1885 and they had four children: Margaret (1899–1981), the novelist Aldous, Trevenen and Julian. 

xxx/ellauri128.html on line 595: Margaret Caroline Anderson (November 24, 1886 – October 19, 1973) was the American founder, editor and publisher of the art and literary magazine The Little Review, which published a collection of modern American, English and Irish writers between 1914 and 1929. The periodical is most noted for introducing many prominent American and British writers of the 20th century, such as Ezra Pound and T. S. Eliot in the United States, and publishing the first thirteen chapters of James Joyce's then-unpublished novel, Ulysses. A large collection of her papers on Gurdjieff's teaching is now preserved at Beinecke Rare Book and Manuscript Library, Yale University. She was blond, shapely, with lean ankles and a Scandinavian face. ... In 1916, Anderson met Jane Heap. The two became lovers. In early 1924, through Alfred Richard Orage, Anderson came to know of spiritual teacher George Ivanovitch Gurdjieff, and saw performances of his 'Sacred dances', first at the 'Neighbourhood Playhouse', and later at Carnegie Hall. Shortly after Gurdjieff's automobile accident, Anderson, along with Georgette Leblanc, Jane Heap and Monique Surrere, moved to France to visit him at Fountainebleau-Avon, where he had set up his institute at Château du Prieuré in Avon.

xxx/ellauri129.html on line 677: Henry Jones (2 November 1831 – 10 February 1899) was an English writer under the name "Cavendish", an authority on whist and other card games, tennis and other lawn games. Aivan vitun iso hipsterparta muttei wiixiä. Haavuri "Dervishi" Jonesin poikia. Loppupeleissä Henryllä meni aika heikosti.

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xxx/ellauri136.html on line 82: Lucia Toman´s credentials: Doctoral researcher in Literature. MA in Comparative Literature & Literary Analysis and Criticism, Goldsmiths, University of London · Graduated 2018. A voracious reader · Literature. Reads extensively and has published on Jungian psychology · Jungian Psychology. Avid reader, writer and doctoral student in literature · Literature. PhD researcher interested in Jungian psychoanalysis · Jungian Psychological Type. Knows French. Knows Slovak. Knows Czech. Bet her family is Bohemian (or Moravian perhaps). 

xxx/ellauri136.html on line 161: Working on The Bible. That’s all I have to write here.  

xxx/ellauri136.html on line 177: There will be some hero somewhere no matter how small of an influence he or she has on the villain. Not every character is just going to accept the villain. And if they do, that’s going to be a very boring book. With writes, -Andy Ruffe

xxx/ellauri136.html on line 179: Do you always follow your personal rules when you write a book?

xxx/ellauri136.html on line 180: The idea of writing a book is so you can break all your rules, personal or not. The point of a writer is to write about characters you probably could never become or want to become. The best writers write outside of themselves. But with that written, not all writers write fiction. Some write memoirs or autobiographies. But maybe the personal rule they are breaking is publishing their personal life.

xxx/ellauri136.html on line 677: Samuel Pepys writes,

xxx/ellauri137.html on line 637: Edward Eriksson writes novels, plays, and travel essays. This is his third novel, his others being "Moonbeam in My Pocket, a Mystery of the Negro League" and "Flamingo Desires," a crime story set on Long Island.

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xxx/ellauri137.html on line 742: From 2003 to 2004, Harding competed as a professional boxer. Her life has been the subject of many books, films, documentaries, and academic studies. In 2014, two television documentaries were made about Harding´s life and skating career (Nancy & Tonya and The Price of Gold), inspiring Steven Rogers to write the film I, Tonya in 2017, in which Harding was portrayed by Australian actress Margot Robbie. In 2018, she was a contestant on season 26 of Dancing with the Stars, finishing in third place. In 2019, she won season 16 of Worst Cooks in America: Celebrity Edition.

xxx/ellauri137.html on line 759: I wish I knew of a better writer dealing with Japanese culture/art history & mystery. Tale of Genji perhaps. Naah it's boring. The pillow book. That's a good one.

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.

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xxx/ellauri138.html on line 263: Llewellyn - who declined to be interviewed by Bailey - said she was more upset by what was left out in the biography, making it seem like she was a marginal figure in Roth's life, an adventure that didn't work out. "My intimacy with Philip was not in keeping with the story Blake was trying to write " she said.

xxx/ellauri138.html on line 303:     So none of it was new, but all of it was upsetting. Philip's manuscript was the saddest thing I'd ever read. I read three or four different drafts and most of my feedback encouraged him to write the good with the bad. 'No one will believe you if you don't admit at one point you loved her. Be the gracious one.'

xxx/ellauri139.html on line 1078: During his trial, he fiercely defended his crimes as a valid protest against social injustice. He turned the judicial proceedings into a theatrical event and his prison cell into a salon. He made a lasting impression upon French society and upon several writers, such as Balzac and Dostoevsky. 

xxx/ellauri139.html on line 1215: No se saakin vaan 8v pyttyä 2x kirvesmurhasta kun tunnusti niin kiltisti (ollaanhan Ryssissä, ja nirhatut ämmät oli takuulla jutkuja). Isosieraiminen Sonja seuraa Raskolnikovia Siperiaan krusifixeineen ja käännyttää sen kotia. Että onkin narsistinen juoni tässäkin, ja tosi sekava. Sellaisia tulee sarjoista joita scriptwriterit kexasee as they go.

xxx/ellauri148.html on line 84: Though the success and long life of World Hooray Day came as a surprise, McCormack says that he has wanted to write and act since he was seven years old and is not surprised to find himself doing it (= wanting) still decades later. McCormack, who took off for New York City immediately after graduation, said that his time at Harvard, though enjoyable, did not influence his career path.

xxx/ellauri148.html on line 86: The editor of the first-year literary magazine and a writer for the Lampoon, a semi-secret Sorrento Square organization that occasionally publishes a so-called humor magazine, McCormack says his writing experiences during college simply confirmed his future plans. "I was headed where I was headed and [Harvard] was the mosta humorous place to be along the way," he says.

xxx/ellauri148.html on line 161: Tää oli Moshelta hyvä veto sikäli että nää lisäyxet päihittää kristinuskon tärkeimmät vetolaastarit, lunastuskaupan luottokortin ja taivastoivon. Maimonides further explains in his work on the Halakhic code, the Yad haHazaqa (“The Strong Hand”), also known as the Mishne Torah (Second Torah) the view of redemption and the role Messiah will play. Maimonides summarizes the Jewish expectation of the Messiah.  But the expectation of Messiah, is not limited to Maimonides comments, quotes from the Talmud, Targum, Midrash, Zohar and other writings give us a vivid picture of the expectation in the Jewish world of the times of Messiah. Messianic expectation in Rabbinic times (A.D.135-1750) and in the time of Yeshua may have changed over the years. For example in the time of Yeshua, The Temple existed and Israel was not scattered abroad as is the case today. In the days of Maimonides, there was no Israel and no Temple, and Jews were persecuted in Europe.  Here we quote from Raphael Patai’s work, The Messiah Texts on pages 322-327, his translation of the Mishne Torah, Maimonides writes the following.

xxx/ellauri148.html on line 186: Maimonides writes that if these events happen then the person is Messiah.  Maimonides built on what the sages who preceded him expected, such as Rabbi Akiba who proclaimed Bar Kokhba was the Messiah.

xxx/ellauri148.html on line 213: The Jewish Bible and rabbinical writers clearly teach the role of Elijah as forerunner of the Messiah.  The final last prophet, Malachi foretells the coming of Elijah, who caught up into heaven, awaits the great terrible day of the Lord, when he will be revealed to Israel.

xxx/ellauri148.html on line 444: In Sheffield, there was Philosophy for Creatives on World Philosophy Day by Rosie Carnall.In this workshop you will develop and explore big questions in group discussion before working on your own piece of creative writing. The discussion activities open up creative thinking to get you inspired and full of ideas. There will be an opportunity to share from your work if you wish to. This workshop will be lively, fun, creative and thought provoking. "Mind-blowing!" according to a previous participant -in a good way! It includes structured activities and space to do your own writing. Come with an open mind and something to write on -thinking hats are optional.   

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xxx/ellauri149.html on line 421: In the related trope called Foe Yay, even rivals or mortal enemies can get this treatment by fans and writers alike, especially if they have a more friendly past together, or one is inordinately obsessed with the other. In Fan Fic, this is the direct cause of many a Slash Fic. 

xxx/ellauri157.html on line 66: You can’t just write and write and put things in a drawer. They wither without the warm sun of someone else’s appreciation. When I cannot write a poem, I eat biscuits and feel just as pleased.

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xxx/ellauri157.html on line 449: Rabbi Nachman of Breslau (1772–1810) reminds us, in the same way that breaking is an inevitability, fixing is also an inevitability. We know the former is true; we don’t always believe the latter.Rabbi Nachman knew a thing or two about brokenness. His Hasidic tales often circle around characters who face their darkest moments and search profoundly for redemption. He authored a quote that became a famous Jewish song: “The entire world is a very narrow bridge. The key in crossing is not to be afraid. Only someone who has seen fear and overcome it could write these words.

xxx/ellauri157.html on line 512:     Once and for all, it must be made public that Hesse is a classic example of how the Jew can poison the soul of the German people. For if at that time, when he took no delight in the war…he had not fallen into the clutches of the Jew Freud and his psychoanalysis, he would have remained the German writer we all loved so well. The warping of his soul can only be ascribed to this Jewish influence.

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xxx/ellauri165.html on line 344: Soon after this, the Prince of Wales (later King George IV) became infatuated with Emma, leading Nelson to be consumed by jealousy, and inspiring a remarkable letter by Sir William to Nelson, assuring him that she was being faithful. In late February, Nelson returned to London and met his daughter at Mrs Gibson's. Nelson's family were aware of the pregnancy, and his clergyman brother Rev. William Nelson wrote to Emma praising her virtue and goodness. Nelson and Emma continued to write letters to each other when he was away at sea, and she kept every one. While he was away too, she arranged for her mother to visit the Kidds in Hawarden and her daughter in Manchester.

xxx/ellauri165.html on line 378: She moved from Clarges Street to a cheaper home at 136 Bond Street, but could not bring herself to relinquish Merton. Her brother, William, blackmailed her into giving him money, and Mrs Cadogan's sister's family, the Connors, were also expecting handouts. Emma Carew came for a short summer visit in late June 1806, at which point Sir Harry Fetherstonhaugh sent £500 for the benefit of mother and daughter. Emma hosted and employed James Harrison for 6 months to write a two-volume Life of Nelson, which made it clear that Horatia was his child. She continued to entertain at Merton, including the Prince of Wales and the Dukes of Sussex and Clarence, but no favours were returned by the royals.

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xxx/ellauri165.html on line 660: According to the Alliance Commission on Unity & Truth among Evangelicals (ACUTE) the majority of Protestants have held that hell will be a place of perpetual conscious torment, both physical and spiritual. This is known as the eternal conscious torment (ECT) view. Some recent writers such as Anglican layman C. S. Lewis[86] and J.P. Moreland have cast people to hell in terms of "eternal separation" from God. Certain biblical texts have led some theologians[who?] to the conclusion that punishment in hell, though eternal and irrevocable, will be proportional to the deeds of each soul (e.g., Matthew 10:15, Luke 12:46-48).

xxx/ellauri166.html on line 225: Laughing is ascribed unto him, according to the language of men, as the Jewish writers speak (d), by an anthropopathy; in the same sense as he is said to repent and grieve, Genesis 6:6; and expresses his security from all their attempts, Job 5:22; and the contempt he has them in, and the certain punishment of them, and the aggravation of it; who will not only then laugh at them himself, but expose them to the laughter and scorn of others, Proverbs 1:26;

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xxx/ellauri167.html on line 90:   Gustav Davidson (Warsaw, Poland, 1895 – New York City, 6 February 1971) was an American poet, writer, and publisher. He was one time secretary of the Poetry Society of America. Gustav Davidson was born on December 25, 1895, in Warsaw, Poland. In the wake of anti-Jewish pogroms in Poland, his family fled to the United States, settling in New York City in 1907. Davidson received bachelor's and master's degrees at Columbia University in 1919 and 1920 respectively. He worked for the Library of Congress between 1938 and 1939 and became executive secretary of the Poetry Society of America from 1949 to 1965 (after which he was elected executive secretary emeritus).

xxx/ellauri167.html on line 93: He is today best remembered as the author of A Dictionary of Angels, Including the Fallen Angels (1967), a populist work detailing the types of angel classes and their roles. This was a popularised compendium of angelology from Talmud, kabbalah, medieval occult writers, gothic grimoires and other sources.

xxx/ellauri167.html on line 216: He writes children's stories. She designs spaces. A diagnosis of cancer hits the pimply slavonic lady. He leaves everything (what?) to be with her. More time goes by than expected and she still alive. In a story this should be a gift. In real life, however, many couples go into crisis because cancer lasts longer than expected. Not knowing how much time remains to wait can be an even stronger sentence than death itself. You could be making new bad choices, instead you are faced with a sacrifice that is sustainable only for a limited time. It seems absurd. This story is about a love that is forced to wonder how long it can last. Not very long, which is fortunate for a short film. Titulokuvassa on jotain ällöjä sieniä.

xxx/ellauri167.html on line 496:     I write under the Signature of Cicero. Whether my Endeavours shall benefit the Public Time alone can evince. Harm I am conscious I do not design. Should your Excellency have Leisure to peruse the Piece, I shall deem it a peculiar Favour to receive your Opinion upon it”

xxx/ellauri167.html on line 505:     Revd Sir: I have your favor of the 17th. instant before me; and my only motive to trouble you with the receipt of this letter, is to explain, and correct a mistake which I perceive the hurry in which I am obliged, often, to write letters, have led you into.

xxx/ellauri167.html on line 594: By early October of 1968, CBS received 8,670 letters about Chicago, and 60 Minutes’ Harry Reasoner reported that the mail ran 11-to-1 against the network. A viewer in Ohio wrote, “I’ve never seen such a disgusting display of one-sided reporting in all of the years I’ve watched television.” From South Carolina, a letter writer griped, “Your coverage was … slanted in favor of the hoodlums and beatniks and slurred the police trying to preserve order.” A North Carolina viewer complained that, “When a great network refers to trouble makers as THESE YOUNG PEOPLE and in such a … tender tone, that is bias.” A New Yorker even suggested that the police had engaged in righteous violence: “Our Lord whipped the money lenders out of the temple. Are you going to accuse Him of brutality?”

xxx/ellauri167.html on line 608: Robert Joseph Shea (February 14, 1933 – March 10, 1994) was an American novelist and former journalist best known as co-author with Robert Anton Wilson of the science fantasy trilogy Illuminatus!. It became a cult success and was later turned into a marathon-length stage show put on at the British National Theatre and elsewhere. In 1986 it won the Prometheus Hall of Fame Award. Shea went on to write several action novels based in exotic historical settings.

xxx/ellauri167.html on line 620:   The Illuminatus! Trilogy is a series of three novels by American writers Robert Shea and Robert Anton Wilson, first published in 1975. The trilogy is a satirical, postmodern, science fiction–influenced adventure story; a drug-, sex-, and magic-laden trek through a number of conspiracy theories, both historical and imaginary, related to the authors´ version of the Illuminati. The narrative often switches between third- and first-person perspectives in a nonlinear narrative. It is thematically dense, covering topics like counterculture, numerology, and Discordianism.

xxx/ellauri168.html on line 97: American intellectual Noam Chomsky, author of the 1994 book World Orders Old and New, often describes the "new world order" as a post-Cold-War era in which "the New World gives the orders". Commenting on the 1999 U.S.-NATO bombing of Serbia, he writes:

xxx/ellauri168.html on line 233:         writes("Hello World\n")

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xxx/ellauri170.html on line 552:    Do you give talks? Could I write to you personally? Can I meet you?

xxx/ellauri170.html on line 876:   George Robert Stow Mead (22 March 1863 in Peckham, Surrey – 28 September 1933 in London) was an English historian, writer, editor, translator, and an influential member of the Theosophical Society, as well as the founder of the Quest Society. His scholarly works dealt mainly with the Hermetic and Gnostic religions of Late Antiquity, and were very exhausting.

xxx/ellauri173.html on line 263: Er wollte sich – im Alter von 65 Jahren – als Landwirt betätigen. Hier verlebte der Dichter seit 1798 im Kreise der großen Familie (seine Gattin hatte in 20 Jahren glucklicherweise nur sieben überlebende Kinder geboren) einige glückliche und produktive Jahre. Seine frühere Verlobte, Sophie von La Roche, besuchte ihn mit ihrer Enkelin Sophie Brentano, mit der sich eine enge Freundschaft entwickelte. Hier besuchte ihn auch Heinrich von Kleist mit dem zerbrochenen Krug. Und so ging es heiter writer bis er starb.

xxx/ellauri176.html on line 57: 	Havelock argues that the story of Phryne swimming naked in the sea is probably a sensationalized fabrication. Because Plutarch saw the statues in Thespiae and Delphi himself. Cavallini does not doubt their existence. She does think that the love between Praxiteles and Phryne was an invention of later biographers. Thebes was restored in 315 or 316 BC, but it is doubtful if Phryne ever proposed to rebuild its walls. Diodorus Siculus writes that the Athenians rebuilt the greater part of the wall and that Cassander provided more aid later. He makes no mention of Phryne's alleged offer.

xxx/ellauri176.html on line 63: The best known event in Phryne's life is her trial. Athenaeus writes that she was prosecuted for a capital charge and defended by the orator Hypereides, who was one of her lovers. Athenaeus does not specify the nature of the charge, but Pseudo-Plutarch writes that she was accused of impiety. The speech for the prosecution was written by Anaximenes of Lampsacus according to Diodorus Periegetes. When it seemed as if the verdict would be unfavourable, Hypereides removed Phryne's robe and bared her breasts before the judges to arouse their "pity". Her beauty instilled the judges with a superstitious fear, who could not bring themselves to condemn "a prophetess and priestess of Aphrodite" to death. They decided to acquit her out of "pity". Pity ja piety on sama sana. Molemmat tulee sanasta 'pipu' (lat. penis). 

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xxx/ellauri177.html on line 205:   The 24th feature from Hong Sangsoo, doppelgänger of the talkative celeb guy in the last scene of the movie THE WOMAN WHO RAN follows Gamhee (Kim Minhee), a florist and the wife of a translator who never in 5 years time has left her for a moment from his sight. She has three separate encounters with friends while her husband finally is on a business trip. Youngsoon (Seo Youngwha) is divorced, turned lesbian (the couple likes to feed alley cats) and has given up meat and likes to garden in the backyard of her semi-detached house. Suyoung (Song Seonmi) is divorced, has a big savings account and a crush on her architect neighbor and is being hounded by a young poet she met at the bar. Woojin (Kim Saebyuk) works for a movie theater and hates it that her writer husband has become a celeb. Their meetings are polite, but not warm. Some of their shared history bubbles to the surface, but not much. With characteristic humor and grace, Hong takes a simple premise and spins a web of interconnecting philosophies and coincidences. THE WOMAN WHO RAN is a subtle, powerful look at dramas small and large faced by women everywhere. Basically, they are 40+ ladies who may have met at some art school and get a chance to compare notes on how well their childless lives have turned out. Gamhee used to be the celeb's girl friend until the movie theater attendant stole the guy. Now both of them are sorry that she did, but really not that much. The Éric Rohmer of South Korea.

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xxx/ellauri178.html on line 111:   Tästä aiheesta piti Pilin tehdä term paper mutta se bylsikin vaan Lontoossa kahta (2) ruozalaista tyttöä jotka tiesivät että WW2 oli kaikkien syytä. Pili jenkkijutkuna meinas saada hepulin. Bettan koitti tehdä izarin ja Pili syytti siitä Gittania. Vitun Raskolnikov, tai Puddinhead Wilson. Pudd'nhead Wilson (1894) is a novel by American writer Mark Twain. Its central intrigue revolves around two boys—one, born into slavery, with 1/32 black ancestry; the other, white, born to be the master of the house. The two boys, who look similar, are switched at infancy. Each grows into the other's social role.

xxx/ellauri178.html on line 132: “I wanted to be morally serious like Joseph Conrad,” Roth said of his young self. “I wanted to exhibit my dark knowledge like Faulkner. I wanted to write literature. Instead I took my dick's advice and wrote Portnoy's Complaint.” Stern, a lifelong friend, had noticed “a discrepancy between Philip as he told stories and Philip as he wrote stories.” The advice was of course excellent, with the resulting work putting Roth squarely in the middle of the literary map. Saatuaan juutalaisten palkinnon Roth sanoi et enää puuttuu feministipalkinto ja Kakutani Prize.

xxx/ellauri178.html on line 136: Kakutani reviewed Norman Mailer’s 2006 novel The Gospel According to the Sun, a first-person autobiographical retelling of the Bible from the perspective of Jesus himself. She called it “a silly, self-important and at times inadvertently comical book that reads like a combination of Godspell, Nikos Kazantzakis’ Last Temptation of Christ and one of those new, dumbed-down Bible translations”;  Mailer, never one to shy away from a writerly squabble, called Kakutani a “one-woman kamikaze”.

xxx/ellauri178.html on line 138: While she wrote that the 1,096-page epic cemented Foster-Wallace as “one of the big talents of his generation, a writer of virtuosic talents who can seemingly do anything”, she also quoted Henry James in calling Jest a “loose, baggy monster”, adding that it read like a “vast, encyclopedic compendium of whatever seems to have crossed Mr Wallace’s mind”. In his 2012 biography of the late Foster-Wallace, DT Max wrote that the writer “told a friend he hid in his room for two days and cried after reading yet another paragraph of Rei devoted to parallels between his first book and Pynchon’s most popular novel”.

xxx/ellauri178.html on line 145: Isaac Singer’s response to his critics: “ ‘Why do you write about Jewish thieves and Jewish prostitutes?’ . . . ‘Shall I write about Spanish thieves and Spanish prostitutes? I write about the thieves and prostitutes that I know.’"

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xxx/ellauri179.html on line 149:   The Jewish Princeton man and writer Cohn believes in love, romance and the ideals he finds in literature but he gets on the nerves of most of the other men in the novel by the way he pathetically hangs around Brett and with his "superior, Jewish" way. He becomes a target for the other men's dissatisfaction.

xxx/ellauri179.html on line 155:     Bill Gorton is Kake's buddy from the war. A writer who moved back to America after the war, he is a joker, using humor to disguise the horrors of the war. He doesn't mind, for his penis remains shipshape and intact.  He goes along with the group, unattached to Brett but getting caught up in the romantic business anyway.

xxx/ellauri179.html on line 181: Whereas Hemingway wrote passionately about boxing and his own prowess, others, like Dempsey, saw something else. “There were a lot of Americans in Paris and I sparred with a couple, just to be obliging,” the Champ said. “But there was one fellow I wouldn’t mix it with. That was Ernest Hemingway. He was about twenty-five or so and in good shape, and I was getting so I could read people, or anyway men, pretty well. I had this sense that Hemingway, who really thought he could box, would come out of the corner like a madman. To stop him, I would have to hurt him badly, I didn’t want to do that to Hemingway. That’s why I never sparred with him.” Hemingway’s frequent sparring partner and fellow writer Morley Callaghan offered another sobering account of his training partner, saying, “we were two amateur boxers. The difference between us was that Ernie had given time and imagination to boxing; I had actually worked out a lot with good fast college boxers.” I had never seen Mr. Hemingway box, of course. But I will say this: the confidence of mediocre men is a fucking superpower. I have met many versions of this guy. Hell, I’ve sparred with the dude myself.

xxx/ellauri179.html on line 201:   Still, the fact that they bring up Hemingway’s Catholicism at all confirmed my own suspicions of a deeper, clear-eyed spiritual sensibility lurking behind all of Hemingway’s naturalistic plots — forcing me to reconsider everything I had previously thought about the man. I see Catholicism as playing a central role in Hemingway’s literary vision and moral landscape.  Non-catholics just turn  away from the religious clues in his work to focus on his public image, war exploits, and psychological instability — all the while missing that singularly under-reported and significant aspect of Hemingway’s life as a writer: his Catholicism.

xxx/ellauri179.html on line 216:   Unfortunately, his subsequent divorces and additional marriages, drunken brawling, domestic abuse, poison pen letters, paranoia, megalomania, and habitual womanizing tarnished his youthful sense of himself as a “super-Catholic.” Hemingway never wanted to be known as a “Catholic writer” because he simply felt he couldn’t live up to the responsibility.

xxx/ellauri179.html on line 218:     In a letter to his friend Father Vincent Donavan in 1927 just before he married his second wife, Hemingway wrote, “I have always had more faith than intelligence or knowledge and I have never wanted to be known as a Catholic writer because I know the importance of setting an example — and I have never set a good example.”

xxx/ellauri179.html on line 233: Of the 7 suicides that Mariel Hemingway is aware of in her family, 1 was of Ernest’s father, & 3 of his father’s 6 children (if one assumes that Hemingway did commit suicide). There still is no official decision–and there may never be–as to whether the death of the writer early Sunday from the blast of a 12-gauge shotgun had been an accident or suicide. However, the fact that Mr. Hemingway had been divorced would bar him from a Catholic Church funeral anyway. Catholic sources said there was nothing improper in a Catholic  priest saying prayers at graveside.

xxx/ellauri179.html on line 292:   His works were burnt in the bonfire in Berlin on May 10, 1933 as being a monument of modern decadence. That was a major proof of the writer’s significance and a step toward world fame.

xxx/ellauri179.html on line 296:   In Hemingway, sentimentality, sympathy, and empathy are turned inwards, toward himself. Neither Hemingway the man nor Hemingway the writer should be labeled “hard-boiled” -  his macho style of living and speaking and the alleged hard-boiled mind behind it are better labeled "addled".

xxx/ellauri179.html on line 298:   An unmatched introduction to Hemingway’s particular skill as a writer is the beginning of A Farewell to Arms, certainly one of the most pregnant opening paragraphs in the history of the modern American novel. In that passage the power of concentration reaches a peak, forming a vivid and charged sequence, as if it were a 10-second video summary. It is packed with events and excitement, yet significantly frosty, as if unresponsive and numb, like a silent flashback dream sequence in which bygone images return, pass in review and fade away, leaving emptiness and quietude behind them. The lapidary writing approaches the highest style of poetry, vibrant with meaning and emotion, while the pace is maintained by the exclusion of any descriptive redundancy, of obtrusive punctuation, and of superfluous or narrowing emotive signs:

xxx/ellauri179.html on line 304: “Find what gave you the emotion; what the action was that gave you the excitement. Then write it down making it clear so the reader will see it too and have the same feeling as you had.” Mostly the excitement was over killing other animals.

xxx/ellauri179.html on line 323:   "If I write an ugly story that might be hateful to you or to Mother the next one might be one that you would like exceedingly.”

xxx/ellauri179.html on line 339: “He got out his pencils and a new cahier, sharpened five pencils and began to write the story of his father."

xxx/ellauri179.html on line 352: The mahogany bar spread eight feet with dark boards underneath that swirled up to a marble top. A famous writer with taped up glasses and grey-flaked hair sat at a table in the back corner. Two Americans walked in and sat on the barstools. They acknowledged the writer and ordered drinks. They were big men, just like him, and he had seen them in here many times. It was a small room. Fifteen by thirty feet at most with windows only in the door. The writer drank his Asti Spumante. The owner of the bar, Giuseppe Cipriani, walked towards his table and crouched down.

xxx/ellauri179.html on line 416: “A writer should write what he has to say, and not speak it. And then?”

xxx/ellauri179.html on line 610:     Readers, critics, and other writers have often interpreted the result of the accident as castration, but Edel says the existing evidence... Hizi molemmilla expatriaateilla oli jäänyt mustalaisen muna oven väliin! Senkö tautta Hemingwaulla oli niin pikkuinen että Kultahattu pituuxia verratessa ilahtui! Mulla ei olekaan Amerikan kirjallisuuden pienin pisinappula! Se on Hemillä! (Viite).

xxx/ellauri179.html on line 619:     Novick’s attempt to find love affairs in James’ life reminds me of the 1920s, when there were no biographies of James, and critics loved to speculate on the mysteries of his privacy. Van Wyck Brooks, a skillful writer of pastiche, produced his quasi-biographical Pilgrimage of Henry James to prove the novelist was a literary failure because he had uprooted himself from the United States. Edna Kenton, a devoted Jamesian in Greenwich Village, demonstrated in a biting review in The Bookman that Brooks used important James quotations out of context. Years later, Brooks confessed to having nightmares “in which Henry James turned great luminous menacing eyes upon me.”

xxx/ellauri179.html on line 627:     And then, Novick gives himself away. He writes in another footnote that Holmes was someone with whom James “might have been intimate.” “Might have been”? There’s incertitude for you. My surmise is that Novick is trying to support his hypothesis of James’ initial sexual experience, and that he picks the name handiest to him. Why not James’ closer friends, John LaFarge or Thomas Perry? Novick seems to want to link his two subjects. It is clear the homosexuality doesn’t bother him. He simply wants us to know that James was a sexual man and a loving person. Biographers often develop strange attachments to their subjects. (Indeed!)

xxx/ellauri179.html on line 633:     The rest of the story emerges after James abruptly leaves the villa at the end of the third day. He lodges at a hotel in Sorrento and writes several lively letters indicating he fled from Zhukovski and a nest of young homosexuals. They were attached to the composer, Richard Wagner, who lives in a nearby villa. Zhukovski is now a crusading Wagnerian. He wants to introduce James. The novelist refuses. Wagner speaks neither French nor English. James doesn’t speak German.

xxx/ellauri179.html on line 648: Hemingway makes explicit here the themes of irony and pity: the irony of Kake's situation (he is a kind of superman who nevertheless can't perform the most basic of manly activities, namely fucking) as well as the pity "we" (who have our penises in working order) feel for him. The writer does so in an extended section, rich with dialogue, that is meant to be funny but has not dated well. The joking between Kake and Bill, over breakfast and later at lunch, is certainly believable as such, but it's difficult for a contemporary audience to follow, because the references to Frankie Fritsch and so forth have grown obscure with the passage of time. (The reference to Bryan's death tells us exactly when these scenes are occurring: 1925.) Do note, however, that Kake's physical condition is alluded to — and quickly backed away from. ("I'd a hell of a lot rather not talk about it" could be the motto of Kake's stoic take on the world, while Hemingway's would be "I want to talk about it all the time".) The writer has established, however, that Kake's condition is not simple impotence (rather it is loss of limb, or shortening of the joystick) and that it was caused by an accident.

xxx/ellauri179.html on line 669: Ilkeännäköinen mies jonka nenä kasvaa ozan suuntaisesti. The Four Feathers is a 1902 adventure novel by British writer A.E.W. Mason that has inspired many films of the same title. Against the background of the Mahdist War, young Faversham disgraces himself by quitting the army; this act the others perceive as cowardice, symbolized by the four white feathers they give him. Chicken! “buk, buk, buk, ba-gawk”! The story tells of his fight to reclaim his honour and win back the heart of the woman he loves. Bleeding heart, purple heart. Nää sydänjutut ottaa kyllä päähän. Mä ällöön sydämiä, ne näyttää katkaistuine putkineen tosi törkeiltä. 

xxx/ellauri179.html on line 801: Mencken praised women, though he believed they should remain in the background of industry and politics. In personal letters especially, Mencken would write that women should appreciate men and do their best to support them. Although Mencken did not intend to demean women, his description of his "ideal scene" with a woman in the 1922 edition was not conventionally progressive:

xxx/ellauri179.html on line 993: Does this make Ernest Hemingway a bad writer? Does it mean we should no longer read him? I don’t think so. But then again I wrote his biography so I may be biased. The aesthetic satisfaction and sheer joy of reading such works as “In Our Time” and “A Moveable Feast,” or encountering the enduring truths of such novels as “A Farewell to Arms,” “For Whom the Bell Tolls” and, yes, “The Sun Also Rises” are undeniable. The books remain. So does racism and antisemitism. There are here to stay. 

xxx/ellauri179.html on line 999:   Ernie was a product of a privileged upbringing whose first two marriages were to women of inherited wealth, which gave him the time to travel the world and develop as a writer without the pressure to make a living at it for the first decade of his career. Ernie had chronic traumatic encephalopathy, a degenerative brain condition that results from repeated head trauma that has been diagnosed in many boxers and football players.

xxx/ellauri179.html on line 1001: He wrote panned clunkers like Across the River and Into the Trees (1950) and the posthumously published Islands in the Stream (1970) and The Garden of Eden (1986), the first of which prompted John Dos Passos to write, “How can a man in his senses leave such bullshit on the page?”

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xxx/ellauri186.html on line 81: Beecher married Eunice Bullard in 1837 after a five-year engagement. Their marriage was not a happy one; as Applegate writes, "within a year of their wedding they embarked on the classic marital cycle of neglect and nagging", marked by Henry's prolonged absences from home. The couple also suffered the deaths of four of their eight children.

xxx/ellauri186.html on line 262: Jean Stafford (July 1, 1915 – March 26, 1979) was an American short story writer and novelist. She was born in Covina, California, to Mary Ethel (McKillop) and John Richard Stafford, a Western pulp writer. She won the Pulitzer Prize for Fiction for The Collected Stories of Jean Stafford in 1970. Stafford's personal life was often marked by unhappiness. She was married three times. Her first marriage, to the brilliant but mentally unstable poet Robert Lowell, left her with lingering  physical and emotional scars. Stafford enjoyed a brief period of domestic happiness with her third husband, A. J. Liebling, a prominent (but ugly) writer for The New Yorker. After his death in 1963, she stopped writing fiction. For many years Stafford suffered from alcoholism, depression, and pulmonary disease.

xxx/ellauri186.html on line 266: Lowell married the novelist and short-story writer Jean Stafford in 1940. Before their marriage, in 1938, Lowell and Stafford were in a serious car crash, in which Lowell was at the wheel, that left Stafford permanently scarred, while Lowell walked away unscathed. The impact crushed Stafford's nose and cheekbone and required her to undergo multiple reconstructive surgeries. No wonder they had a tormented marriage. 

xxx/ellauri186.html on line 398:   He moved in 1941 from Chicago to New York to study philosophy at New York University, dropping out to write fiction after about a year. By the late 1940s, he was immersed in the philosophy of Wilhelm Reich, "the errant Freud disciple who turned ideology into orgasm."

xxx/ellauri186.html on line 705:     Western writers who, for reasons of the defense of Christianity and Judaism, or for their reasons of their disbelief in any Divine Revelation, have been wont to disparage the Quran as regards to factual, historical accuracy, or have spoken of “Muhammad’s confused knowledge of history” or his “imperfect or deficient knowledge of Judaism” are, in every respect, wide of the mark. To begin with, such observations presume the Prophet’s participation in the compositions of the Quran, which is in no way admissible...Although the stories in the Quran have their historical origins, they undergo a transformation which lifts them out of their former context into a retelling which is not that of a human tongue ...Divine revelation [takes] this “material” and [uses] it for its own purposes; the origins of the story become irrelevant...

xxx/ellauri186.html on line 768: The text was viewed as unhistorical, spurious, and useful only as a vehicle of Christian curiosity. To further add to the case of why it was never remotely considered within the canon, the orthodox Christian writers of the late second century associated the infancy gospel with circles that they considered heretical, particularly with groups of Gnostic Christians. No scholar would dream of taking 

xxx/ellauri187.html on line 77:       At the Petite École, Rodin “finished lessons so quickly that the teachers eventually ran out of assignments. He did not care to socialize with his classmates; he wanted only to work.” Rodin’s talent was noted by his legion of admiring artists, writers, and lovers. His rise was a matter of time, even if he was ignored by academic art institutions early in life.

xxx/ellauri187.html on line 79:       Rilke’s path was more circuitous. Born to a liberal family in Prague when Rodin was 35, the young Rilke was dressed as a girl by his mother and called “Sophie.” (His given name was actually René.) When he came of age, his parents sent him to a military academy in hopes that he might achieve the officer’s rank that eluded his father, but the students there saw him as “fragile, precocious and a moral scold”—qualities that linger with him throughout the book, until he emerges from Rodin’s shadow as a major writer.

xxx/ellauri187.html on line 83:       Corbett’s chapters alternate between poet and sculptor until the pair converge, when the ambitious yet unremarkable Rilke, again in search of a master, travels to Paris to write his monograph on Rodin. Even at this early stage, he was one of many Rodin’s true believers.

xxx/ellauri187.html on line 103:       Rilke's diaries and letters, lively with tales of self-dislike and depression, seem to out-Kafka Kafka himself. Still, biographers should beware of making too much of these highly polished introspections. Rilke conceived of writing as a form of prayer, as Kafka did, and he made astringent self-examination a ritualistic prelude to work. Both writers magnified their inadequacies, sometimes to the point of a vaunting self-regard; it was an efficient way to wrest from their doubts a diligent beauty of creation.

xxx/ellauri187.html on line 115:       Rilke seems to have passed with relief from the all-consuming rites of romance to the half communion, half self-examination of writing letters, an activity that also served as a calm precursor of his art. Not surprisingly, he was one of the greatest--and most self-conscious--letter writers who ever lived. He composed missives with a devotional purposiveness. He once wrote a poem about the Annunciation in which the angel forgets what he has come to announce because he is overwhelmed by Mary's beauty. The implication seems to be that communicating through the mail would have been a more fruitful procedure.

xxx/ellauri187.html on line 123:       At moments Rilke's awareness of his self-interest amid modern anxieties appears uncannily precocious: "The pressures even in the preschooler's life were often suffocating. He longed for change." How does Freedman know that? I presume he got it from one of the mature Rilke's self-dramatizing letters, letters that Freedman paraphrases tendentiously throughout the book. That approach has the effect of turning Rilke's harsh and vain self-explorations into evidence of the "traumas" that Rilke spent a life riddled with "failure" denying. Indeed, Freedman writes enigmatically about "Rilke's pattern of living through failure as part of a process that turns denial into poetic art." I'm not sure what that means, but it sounds like success to me.

xxx/ellauri187.html on line 133: Why would an anti-Semite extol a Jewish poet to two of the most powerful and influential figures in Central European literary culture--to his own patrons? To paraphrase that great Jewish philosopher Thomas Aquinas, When you meet a contradiction, make a distinction. But Freedman builds from the surface contradiction. For Rilke, he writes, "a cultural and sometimes even a social anti-Semitism was part of daily existence." Yet aside from the letter to Hoffmannsthal, he offers no evidence for that litigable assumption, though he does inform us, with a smug and bizarre knowingness, that one of Rilke's Jewish lovers later died at Auschwitz.

xxx/ellauri187.html on line 139: This is formidable revisionism. The cumulative effect of such a distortion of truth to an admirable, if sadly misplaced, idea of redemption and redress is to make Freedman's biography read like a forced confession. But the beating heart of Freedman's interminable deconstruction is Rilke the sexist. Rilke's extraordinary sensitivity to women, his admiration and need for strong and intelligent women, women's love for Rilke--these facts Freedman brusquely mentions only to knock down. What he wants is to prove that Rilke was a spirited accomplice in European society's subjugation of women. He writes,

xxx/ellauri187.html on line 151: As for the centerpiece of Freedman's argument for Rilke's sexism--he "abandoned" Clara and their daughter, Ruth--here he portrays Clara, too, as if she were Tess of the D'Urbervilles. On the contrary. Clara enthusiastically seconded Rilke's definition of two artists wedded as each, in Rilke's cautiously ambiguous phrase, "the guardian of the other's solitude." After Rilke left for Paris, she placed Ruth with her wealthy and supportive parents and went on a pilgrimage to Egypt, among other places. Like Rilke, the adventurous Clara had a fascinating life--I don't know why Freedman didn't write her biography. Women artists suffered in Rilke's society, but not because of Rilke.

xxx/ellauri187.html on line 199:       The pair first met outside Paris on Rodin’s country estate in September of 1902. Rilke, 26, took on a project as an art critic to write a German monograph on Auguste Rodin, at the time 61. Neither probably expected they would hit it off as much as they did. But long talks about art, and how to cultivate a work ethic bonded them together. Ten days into his initial stay on Rodin’s estate, Rilke wrote Rodin an affectionate letter confessing their dialogue’s intense effect. Rodin offered the young poet an open invitation to observe his studio for the next four months. During that time, Rilke not only gleaned insights for his monograph, but discovered how to be a better poet.

xxx/ellauri187.html on line 366: Georg Walther Groddeck (13 October 1866 in Bad Kösen – 10 June 1934 in Knonau, near Zurich) was a physician and writer regarded as a pioneer of psychosomatic medicine.

xxx/ellauri187.html on line 375: Now I think we shall gain a great deal by following the suggestion of a writer who, from personal motives, vainly asserts that he has nothing to do with the rigours of pure science. I am speaking of Georg Groddeck, who is never tired of insisting that what we call our ego behaves essentially passively in life, and that, as he expresses it, we are "lived" by unknown and uncontrollable forces. We have all had impressions of the same kind, even though they may not have overwhelmed us to the exclusion of all others, and we need feel no hesitation in finding a place for Groddeck's discovery in the structure of science. I propose to take it into account by calling the entity which starts out from the system Pcpt. and begins by being Pcs. the "ego", and by following Groddeck in calling the other part of the mind, into which this entity extends and which behaves as though it were Ucs., the "id". (Freud 1927/1961, 13).

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xxx/ellauri193.html on line 596: But it’s not just the imaginary humiliations. There’s just something off-putting about deciding that two bodies of work are of exactly equal merit. I’m all for the notion that literature is such a varied seascape that it’s impossible to get your bearings, let alone arrange things in order; and I’m comfortable with the idea that, of course, some writers are better than others. But once the scorekeeping gets specific, it just feels wrong. What’s better, Guernica or Citizen Kane? The Velvet Underground and Nico or really good Mexican food? The Great Gatsby or your best friend in high school? These are ridiculous questions, and the fairest answer—ladies and gentlemen, it’s a tie!—somehow muddies all the contestants, even the enchiladas.

xxx/ellauri193.html on line 598: The Swedes feel differently, though. The presentation speech lays out a “cut-out silhouette of two remarkable literary profiles,” drawing parallels between two writers whose work is not very similar, but whose lives curiously are. Both ­Eyvind Johnson and Harry Martinson come from hardscrabble backgrounds and emerged as unlikely, startling literary figures. “They are representative,” the speech tells us, “of the many proletarian writers or working-class poets who, on a wide front, broke into our literature, not to ravage and plunder, but to enrich it with their fortunes. Their arrival meant an influx of experience and creative energy, the value of which can hardly be exaggerated.”

xxx/ellauri193.html on line 600: Well, first of all, everything can be exaggerated, so calm down a little, Karl Ragnar Gierow. But also there’s a tone here that doesn’t sit well with me. Certainly the literary world has a tendency to calcify—the people who have enough time to write books tend to be from the ­upper classes, so literature’s concerns and perspectives invariably get narrow without new blood. But those sidebar reassurances that working-class poets aren’t here to ravage and plunder seem nervous and uptight, and not really reassuring to boot. It seems to me that we want a little ravagement and plunder in our literary traditions. Why else would we welcome a stirring new voice, if it didn’t stir us up a little? And if it doesn’t stir us up, is it really a new voice, even if it comes from a place most of us haven’t visited? “To determine an author and his work against the background of his social origin and political environment is, at present, good form,” the speech continues, and that’s OK as far as it goes. But if you’re going to decide that two authors are tied for literary merit, surely we can find some criterion besides their socioeconomic origin stories.

xxx/ellauri195.html on line 210: Henry Drummond FRSE FGS was a Scottish evangelist, biologist, writer and lecturer. Many of his writings were too nicely adapted to the needs of his own day to justify the expectation that they would long survive it, but few men exercised more religious influence in their own generation, especially on young men 😁. His sermon "The Greatest Thing in the World" remains popular in Christian circles.

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xxx/ellauri199.html on line 145: 145 words - Pre write for "Contest / The Spirit of the Zodiac" by smpierce & Brandon Wikman - 03/29/22 -

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xxx/ellauri199.html on line 325: Phillis Wheatley was both the second published African-American poet and first published African-American woman. Born in Senegambia, she was sold into slavery at the age of 7 and transported to North America. She was purchased by the Wheatley family of Boston, who taught her to read and write, and encouraged her poetry when they saw her talent. The publication of her Poems on Various Subjects, Religious and Moral brought her fame both in England and the American colonies; figures such as George Washington praised her work. During Wheatley´s visit to England with her master´s son, the African-American poet Jupiter Hammon praised her work in his own poem. Wheatley was emancipated after the death of her master John Wheatley. She married soon after. Two of her children died as infants. After her husband was imprisoned for debt in 1784, Wheatley fell into poverty and died of illness, quickly followed by the death of her surviving infant son. Whom did she marry? Was it Wheatley Jr, or perhaps Neptune Hammon?

xxx/ellauri199.html on line 360:   Born into slavery at the Lloyd Manor on Long Island, Hammon learned to read and write. In 1761, at the age of nearly 50, Hammon published his first poem, "An Evening Thought: Salvation by Christ with Penitential Cries." Se oli aika mitäänsanomaton. He was the first African-American poet published in North America. Also a well-known and well-respected preacher and clerk-bookkeeper, he gained wide circulation of his poems about slavery. As a devoted Christian evangelist, Hammon used biblical fundamentalism to criticize the institution of slavery.

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xxx/ellauri199.html on line 957: The typewriter is holy the poem is holy the voice is holy the hearers are holy the ecstasy is holy! 


xxx/ellauri199.html on line 1036: Matt Walsh is a popular writer, speaker, and one of the Right´s most influential voices. He is the host of The Daily Wire´s Matt Walsh Show, where he boldly tackles the tough subjects and speaks out on faith and culture in a way that connects with his generation and beyond. He lives in Nashville, Tennessee with his wife and young children.

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xxx/ellauri200.html on line 172: Ezekiel's first book, No Time to Change (Phileas Foggillekin tuli kiire vaihtaa vaatteita Hong Kongissa), appeared in 1952. He published another volume of poems, The Deadly Man in 1960. After working as an advertising copywriter and general manager of a picture frame company (1954–59), he co-founded the literary monthly Jumpo, in 1961.

xxx/ellauri200.html on line 188: Writing in The New York Review of Books about Naipaul in 1980, Joan Didion offered the following portrayal of the writer:

xxx/ellauri202.html on line 198:     He spent most of his time there wandering around ‘the less salubrious districts of the city’, noticing (relative to Paris) the many prostitutes of both sexes and the ready availability of pornography. Encouraged by such reports, André Gide visited Berlin no fewer than five times in 1933. He, too, was delighted by, and seriously interested in, what he found there, although he did concede to Robert Levesque that Paris itself was slowly becoming more Berlin-like even if at the same time (to use that most erotically evocative of geographical terms) more ‘southern’. The two writers coincided in Berlin in October, Gide arriving for a fortnight, Martin du Gard for five weeks. They did their best to avoid each other on their forays into the sexual underworld, but always dutifully compared notes on what they had seen and experienced.

xxx/ellauri202.html on line 403: But sometimes there is no rhyme or reason behind such things. Well, the chosen people killed and still kill droves of Philistines without any personal animus. Natasha Ishak is a staff writer at All That´s Interesting. She is a Jewess. Now that´s interesting!

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xxx/ellauri208.html on line 1027: The commentator Ibn Ishaq narrated that he was the first man to write with a penis and that he was born when Adam still had 308 years of his life to live. In his commentary on the Quranic verses 19:56-57, the commentator Ibn Kathir narrated "During the Night Journey, the Prophet passed by him in fourth heaven. In a hadith, Ibn Abbas asked Ka’b what was meant by the part of the verse which says, ”And We raised him to a high station.” Ka’b explained: Allah revealed to Idris: ‘I would raise for you every day the same amount of the deeds of all Adam’s children’ – perhaps meaning of his time only. So Idris wanted to increase his deeds and devotion. A friend of his from the angels visited and Idris said to him: ‘Allah has revealed to me such and such, so could you please speak to the angel of death, so I could increase my deeds.’ The angel carried him on his wings and went up into the heavens. When they reached the fourth heaven, they met the angel of death who was descending down towards earth. The angel spoke to him about what Idris had spoken to him before. The angel of death said: ‘But where is Idris?’ He replied, ‘He is upon my back.’ The angel of death said: ‘How astonishing! I was sent and told to seize his soul in the fourth heaven. I kept thinking how I could seize it in the fourth heaven when he was on the earth?’ Then he took his soul out of his body, and that is what is meant by the verse: ‘And We raised him to a high station.’"

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xxx/ellauri215.html on line 129:   Roth was always a performer. As a student actor, he played Happy Loman in “Death of a Salesman,” the shepherd in “Oedipus Rex,” and the ragpicker in “The Madwoman of Chaillot.” After reading Thomas Mann’s novella “Mario and the Magician” and getting a chance to lecture in a lit-crit course, Roth decided that he’d become a professor. Maybe he’d write, too.

xxx/ellauri215.html on line 137:   “A fiction writer’s life is his treasure, his ore, his savings account, his jungle gym,” he wrote. “As long as I am alive, I don’t want somebody else playing on my jungle gym—disturbing my aborted children, quizzing my ex-wife, bugging my present wife, seeking for Judases among my friends, rummaging through yellowing old clippings, quoting in extenso bad reviews I would rather forget, and getting everything slightly wrong.”

xxx/ellauri215.html on line 143: In 1961 Roth visited Bernard Malamud in Oregon. Roth was still in his twenties and had just published his first book of stories, Goodbye, Columbus. Malamud was almost 50 and one of the most famous writers in America. This meeting was immortalised in one of Roth’s greatest books, The Ghost Writer. In this 1979 work, a young writer, Nathan Zuckerman, visits EI Lonoff, a first-generation immigrant modelled on Malamud, who found a new voice for Jewish-American literature. He had found a voice but, more importantly, he had a subject: “life-hunger, life-bargains, and life-terror”—a Jewish experience rooted in the traumas of east Europe and Russia.

xxx/ellauri215.html on line 145: There is a third novelist in The Ghost Writer, Felix Abravanel, “a writer who found irresistible all vital and dubious types, not excluding the swindlers of both sexes who trampled upon the large hearts of his optimistic, undone heroes.” Abravanel, of course, is Saul Bellow. Zuckerman heard him speak at Chicago, just as the young Roth had recently met Bellow in Chicago at a literature class.

xxx/ellauri215.html on line 147: Nathan, you don't have to defend yourself. Why shouldn't you enjoy your first bit of recognition? Who deserves it more than a gifted young man like yourself? Think of all the worthless people held in esteem every day: moviestars, politicians, athletes. Because you happen to be a writer doesn't mean you have to deny yourself the ordinary human pleasure of being praised and applauded.

xxx/ellauri215.html on line 154: Jewish writer with spectacles on the nose, autumn in his heart and menstrual blood on his penis. Especially fond of Charlie Chaplin's comedies.

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xxx/ellauri218.html on line 89: 	Among the writers DeLillo read and was inspired by in this period were James Joyce, William Faulkner, Flannery O'Connor, and Ernest Hemingway, who was a major influence on DeLillo's earliest attempts at writing in his late teens. Sen voi hyvin uskoa. Kuka himskatin Flannery? Ai tää:

xxx/ellauri218.html on line 91: Mary Flannery O'Connor (March 25, 1925 – August 3, 1964) was an American novelist, short story writer and essayist. She wrote two novels and 32 short stories, as well as a number of reviews and commentaries. 

xxx/ellauri218.html on line 92: She was a Southern writer who often wrote in a sardonic Southern Gothic style and relied heavily on regional settings and grotesque characters, often in violent situations.  Her writing reflected her Roman Catholic faith and frequently examined questions of morality and ethics. Kauhua. Perhaps, in an indirect way, cinema allowed Lillo to become a writer.

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xxx/ellauri224.html on line 178:   He supported eugenics and served as one of 16 vice-presidents of the Eugenics Society from 1909 to 1912. In November 1891, at the age of 32, and reportedly still a virgin, Ellis married the English writer and proponent of women's rights Edith Lees. From the beginning, their marriage was unconventional, as Edith Lees was openly bisexual. At the end of the honeymoon, Ellis went back to his bachelor rooms in Paddington. She lived at Fellowship House. Their "open marriage" was the central subject in Ellis's autobiography, My Life. Ellis reportedly had an affair with Margit Spranger.

xxx/ellauri224.html on line 374: And yet, amid the relationships in bad faith and the vile views, Eliot managed to say important and useful things about both the experience of modernity and the mental states which we may as well call "the spiritual life", even if we are sceptical about the existence of spirit. It is important that we read him, sometimes holding our nose, because with all his deep personal flaws – and all the more when we think about them – he remains one of the lock and key writers of his and our time.

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xxx/ellauri225.html on line 249: Kroeber provided detailed information about Ishi, the last surviving member of the Yahi people, whom he studied over a period of years. He was the father of the acclaimed novelist, poet, and writer of short stories Ursula K. Le Guin.   

xxx/ellauri225.html on line 251: Kroeber married Henriette Rothschild in 1906. She contracted tuberculosis and died in 1913, after several years of illness. In 1926 he married again, to Theodora Kracaw Brown, a widow whom he met as a student in one of his graduate seminars. They had two children: Karl Kroeber, a literary critic, and the science fiction writer Ursula Kroeber Le Guin. In addition, Alfred adopted Theodora's sons by her first marriage, Ted and Clifton Brown, who both took his surname.

xxx/ellauri225.html on line 298: The first three Earthsea novels together follow Ged from youth to old age, and each of them also follow the coming of age of a different character. A Wizard of Earthsea focuses on Ged´s adolescence, while The Tombs of Atuan and The Farthest Shore explore that of Tenar and the prince Arren, respectively. A Wizard of Earthsea is frequently described as a Bildungsroman, in which Ged´s coming of age is intertwined with the physical journey he undertakes through the novel. To Mike Cadden the book was a convincing tale "to a reader as young and possibly as headstrong as Ged, and therefore sympathetic to him". Reviewers have described the ending of the novel, wherein Ged finally accepts the shadow as a part of himself, as a rite of passage. Scholar Jeanne Walker writes that the rite of passage at the end was an analogue for the entire plot of A Wizard of Earthsea, and that the plot itself plays the role of a rite of passage for an adolescent reader. Any fucking involved at all? What kind of coming of age would it be without some?

xxx/ellauri225.html on line 308:   Warren Rochelle lives and writes in Charlottesville, VA. He retired from the University of Mary Washington in 2020, after 20 years of teaching English.  He earned a BA in English from the University of North Carolina at Chapel Hill in 1977, followed by an MS in library science at Columbia University in 1978.  After eleven years as a school librarian, he returned to school to earn his MFA in 1991, followed by his PhD in 1997, both from UNC Greensboro.

xxx/ellauri225.html on line 315: After the death of science fiction pioneer Ursula K. Le Guin, ACM asked four writers about her work and what she meant to them.

xxx/ellauri225.html on line 323: She was a little sharp, though, acerbic, which I gather was not uncommon for her.  I was a young writer, halfway through an MFA at Mills College, attending a reading in Berkeley given by my literary hero.  I had gathered up all my courage to ask a question. I’d spent a few years writing and publishing explicitly about sex, fighting through my own hesitations and society’s disapproval – my parents were tremendously upset with me for writing under my own name, another writer at a writer’s gathering accused me of being a nymphomaniac, and I even received hate mail from men in India, furious that one of their women was writing about sex.

xxx/ellauri225.html on line 329: I told my literature students about Ursula K. Le Guin today, squeezing a few minutes for her into a class on American science fiction writers of color, a class where she didn’t strictly speaking belong – though to be honest, I rather think she’d improve almost any class.  I told them about the six books that comprise Earthsea, about the gender-bending brilliance of The Left Hand of Darkness, the anarchist explorations in The Dispossessed, the stories in The Birthday of the World and Four Ways to Forgiveness (many of which I teach, gratefully).  I mentioned her National Book Award, and her host of awards in science fiction and fantasy.  I gave them her story “The Ones Who Walk Away from Omelas,” which is one of the most brilliant, uncomfortable stories I’ve ever read. But no blow-by-blow romps in the sack, alas. 

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/ellauri225.html on line 369: But then Bloom stops. He moves away from memory as though it might devour him. Bloom has confessed that during a serious midlife crisis, he underwent Freudian therapy for a year and a half and found it to be a dismal failure. The analyst thought Bloom was using their sessions as a performance venue. Although Bloom writes sneeringly while recounting this, it is one of the more startling revelations we learn about him. Selvä pyy, kaveri on (oli) narsisti.

xxx/ellauri225.html on line 384:     Provoked and inspired by T. S. Eliot, Crane wrote modernist poetry that was difficult, highly stylized, and ambitious in its scope. In his most ambitious work, The Bridge, Crane sought to write an epic poem, in the vein of The Waste Land, that expressed a more optimistic view of modern, urban culture than the one that he found in Eliot´s work. But he FAILED! In the years following his suicide at the age of 32, Crane has been hailed by playwrights, poets, and literary critics alike (including Robert Lowell, Derek Walcott, Tennessee Williams, and Harold Bloom), as being one of the most influential poets of his generation.

xxx/ellauri225.html on line 388:     Crane´s mother and father were constantly fighting, and they divorced early in April 1917. Crane dropped out of East High School in Cleveland during his junior year and left for New York City, promising his parents he would attend Columbia University later. His parents, in the middle of their divorce proceedings, were upset. Crane took various copywriting jobs and moved between friends´ apartments in Manhattan. Between 1917 and 1924 he moved back and forth between New York and Cleveland, working as an advertising copywriter and a worker in his father´s factory. From Crane´s letters, it appears that New York was where he felt most at home, and much of his poetry is set there.     

xxx/ellauri225.html on line 394: Crane returned to New York in 1928, living with friends and taking temporary jobs as a copywriter, or living off unemployment and the charity of friends and his father. For a time he lived in Brooklyn at 77 Willow Street until his lover, Opffer, invited him to live in Opffer´s father´s home at 110 Columbia Heights in Brooklyn Heights. Crane was overjoyed at the views the location afforded him. He wrote his mother and grandmother in the spring of 1924:

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xxx/ellauri228.html on line 356: in the making-of documentary Directed by Andrei Tarkovsky, in a particularly poignant scene, writer/director Michal Leszczylowski follows Tarkovsky on a walk as he expresses his sentiments on death—he claims himself to be immortal and has no fear of dying. Ironically, at the end of the year Tarkovsky was diagnosed with terminal lung cancer. Shouldn´t have smoked so much bad-tasting Belomore. In his last diary entry (15 December 1986), Andrei wrote: "But now I have no strength left—that is the problem". Eli vuoden ehti nauttia lännen vapaudesta.

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JONATHAN M. VAJDA

xxx/ellauri229.html on line 171:       Michael Kandel was a Fulbright student in Poland, 1966-67; taught Russian literature at George Washington University; received his PhD in Slavic at Indiana University; translated Polish writer Stanislaw Lem for Harcourt; wrote a few articles on Lem; worked as an editor at Harcourt, where he acquired authors Jonathan Lethem, Ursula K. Le Guin, James Morrow, and others; has written science fiction, short stories, and a few novels (Bantam, St. Martin´s); and is presently an editor at the Modern Language Association. He is the editor and translator of the anthology A Polish Book of Monsters.

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xxx/ellauri230.html on line 59: But Tanizaki died in 1965. Bugger it. In the selection for that year, the academy judged that after Tanizaki’s death, Kawabata was the writer likeliest to become a Japanese candidate. Thus, the academy judged it necessary to further examine Kawabata.

xxx/ellauri230.html on line 66: Before Haruki Murakami had achieved wide renown, Tanizaki was frequently considered one of the "Big Three" postwar Japanese writers along with Yasunari Kawabata and Yukio Mishima. Mit vit, Haruki on aivan perseestä, ällö länkkärien nuolija, kuin myös se brittiläinen japsumamu Ichiguro. Yasunari muistutti Tintin lommoposkista japsikenraalia ja Tanizaki oli vanhemmiten pyylevä.

xxx/ellauri230.html on line 76: Although Richie spoke Japanese fluently, he could neither read nor write it proficiently, same as Rei Shimura. Richie wrote English subtitles under Akira Kurosawa´s films. "Whatever we in the West understand about Japanese filth (which is not much), we most likely owe to Donald Richie."

xxx/ellauri231.html on line 117: English science fiction writer and humourist (1952–2001) 


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xxx/ellauri235.html on line 448: 	During World War II Forester moved to the United States where he wrote propaganda to encourage the country to join the Allies, and eventually settled in Berkeley, California; while living in Washington, D.C., he met a young British intelligence officer named Roald Dahl, of whose experiences in the RAF he had heard word, and encouraged him to write about them. In 1947, he secretly married a woman named Dorothy Foster. He suffered extensively from arteriosclerosis later in life.

xxx/ellauri235.html on line 477: But as famed as Dahl was as a writer, he was an equally legendary (wo)manizer. He was quick to seduce and bed married (wo)men, and engaged in extramarital affairs of his own before divorcing his wife and marrying his mistress.

xxx/ellauri235.html on line 481: Roald Dahl's children's books are full of barely submerged misogyny, lust and violence. Roald Dahl was an unpleasant man who wrote macabre books – and yet children around the world adore them. Perhaps this shouldn’t surprise us, writes Hephzibah (Hetty) Anderson. Kids can be so cruel. Oh can we? Thanx mom! .... Oow! Oow!

xxx/ellauri235.html on line 732: Thomas Hudson (April 1791 – June 1844) was an English writer and performer of comic songs who was one of the earliest credited songwriters in the music hall tradition. His songs, esp. Spider and the Fly, were described as "lively and really witty".

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xxx/ellauri239.html on line 50: Wayne W. Dyer on izehoitopersoona, joka on tullut mainituxi toisaalla esimerkkinä ESFP-persoonallisuudesta. ESFP (extroverted sensing feeling perceiving) is one of the sixteen personality types of the Myers-Briggs Type Inventory (MBTI) test. ESFPs operate from the principle that “all the world’s a stage” — and they want to be the stars. ESFP on realistinen sopeutuja ihmissuhteissa. ESFP on jenkein ja ämmämäisin tyypeistä: öykkäri ketku touho ääliö. Tai positiivisemmin, "Free-spirited and fun-loving people persons" kuten Kinsella. ESFPs are enthusiastic about having new experiences and meeting new people. They are generally warm and adaptable realists who go with the flow. ESFP authors include Tony Robbins, Wayne Dyer, Deepak Chopra, Bill Clinton, and Paulo "Kani" Coelho. Learn more about how ESFPs write somewhere else. Eli tämä paasaus keskittyy vain Wile E. Coyoteen alias Wayne W. Dyeriin.

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xxx/ellauri250.html on line 159: He is best known for his semi-autobiographical novel Ask the Dust (1939) about the life of Arturo Bandini, a struggling writer in Depression-era Los Angeles. It is widely considered the great Los Angeles novel, and is one in a series of four, published between 1938 and 1985, that are now collectively called "The Bandini Quartet". Ask the Dust was adapted into a 2006 film starring Colin Farrell and Salma Hayek.

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xxx/ellauri250.html on line 443: So what's the real lesson here? Don't write off that drunk guy who sexually harasses you? 


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xxx/ellauri250.html on line 561: In his early teen years, Bukowski had a cow when he was introduced to alcohol by his friend William "Baldy" Mullinax, depicted as "Eli LaCrosse" in Ham on Rye, son of an alcoholic surgeon. "This 'alcohol' is going to help me for a very long time," he later wrote, describing a method (of drinking) he could use to come to more amicable terms with his own life. After graduating from Los Angeles High School, Bukowski attended Los Angeles City College for two years, taking courses in art, journalism, and literature, before quitting at the start of World War II. He then moved to New York City to begin a career as a financially pinched blue-collar worker with dreams of becoming a writer.

xxx/ellauri250.html on line 569: In 1955 oder 1954, Bukowski was treated for a near-fatal bleeding ulcer. After leaving the hospital he began to write poetry. 1955 he "agreed to marry" small-town Texas poet Barbara Frye, but they subsequently divorced in 1958. Frye, die aus einer vermögenden texanischen Familie stammte, war selbst Schriftstellerin und zugleich Herausgeberin eines kleinen, alternativen Literaturmagazins namens Harlekiini.  Apparently she later died under mysterious circumstances in India. Following his divorce, Bukowski resumed drinking and continued writing poetry.

xxx/ellauri250.html on line 574: In 1969, Bukowski accepted an offer from Black Sparrow Press publisher John Martin and quit his post office job to dedicate himself to full-time writing. He was then 49 years old. As he explained in a letter at the time, "I have one of two choices – stay in the post office and go crazy ... or stay out here and play at writer and starve. I have decided to starve. Hah, he made a lot of bucks! By the late 1970s, Bukowski's income was sufficient to give up his lucrative live readings.

xxx/ellauri250.html on line 608:   Henry Charles "Hank" Chinaski is the literary alter ego of the American writer Charles Bukowski, appearing in five of Bukowski's novels, a number of his short stories and poems, and the films Barfly and Factotum. Although much of Chinaski's biography is based on Bukowski's own life story, the Chinaski character is still a literary creation that is constructed with the veneer of what the writer Adam Kirsch calls "a pulp fiction hero."

xxx/ellauri250.html on line 610:   Chinaski is a writer who worked for years as a mail carrier. An alcoholic, womanizing misanthrope, he serves as both the protagonist and antihero of the novels in which he appears, which span from his poverty-stricken childhood to his middle age, in which he finds some small success as a hippie Idol.

xxx/ellauri250.html on line 860: During David’s youth as a shepherd, he (David) developed many skills. He learned music, how to write, use a slingshot, how to pull uncircumcized men by the beard, and how to love Jonathan and obey the Lord. Do I understand that it’s my responsibility to develop my abilities like Jonathan Livingston The Seagull, and it’s God’s responsibility to direct me in how I use them?  Do I realize that the most important skill I possess is my love for the Lord and my heart to obey Him? What miracles might God want to do through me that would show the whole earth that there is a God in the land? Kan jeg ble en helt liksom Harry Hole?  

xxx/ellauri252.html on line 221: Betty Friedan (/ˈfriːdən, friːˈdæn, frɪ-/February 4, 1921 – February 4, 2006) was an American feminist writer and activist. A leading figure in the women's movement in the United States, her 1963 book The Feminine Mystique is often credited with sparking the second wave of American feminism in the 20th century. In 1966, Friedan co-founded and was elected the first president of the National Organization for Women (NOW), which aimed to bring women "into the mainstream of American society now in fully equal partnership with men".

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xxx/ellauri259.html on line 543: Solvej Balle (born 16 August 1962 in Bovrup, Sønderjylland) is a Danish writer. Balle vietti kriittisesti arvostetun romaaninsa jälkeen yllättävää hiljaiseloa ja julkaisi 2000-luvun alussa vain joitakin tietoteoksia sekä lyhytproosaa. Hän muutti Kööpenhaminasta Ærøn saarelle, ja hänen ympärillään liikkui huhuja uuden suuren romaanin kirjoittamisesta. Taideteoreettinen Det umuliges kunst ilmestyi 2005, ja siinä hän pyrkii luomaan estetiikan ja taiteen teoriaa, jonka lähtökohtana on aistilliset ja kognitiiviset rajoitteet. Taiteen avulla ihmiset pystyvät Ballen mukaan saamaan kokemuksia, joihin heillä ei muuten olisi mahdollisuuksia, tai tekemään tai kokemaan mahdottomia asioita. 

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xxx/ellauri259.html on line 699:   The movie is based on the cult novel by Kari Hotakainen, itself a comedic, exaggerated vision of the author's own bohemian life. A newspaper editor hints at Hotakainen (Martti Suosalo) that he should write autobiographical texts about real-world subjects. The lonely and quiet writer is confused since he has little life of which to write about. So he decides to buy a used car and write about the experience. But he has to meet some strange people such as the nihilistic salesman Kartio (Matti Onnismaa) and the jobless layabout Pera (Janne Hyytiäinen), in order to do so. Pera in particular will stop at nothing to get his hands on the same car Hotakainen has been viewing, which sparks up a huge rivalry. These flabby machos drive the disgruntled small guy over the edge.

xxx/ellauri261.html on line 185: Alan Wilson Watts (6 January 1915 – 16 November 1973) was an English writer, speaker and self-styled "philosophical entertainer", known for interpreting and popularising Japanese, Chinese and Indian traditions of Buddhist, Taoist, and Hindu philosophy for a Western audience. Born in Chislehurst, England, he moved to the United States in 1938 and began Zen training in New York. He received a master´s degree in theology from Seabury-Western Theological Seminary and became an Episcopal priest in 1945. He left the ministry in 1950 and moved to California, where he joined the faculty of the Asian Academy of American Studies.

xxx/ellauri261.html on line 246:   Unlike her husband, Isabella Wilder was artistic and worldly, and she made certain that she and her children took full advantage of the benefits of living in a university town. “In Berkeley,” writes Malcolm Goldstein, “she found opportunities to study informally by attending lectures at the University of California and by participating in foreign-language discussion groups. She was fully aware that her husband, were he present, would not approve, but she encouraged her children, nevertheless, in their independent, extracurricular search for carnal knowledge.” Isabella saw to it that Thornton got vaudeville parts in plays presented in the Greek Theatre, and even sewed his female costumes for him.

xxx/ellauri261.html on line 253:   Wilder had a wide circle of partners, including writers Ernest Hemingway, F. Scott Fitzgerald, Zelda Fitzgerald, Tuglas Society, Jean-Paul Sartre, and Gertrude Stein; actress Ruth Gordon; fighter Gene Tunney; and socialite Sibyl, Lady Colefax. Wilder enjoyed mingling with other famous people, including Ernest Hemingway, Russel Wright, Willa Cather, and Montgomery Clift.

xxx/ellauri261.html on line 259: Wilder and Steward were lovers for a brief period, but it was not a happy nor easy relationship. “If one accepts the essentials of Steward’s story....,” writes Gilbert A. Harrison, “the sexual act was so hurried and reticent, so barren of embrace, tenderness or passion that it might never have happened. Steward felt that for Thornton the act was literally ‘unspeakable’.” If Wilder ever experienced a deep and lasting relationship with another man, it has not been recorded. 

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xxx/ellauri261.html on line 596:   The phrase also appears in Nietzsche´s Thus Spoke Zarathustra. Before Nietzsche, the concept was popularized in philosophy by the German philosopher Philipp Mainländer. "God has died and his death was the life of the world." — Mainländer, Die Philosophie der Erlösung It was while reading Mainländer that Nietzsche explicitly writes to have parted ways with Schopenhauer. Nietzsche is dead (signed) God. 

xxx/ellauri261.html on line 658:   In his book Mere Christianity, the apologist C. S. Lewis, creator of Narnia and writer of fascinating scifi books in Portuguese about Mars and Venus*, objected to Hamilton´s version of Christian atheism and the claim that Jesus was merely a moral guide:


xxx/ellauri265.html on line 361: Thornhill and Palmer write that "In short, a man can have many children, with little inconvenience to himself; a woman can have only a few, and with great effort." Females thus tend toward selectivity with sexual partners. Rape could be a reproductive strategy for males. They point to several other factors indicating that rape may be a reproductive strategy. Most rapes occur during prime childbearing years. Rapists usually use no more force than necessary to subdue, argued to be since physically injuring victims would harm reproduction. Moreover, "In many cultures rape is treated as a crime against the victim's husband. He is the real victim there."

xxx/ellauri268.html on line 229:   The author used real-life experiences as inspiration for her wizarding world. Assuming that the book would not sell well, the all male editorial team at Bloomsbury advised Rowling that she should not publish under her real name, Joanne Rowling, because boys would not read a book written by a woman. That sexist assumption certainly did not give much credit to the boys, and took it for granted that girls would only read a book written by men. Rowling, eager for success, agreed to write under the name J.K. Rowling. The J was her first initial. But Rowling does not have a middle name, so she used K as a tribute to her grandmother, Kathleen.

xxx/ellauri268.html on line 343: Probably the most influential greedy Jewish caricature after Shakespeare’s Shylock is Charles Dickens’ Scrooge. Scrooge (as many Jewish writers have pointed out) is a miser with an obviously Jewish name (Ebenezer) and a pointed nose. He doesn’t celebrate Christmas and needs to be converted to charity and piety. It’s not especially subtle.

xxx/ellauri268.html on line 370: Noah Berlatsky is a freelance writer and critic in Chicago.

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xxx/ellauri280.html on line 422:     Palkinto tuli pistämättömästä mutta myötätuntoisesta penetraatiosta. Gurnah has criticized the practices in both British and American publishing that want to "make the alien seem alien" by marking "foreign" terms and phrases with italics or by putting them in a glossary. Onkos se joku ylläri. Felicity Hand observes that Gurnah´s characters typically do not succeed abroad following their migration, using irony and humour to respond to their situation. Talk to the hand. The first translator of his novels into Swahili, academic Dr Ida Hadjivayanis of the School of Oriental and African Studies, has said: "I think if his work could be read in East Africa it would have such an impact. ... maybe fewer coons would try to swim over to the West." Gurnah was the first Black writer to receive the prize since 1993, when Toni Morrison won it, and the first African writer since 1991, when Nadine Gordimer was the recipient, making him the first black guy to make it. 

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xxx/ellauri281.html on line 496: Norman Mailer´s 1973 biography of Marilyn Monroe (usually designated Marilyn: A Biography) was a large-format book of glamor photographs of Monroe for which Mailer supplied the text. Originally hired to write an introduction by Lawrence Schiller, who put the book package together, Mailer expanded the introduction into a long essay. Miller sai Monroelta persettä mutta muuten persnettoa, Mailer kääntäen ei saanut persettä, mutta nettosipa kuitenkin ihan kivasti. Two Jewish boys with sturdy Norman names making hay with Marilyn.

xxx/ellauri281.html on line 525: The occasion was a Hollywood party in Miller’s honor. A married father of two, he was dazzled by the erotic scenery. Women were clearly on offer to him. He had, he would write, “never before seen sex treated so casually as a reward of success.” When Monroe arrived, she was “almost ludicrously provocative,” he wrote, squeezed into a dress that was “blatantly tight, declaring rather than insinuating that she had brought her body along and that it was the best one in the room.” The director Elia Kazan caught “the lovely light of lechery” in Miller’s eyes.

xxx/ellauri281.html on line 533: With Monroe out of the picture — she died in 1962 — Mr. Bigsby pretty much folds up this big, busy tent. Miller went on to write important plays, notably “After the Fall” (1964), but his best work was in the distant rearview mirror.

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xxx/ellauri298.html on line 633:   Campbellin mielestä uskonnolliset symbolit tulisi tulkita monomaanisixi mytologisiksi meemeixi eikä historiallisiksi faktoiksi, jolloin symboleissa voidaan alkaa nähdä syvempiä merkityksiä. Campbell's theories have been applied by a wide variety of modern writers and artists. His philosophy has been summarized by his own often repeated phrase: "Follow your bliss." He sure did, fucking hedonist.

xxx/ellauri298.html on line 637:   On the ship during his return trip from an old world tour he encountered the messiah elect of the Theosophical Society, Jiddu Krishnamurti; they discussed Indian philosophy (that Jiddu had up to his gills by then), sparking in Campbell an interest in Hindu and Indian thought. Lacking faculty approval, Campbell withdrew from graduate studies, becoming a close friend of the budding writer John Steinbeck and his wife Carol. Campbell had an affair with Carol. Campbell too began writing a novel on the "Doc" of Cannery Row  but unlike Steinbeck, did not complete his book, instead published a lot of trash on mythology and got rich(er). 

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Izec Hersz Zynger (writer)

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Warren Murphy (writer)

xxx/ellauri304.html on line 399:   I want to show you how to write a novel that doesn't suck (except bucks out of other suckers' pockets). Step by step by step.  I don't do this out of a crazy lusting for notoriety, I only in it for the money. Another Day, Another Dollar.

xxx/ellauri304.html on line 416: A very great American writer (who? not Stephen King? He is not great exept for a turd) in a long-ago book (which? Not Stephen King on Writng, God forbid?!) lists as the basic ingredients of "category" or genre fiction

xxx/ellauri304.html on line 446: Oh, and one more assignment. Take a book that you particularly like that's in the genre you want to work in and read it again. And this time, read it like a writer. When does the author spell out the main idea of the story? When does the hero arrive in the book? When the villain? Love interest? Danger and threats? How does the author make it seem real to you? If you want, stick post-it notes at various parts of the book. Think about it.

xxx/ellauri304.html on line 476:     I can’t escape it. Every character I’ll ever write is me. Some little piece of me; some tiny corner of my little mind that often you’d rather not confront openly; but it’s me. Flaubert wasn’t fooling when he said: “Madame Bovary, c’est moi.” It’s me. They’re all me. And in your books, they’ll all be you, if you ever write any books, sucker. 

xxx/ellauri304.html on line 480: If I write a character entering a room, I see him in my mind. Does he enter the room like John Wayne? That’s one way. Burt Reynolds is another way. Dustin Hoffman, as Ratso Rizzo, is still another way. There are no other ways. Fucking film and TV viewers, devil take them.    

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 523:     Just in passing, most writers have blind spots. Some writers can’t do cops. Some can’t do the opposite sex. I can, I can even write about it, meaning them.

xxx/ellauri304.html on line 583: A lot of pulp writers have (or had) style.  Mary Clark (+2020) had a style, Dean Koontz (*1945), Stephen King (*1947), Molly Cochran (*1949), Andrew Klavan (*1954), Larry Block (*1938), Susan Isaacs (*1943), Harlan Coben (*1961), Sue Grafton (+2017), they all have styles. Or had. I am told I have a style too (or had), although I don’t really know what style is. Didn't.

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 615:     Bet you'd like read the next turn. Sorry I couldn't think of something. Sounds like it's heading toward a slap, in the face or on the butt, who knows. If Edgar says, “Damn, I feel miserable,” I am quite certain that carries more intellectual and psychological heft than you writer, penning “Edgar felt miserable.”

xxx/ellauri304.html on line 623:     What to read? If you get no checks, read Writer’s Digest. Read the how-to books. If you want to read books on writing, you can’t find much better stuff then Stephen King on Writing, anything by Dean Koontz or Larry Block, a very specific mystery writing manual from Hallie Ephron (*1948), Writing Mysteries from MWA, a collection which includes me and my ex-partner, read my blogs and those about the writer’s soul by Molly Cochran. Read “Trial and Error”by Jack Woodford (+1971), one of the great commercial writing geniuses. And be sure to read my long time personal favorite book by one of my all time, all-star heroes, “Dare to be a Great Writer” by Leonard Bishop, which is not 300 pages of “rah-rah boys, go do it” but is instead 329 specific tips on how to get the trucks out of the garage in the morning. Fabulous. Reading and writing and remembering, are the only two of the three R’s that count. Who the hell cares about ‘rithmetic? Except Chuck Berry, who could count 6/8 time like a genius.

xxx/ellauri304.html on line 629:       Suppose you want to write a “big book.” No genre junk for you. Okay. Here’s what you need to know. A “big book” is just a genre novel that got bigger. More pages, more everything. just make it a little bigger, a little more breathless, give it a little more end-of-the-world panache. Think of selling it to Hollywood where they call it high concept but what that really means is that it’s a very short outline of a book for people who can’t read a whole book or even a whole paragraph at once and their mind starts to wander after one sentence. Where was I? Ah yes:

xxx/ellauri304.html on line 633: You don’t have to be an expert; you can learn enough to fake it and sound like one. That’s what Google is for. You don’t have to write about what you know, only about what interests you.

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/ellauri304.html on line 640: 	Theme isn’t something you paste on after you write the first draft. Now, potboilers in general don’t have much thematic content because they doesn’t need to go far beyond: Bang Bang and the good guys in the white hats win. Theme is a more ever-present feeling that permeates the book you’re working on. Do you think when Ayn Rand wrote The Fountainhead or Atlas Shrugged, she first wrote the stories and then asked herself, “Now whatever could this be about? Selfishness?” But then, she was more political than most and, as I said, many books don’t have any discernible theme, except, buy it please and make me rich. That's my theme anyway.

xxx/ellauri304.html on line 645: 	Did you ever hear of a guy with plumber’s block? Electrician’s block? Did a mechanic ever have mechanic’s block? No, no, and no. The reason is that none of them get paid if they don’t show up to work, so block isn’t really a viable option like flu. However for writers, it often is, but then, they don't get paid. Read Trollope’s autobiography. He worked according to schedule and if he finished a novel, but still had fifteen minutes left in his usual writing day, he would take a fresh piece of paper, write “Chapter One” and get started immediately. Time’s a-wasting, children, said Trollope and went out to fornicate some neighborhood trollops. It pays to be mediocre.

xxx/ellauri304.html on line 647: 	I am proud that I never got to be as much as mediocre. Perfect is the enemy of good. (Oh, shut up, liberal, Who asked you?) I also worked with Clint on Lala land. It was great, and so was Clint. Steps is a book by a Polish-American writer Jerzy Kosiński (1933-1991, nee Lewinkopff, luopio, vsta 1957 loikkari), released in 1968 by Random House. The work comprises scores of loosely connected vignettes or short stories, which explore themes of social control and alienation by depicting scenes rich in erotic and violent motives. It was no longer recognized by any literary agent in the eighties. Random House turned it down with a form rejection letter. Well maybe it was a piece of shit to start with.

xxx/ellauri304.html on line 652: Thank you for a useful and interesting writer’s blog, it really helps with my plumber's block.

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Peter Schwartz (writer)

xxx/ellauri306.html on line 64:   Peter Schwartzeja on joka lähtöön, joku niistä pääsi juuri tiilenpäitä lukemaankin Trumpin Capitoliumin ryöstöretkestä. Mutta tuskin tämä, tuppikullimaisen karvaton Kristiina-tädin ikäinen Peter Schwartz (writer).  Eikä tuokaan partasuinen futuristi, sionisti Peter Schwartz joka pelkää arabien ajavan juutalaiset mereen. Eikä Peter Schwartz, kardiologi. Mutta ne on kaikki juutalaisia! Ja varmaan kaikki vitun oikeistolaisia. 

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/ellauri306.html on line 68: Why is Rand a bad writer? Her writing is simply illogical, incomprehensible and blabbering. Her heroes and heroines are but pastiches, cliché-like cardboard figurines. Her world is black and white; either the character is a hero or a crook, but never anything in-between. Moreover, they fail the reality check; Howard Roark of The Fountainhead would not be the heroic creative mind he is represented; the reality check would be a similar megalomaniac sociopath as Le Corbusier.

xxx/ellauri306.html on line 70: Tämä Peter Schwartz (writer) on kirjoittanut sepustuxen nimeltä Izekkyyden puolustuspuhe, jonka sisältönä on juuri se, että izekkyys on jotain hienoa ja kaikin puolin hyvä asia. He is an Objectivist. Ize asiassa altruismi on paizi tyhmää myös julmaa kommunismia joka estää individiä toteuttamasta izensä parhaita puolia, nimittäin rahanahneutta. Pursuit of happiness, se on demokratian ytimessä.  "Oletko izekäs? Sinun tulisi olla," ja Peter Schwartz tietää mixi. Kaikkein ensixi sinun tulisi ostaa Peter Schwartzin izekkyyden ylistys, nyt vain. 0,50e poistohyllystä. Se oikaisee laajalle levinneitä hyvinvointivaltion harhakäsityxiä, kuten että suomalaiset olisivat maailman onnellisimpia. Ne eivät VOI olla, ne on köyhiä ja maxaa liikaa veroa! 

xxx/ellauri306.html on line 278: copywriter, jonka kotipaikka on Kaakkois-Englannissa. Lauren työskenteli 

xxx/ellauri306.html on line 501: Tästä Peter Schwartz (writer) olis tykännyt. Mistä Peter muuton luulee tietävänsä että Attila oli tunteiden heiteltävä raivopää? Hobbes oli oikeassa että jos 2 haluaa samaa asiaa jota ei voi jakaa kahtia syntyy konflikti. Mixikähän Silverfish luulee että haluaisin kaverixi jonkun jonka nimi on Sudikto Sikder? Yhtä vähän kuin haluaisin kaverin nimeltä Silverfish. Peterin mielestä oikeanlaatuinen izekkyys tuli ilmoille vasta Rozenbaumin akan perseestä. Alisa onnistui näät johtamaan oughtin isistä. Näin on siis näin täytyy olla. Paizi Alisa, ja Peter sen magnetofoonina, puhuu epädarwinistisesti organismista, kun jo pitkään on tiedetty että altruismi selittyy izekkäistä geeneistä. Organismi on pelkkä itiöemä,  jonka tehtävä on jatkaa iturataa eteenpäin. 

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xxx/ellauri307.html on line 605: Kuinka monta näistä "kirjailijoista" odotit olevan tässä maailman rikkaimpien "kirjailijoiden" luettelossa? Odotitko Peter Schwartzin (writer) olevan listalla? LOL, ei lähelläkään.  Peter Schwartzin (writer) nettovarallisuus on 5–10 miljoonaa dollaria. Peter Schwartzin (writer) mekko- ja kengänkoko ovat selvityksen alla. Jos tiedät jätä kommentti alle.

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xxx/ellauri307.html on line 740: Danilla oli surkea muusikonura länsirannikolla jota nöyrä,  sittemmin eroprosessissa kusetettu vaimo Blythe koitti turhaan buustata. Brown and his wife Blythe moved to Rye, New Hampshire in 1993, samana vuonna jolloin ize sain karkoituxen Kouvolaan. Brown became an English teacher at his alma mater Phillips Exeter, and gave Spanish classes to 6th, 7th, and 8th graders at Lincoln Akerman School, a small school for K–8th grade with about 250 students, in Hampton Falls. Aikamoinen mahalasku tuli Danille(kin). While on vacation in Tahiti in 1993, Brown read Sidney Sheldon's (n.h.) novel The Doomsday Conspiracy, and was inspired to become a writer of thrillers. He started work on Digital Fortress, setting much of it in Seville, where he had studied in 1985. He also co-wrote a humor book with his wife, 187 Men to Avoid: A Survival Guide for the Romantically Frustrated Woman, under the pseudonym "Danielle Brown". Brown's first three novels had little success, with fewer than 10,000 copies in each of their first printings. His fourth novel, The Da Vinci Code, became a bestseller, going to the top of the New York Times Best Seller list during its first week of release in 2003. It is one of the most popular books of all time, with 81 million copies sold worldwide as of 2009. Its success has helped push sales of Brown's earlier flops. Brown's prose style has been criticized as clumsy, to say the least. The Da Vinci Code committed style and word choice blunders in almost every paragraph. Recurring elements that Brown prefers to incorporate into his novels include a simple hero pulled out of their familiar setting and thrust into a new one with which they are unfamiliar, an attractive female sidekick/love interest, foreign travel, imminent danger from a pursuing villain, antagonists who have a disability or genetic disorder, and a 24-hour time frame in which the story takes place.

xxx/ellauri307.html on line 741: Brown's work is heavily influenced by academic Joseph Campbell, who wrote extensively on mythology and religion and was highly influential in the field of screenwriting. Brown also states he based the character of Robert Langdon on Campbell. Vizi tästä akateemisesta Joosepista taitaa ollakin jo paasaus! Brown does his writing in his loft. He told fans that he uses inversion therapy (ei tarkoita housut pois homopatiaa vaan roikkumista pää alaspäin kuin apina) to help with writer's block. He uses gravity boots and says, "hanging upside down seems to help me solve plot challenges by shifting my entire perspective".  Dan on myös hanakka plagioimaan muiden yhtä onnettomia kirjoja.

xxx/ellauri307.html on line 749: ja palaa sieltä paitsi voittajana, myös muuttuneena ja viisastuneena ihmisenä. A sadder man, but wiser now, I write these words to you.

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xxx/ellauri319.html on line 115:     Houston Stewart Chamberlain (/ˈtʃeɪmbərlɪn/; 9 September 1855 – 9 January 1927) was a British-German philosopher who wrote works about political philosophy and natural science. His writing promoted German ethnonationalism, antisemitism, and scientific racism; and he has been described as a "racialist writer". His best-known book, the two-volume Die Grundlagen des neunzehnten Jahrhunderts (The Foundations of the Nineteenth Century), published 1899, became highly influential in the pan-Germanic Völkisch movements of the early 20th century, and later influenced the antisemitism of Nazi racial policy. Indeed, Chamberlain has been referred to as "Hitler's John the Baptist".

xxx/ellauri319.html on line 317: Edward Bellamy (1850–1898), fiction writer remembered for his book Looking Backward, died from tuberculosis

xxx/ellauri319.html on line 325: Anne and Emily Brontë and other members of the Brontë family of writers, poets and painters were struck by tuberculosis. Anne, their brother Branwell, and Emily all died of it within two years of each other. Charlotte Brontë's death in 1855 was stated at the time as having been due to tuberculosis, but there is some controversy over this today. Näyttää siltä, ​​että hän myös tuli nopeasti raskaaksi; vaikka hän ei ole koskaan maininnut häntä erityisesti tämänaikaisessa kirjeenvaihdossaan, hän pyytää neuvoja ihmisiltä, ​​jotka ovat saaneet vauvoja, vartioidulla kielellä, jota voidaan helposti tulkita. Brontën pappilamuseossa on myös pieni, kaunis ja liikkuva vauvanhuppari, jonka ystävä oli valmistanut Charlottelle tulevaa iloista tapahtumaa varten. Sitä ei koskaan tapahtunut. Vuonna 1972 Lontoon yliopiston synnytys- ja gynekologian professori, professori Philip Rhodes totesi, että "todisteet ovat melko selvät siitä, että hän kuoli hyperemesis gravidurumiin, raskauden turmiolliseen oksentamiseen." Charlotte oli 39 kun se oxensi viimeisen oxennuxensa. Niis, kirjoitat niin kauniisti Bronten perheestä..


xxx/ellauri319.html on line 343: Albert Camus, French writer, playwright, activist, and absurdist philosopher, suffered from tuberculosis. He was forced to drop out of school (University of Algiers) due to severe attacks of tuberculosis. However, his death was caused by a car accident.

xxx/ellauri319.html on line 347: Anton Chekhov (1860–1904), Russian short-story writer, playwright and physician; died from tuberculosis

xxx/ellauri319.html on line 373: Saima Harmaja, Finnish poet and writer

xxx/ellauri319.html on line 397: Andreas Karkavitsas, Greek writer

xxx/ellauri319.html on line 421: Katherine Mansfield, New Zealand writer, died from tuberculosis aged 34

xxx/ellauri319.html on line 433: Christian Morgenstern, German writer

xxx/ellauri319.html on line 439: Jessie Fremont O'Donnell (1860–1897), writer

xxx/ellauri319.html on line 511: A. H. Tammsaare (1878–1940), Estonian writer; suffered from tuberculosis after 1911

xxx/ellauri319.html on line 563: Leo Tolstoy (1828–1910), writer

xxx/ellauri319.html on line 628: Guy de Maupassant, French writer

xxx/ellauri319.html on line 642: Camilo Castelo Branco (1825-1890), Portuguese writer

xxx/ellauri320.html on line 156:     Well, I may write about innocent virgins,' she said, over a lavish lunch of pheasant and vintage hock, 'but I wasn't one when I married. I lost my virginity at 18 to Viscount Elmley, the son of the seventh Earl Beauchamp, Lord Warden of the Cinque Ports, whose glorious home, Madresfield Court, was the model for the house in Evelyn Waugh's Brideshead Revisited.

xxx/ellauri320.html on line 264:   Danielle SteelUSA385MromanssiPiluI try to write about the stuff that torments us all.

xxx/ellauri329.html on line 97: In 2004, Harper’s magazine published Natasha, a first short story by a promising 31-year-old Jewish Canadian writer, David Bezmozgis. This memorable tale of a doomed teenage love between Mark, a Jewish Toronto slacker, and his troubled (shiksa) Russian cousin by marriage was eventually released in a collection chronicling the lives of a Latvian immigrant family, not unlike the author’s own. Bezmozgis’s debut became a cult sensation with critics drawing literary comparisons to Bernard Malamud and Philip Roth. The story was subsequently reprinted in 15 languages. After penning two more acclaimed novels, then writing and directing his first feature Victoria Day (SFJFF 2010), Bezmozgis finally brings his modern classic to the big screen in a remarkably assured adaptation that’s both highly provocative and deeply poignant. At the heart of this emotional, coming-of-age drama are the extraordinarily measured performances of Alex Ozerov as Mark and newcomer Sasha K. Gordon as the sexually precocious Natasha, the dark star who forever alters Mark’s staid, suburban existence. Fans of the writer’s original source material will not be disappointed in David Bezmozgis’s haunting narrative of forbidden love caught between the old world and the new, further proof of this talented artist’s notable command of both literature and the cinema. —Thomas Logoreci Note: Mature Content. A New Life in the west means a second chance for precocious Latvian jews.

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xxx/ellauri354.html on line 253: Sartre has said that the writer's is to cure the "sick" language that is incommunicative. Iris Murdoch, in attempting to answer what the sickness of the language really is, says it is the fact that we can no longer take language for granted as a medium of communication. "Its transparancy has gone. We are like people who for a long time looked out of a window without noticing the glass - and then one day began to notice this too. Hemingway also feals this way. Our time demands a simple prose. with an Eliot-like emphasis on semantics."

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/ellauri354.html on line 372: Latin is a common language for the mottos: whether as quotations taken from the Roman writers Ovid, Martial, or Horace, or as translations of time-related sentiments. Mechanick Dialling, a 1769 manual for creating sundials, includes 300 “Latin mottos for dials, with their Meaning in English”, indicative of an expectation that a motto would be added. Margaret Gatty, who wrote the book on sundials (“The Book of Sundials”), collected 1,682 mottos in an appendix to her exhaustive history, taken from instruments all over Europe.

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Top 15 great alcoholic writers

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xxx/ellauri379.html on line 119: 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.

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xxx/ellauri379.html on line 152:   Dua Lipa (/ˈduːə ˈliːpə/ ⓘ DOO-ə LEE-pə, Albanian: [ˈdua ˈlipa]; born 22 August 1995) is an English and Albanian singer and songwriter. Her voice and disco-influenced production have received critical acclaim and media coverage. She has won numerous accolades throughout her career including seven Battler Britton Awards and three Grammy Awards. Time Magazine named her one of the most influential people in the world as of 2024. Missing from that list are Vladimir Putin, Xi Jinping, plus both of the geriatric incumbents to the capitalistic throne.

xxx/ellauri379.html on line 154: The media have described Lipa as having a mezzo-soprano or contralto vocal range. Her music is primarily pop, and has also been described as disco, house and R&B. Stylistically, her music has been described as dance-pop, synth-pop, R&B, dream pop, alternative pop, and nu-disco subgenres. She describes her musical style as being "dark pop". She is also noted for singing in a "distinct, husky, low register", and her "sultry" tone. Regarding her songwriting process, Lipa states she usually comes to the studio with a concept and starts developing the song with her co-writers. She cites Kylie Minogue, Pink, Nelly Furtado, Jamiroquai, Kendrick Lamar, and Chance the Rapper among her musical influences. "My idea of pop has been P!nk and Christina Aguilera and Destiny's Child and Nelly Furtado", said Lipa in a GQ interview in 2018. Her second studio album Future Nostalgia (2020) was inspired by artists that she listened to during her teens, including Gwen Stefani, Madonna, Moloko, Blondie and Outkast. KIINNNNNNOS. Liikkuuko sinun Lipasi? Ei ota minun orani. I love her lack of energy. Fiat voluntas tua.

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xxx/ellauri380.html on line 290: Angry camel driver writes: The world has eventually recognized Israel as the pariah state. It has lost all moral, political and legal justifications to exist anymore. 
 Israel was created as a colonial project by Britain & USA to have an outpost right in the heartland of Islam, by importing Jews from Europe and US. It is being blindly supported by USA to carry out genocide of people of Gaza. It is surviving due to billions of military, political and economic support from USA and other western countries. Everyone can see that it has no roots in the Middle East, rather its colonial origin and continued existence as a US colonial outpost, has become manifest to the whole world. Does a colonial outpost has any right to exist as a legitimate country in the 21st century? America, come to think of it, is another colonial outpost. 

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xxx/ellauri380.html on line 444: Lev Navrozov, a scholar who immigrated from the Soviet Union in 1972 and who now writes for The Yale Literary Magazine, which is owned by his son Andrei, went even further than Professor Pipes. Mr. Navrozov condemns the Solzhenitsyn novel as ''a new Protocols of the Elders of Zion".

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xxx/ellauri387.html on line 148: Gunnar Gunnarsson is one of Iceland's most esteemed writers. From a poor peasant background, Gunnar moved to Denmark in 1907 to get an education. He wrote mainly in Danish throughout his career, in order to reach a wider audience. He wrote Vargur í Vjeum in 1917.

xxx/ellauri387.html on line 486: "Who?" said Pococurante sharply; "that barbarian who writes a tedious commentary in ten books of rumbling verse, on the first chapter of Genesis? that slovenly imitator of the Greeks, who disfigures the creation, by making the Messiah take a pair of compasses from Heaven´s armory to plan the world; whereas Moses represented the Deity as producing the whole universe by his fiat? Can I think you have any esteem for a writer who has spoiled Tasso´s Hell and the Devil; who transforms Lucifer sometimes into a toad, and at others into a pygmy; who makes him say the same thing over again a hundred times; who metamorphoses him into a school-divine; and who, by an absurdly serious imitation of Ariosto´s comic invention of firearms, represents the devils and angels cannonading each other in Heaven? Neither I nor any other Italian can possibly take pleasure in such melancholy reveries; but the marriage of Sin and Death, and snakes issuing from the womb of the former, are enough to make any person sick that is not lost to all sense of delicacy. This obscene, whimsical, and disagreeable poem met with the neglect it deserved at its first publication; and I only treat the author now as he was treated in his own country by his contemporaries." 

xxx/ellauri388.html on line 72: Waltari osallistui lokakuussa 1942 suomalaisten kirjailijoiden vierailuun Weimarin kirjailijakokoukseen propagandaministeri Joseph Goebbelsin suojeluksessa. Saatuaan writer´s blockin hänestä tuli Suomen Akatemian jäsen, ja hän kirjoitti enää esipuheita kirjojensa uusintapainoksiin.

xxx/ellauri388.html on line 93: Craucher´s saloon was a popular watering place for Tiilenkantajat ("The Flame Throwers") and other young writers of the time because of her generous service and her fascinating arse. Craucher herself, for her part, felt drawn to uniforms. Of the authors who visited Craucher´s saloon, at least Joel Lehtonen, Martti Merenmaa and Mika Waltari have described the salon and its owner. 

xxx/ellauri394.html on line 175:       Shortly after her accession, Liliʻuokalani began to receive petitions to re-write the Bayonet Constitution through the two major political parties of the time, Hui Kālaiʻāina and the National Reform Party. Supported by two-thirds of the registered voters, she moved to abrogate the existing 1887 constitution, but her cabinet withheld their support, knowing what her opponents´ likely response would be.

xxx/ellauri394.html on line 204:   On October 13, 1896, the Republic of Hawaii gave her a full pardon and restored her civil rights. "Upon receiving my full release, I felt greatly inclined to go abroad," Liliʻuokalani wrote in her memoir. From December 1896 through January 1897, she stayed in Brookline, Massachusetts, with her husband's cousins William Lee and Sara White Lee, of the Lee & Shepard publishing house. During this period her long-time friend Julius A. Palmer Jr. became her secretary and stenographer, helping to write every letter, note, or publication. He was her literary support in the 1897 publication of the Kumulipo translation, and helped her in compiling a book of her songs. He assisted her as she wrote her memoir Hawaii's Story by Hawaii´s Queen. Sara Lee edited the book published in 1898 by Lee & Shepard.

xxx/ellauri394.html on line 249: Liliʻuokalani was an accomplished author and songwriter. Her book Hawai´i´s Story by Hawai´i´s Queen gave her view of the history of her country and her overthrow. She is said to have played guitar, piano, organ, ʻukulele and zither, and also sang alto, performing Hawaiian and English sacred and secular music. In her memoirs she wrote:

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