#but no turns out this is a separate book of poems she had copied specifically

[flowersandfashion]

It's always "ooh I crave sapphic romance" "I want a girl to write poems about me"

what if the poems are really bad? what then?

(not a hypothetical. help me)

[fresh-prince-of-denmark]

New Dawn Fades — Literary References Analysis Part 4: The Id, the Ego, the Superego

Cyberpunk Spoiler Warning 

Here’s part four of me going through all the endings and looking for the literary references in each of the endings, which I believe allude to what happens to V/Johnny, possibly in future DLC. If you haven’t read my other posts, you should read them here (Johnny’s Mikoshi poem, V’s Mikoshi Poem, The Star ending) first since we’re gonna loop back to them later.

New Dawn Fades was such a pain in the ass; because Johnny is such an art hoe, I found three different poems/stories scattered around. Not only that, but two of them are translated from Polish, and one of them us from Ovid’s The Metamorphoses. I studied English literature so…forgive me if this is super surface-level. Also, stuff gets lost in translation, so the original meaning sometimes gets lost. If Polish literature is anyones niche, please teach me a thing two, but all I can do now is my best! But from what I could tell, damn…paints a pretty depressing picture. Let’s start with the two Polish writers first:

Bolesław Leśmian, "Why so many candles...”

Why so many candles, these faces above me?

No more harm shall ever meet my body.

Everyone is standing - while here alone I lie -

Grieving, feigning. One must be true when one must die.

And so, buried under these wreathes of leaves, I lie -

Solemnly - Agelessly - Solitarily.

Death, gone silent, once again rushes to my head,

Though by now I know all my comprehension is dead.

How I loathe to become accustomed to this grave,

To be what I once was - that is all I crave.

This one is…yikes. Depressing. As I talked about in previous posts, V’s poem is more pessimistic: nothing we do matters, we’re all just dust in the wind, you know, the good stuff. Johnny’s poem has a very different stance; art makes us immortal, and we can change the world, etc. With this…Johnny seems to have given his larger-than-life attitude up in favor of V’s resignation that life sucks. Much like Prufrock in V’s poem, Johnny is lying “Solemnly - Agelessly - Solitarily.” Almost as if he didn’t want V’s body, not as a selfless gesture…but because he has grown accustom to his previous form. In Johnny’s version of Alt’s poem, it almost seems as if he embraces being a construct — the form of immortality it, and his legacy, grants him (remember all that hokey about being a golden bird to sing his message to the youth?). Blackwall was a kind of death Johnny knew — yet now:

“How I loathe to become accustomed to this grave,

To be what I once was - that is all I crave.”

Interesting. We never find out where Johnny is going when he leaves Night City, but it makes me wonder. Is he truly starting anew? Or hoping to fix what went wrong?

In the next room, we find another poem, this one an excerpt from Labyrinth by Wisława Szymborska:

So this way or that,

Or no, the other,

By ear or by your gut,

By your wits or by shortcut,

By any means necessary,

Cutting crooked corners.

Past whatever row in a row

Of corridors and gates,

Quickly, in the meantime

Your time grows short,

From one place to another

To one of many still open,

Of darkness and plight

But also delight, held just ajar,

Where there's joy, though sorrow

Lies well-nigh nearby,

And elsewhere, somewhere,

Wheresoever and whereabout,

Fortune in misfortune

Like a parenthetical parenthesis

Acceptance of it all

And suddenly - a fall

I’m a little shaky on the meaning behind this one. My immediate response is to compare it to the poem found in The Star — which contains a piece from The Marriage Between Heaven and Hell by William Blake. The overarching use of this poem, by my interpretation, is an explanation for what the Blackwall is: hell. But not hell how most would perceive it. In fact, according to Blake, hell isn’t so bad. Our views of heaven and hell, good and evil, are wrong. Everyone contains both good and bad within them, and neither is wrong, simply two opposites; between conformity and rebellion, art and obedience. If we were to look at it this way, V would most likely belong in “Heaven,” the world of the obedient, those who play by the worlds rules (at least, in the beginning of the story, before Johnny influences them toward the rebel path), while Johnny represents “Evil,” and would belong to Hell. In some dialogue choices, Johnny will even state that he no longer believes he is a human, and is in fact code, no longer belonging in the world of the living. In this scenario, both have found themselves where they don’t belong. Not only that — but one is supposed to be a healthy mix of so-called “Good” and “Evil.” The “Soul,” and “Body,” are one, not meant to be separated. Uh oh. The tone of this poem in Johnny’s context just seems so…lost, to me. Someone who found their other half, their perfect foil, a soul and body as one…and now it’s gone. What does one do after such a loss?

And finally, the most grim of the three stories: Ovid’s The Metamorphoses. Specifically, Book III, Narcissus and Echo. This one most likely has the greatest significance; not only is it a shard you can pick up, but an open copy of the book can be found in Johnny’s hotel room, drawing further attention to it. 

If you haven’t read it, let me give you a quick and dirty summary:

At the beginning of the story, Narcissus’ mother, Liriope, asks the prophet Tiresias if her son will live to see old age, which he replies “only if he does not know himself.” One day when Narcissus is 16, he is out hunting when he finds a mountain Nymph named Echo. Echo, as one might guess, was cursed by Hera and can only repeat what is said back to her. You know. Like an echo. Echo falls in love with Narcissus at first sight and follows him throughout the forest, waiting for him to speak so she can communicate with him. Narcissus eventually gets separated from his hunting group, and calls out for them, which Echo…well, echos. Eventually Echo reveals herself and Narcissus freaks out, telling her basically he’d rather die than be with her. She hides in a cave and pines until she whithers away from hunger, and only her voice remains.

Many other nymphs fall for Narcissus because apparently he’s a straight up snack, but he rejects all of them. Apparently someone gets so salty about it, they summon the Goddess of Vengeance to do something about it. She leads him to a crystal clear pool, in which he is able to see his reflection. Remember the thing about knowing oneself? Yeah…At first, Narcissus thinks the reflection is a different person and falls in love. He smiles, the reflection smiles, so it must like him back, right? Eventually he reaches to touch it, and realizes that it’s him. He freaks out, and much like Echo, stays by his reflections side until he withers away. Having a total meltdown, he cries out “Alas!” which is echoed, by well, Echo. Her voice lived on, and she watches him die as he calls “Farewell, dear boy. Beloved in vain.” Once again, Echo repeats this. Narcissus dies and all the thirsty hoes make a pyre to burn him, but when they go looking for him they find the Narcissus (flower) instead (nooo...dont transform into a flower, you’re so sexy ahaha). 

So what does this mean for Johnny/V? Well, two main things pop out to me: transformation, and reflections. Much like Echo and Narcissus are reflections of each other, V and Johnny reflect each other. As @ellitira pointed out in my analysis of the Star, V and Johnny constantly reflect each other. One of the most obvious ways is their literal reflection; if you look in a mirror during a relic malfunction, you’ll see Johnny, not V. But scenes are reflected as well; the first and last time V meets Johnny, they grab him by the shoulder from behind to get his attention as he turn to face them. The first time Johnny and V have a civil conversation, they’re sitting at a table in Tom’s Diner, Johnny’s foot on the table. This mimics their conversation in Mikoshi with Alt. Their conversation about taking a bullet for one another in the Pista Sofia where Johnny is sitting backwards on a chair while V is on the ground is also repeated moments later, as Johnny and V have their final conversation about who will stay and who will go with Alt. Johnny also mentions that he spent his first few weeks in NC laying in bed, staring at the ceiling fan. When he awakens in New Dawn Fades, what is he doing? Staring at the ceiling fan…in Pacifica, not far from the Pista Sofia. The boy who he gives the guitar to is even wearing V’s “favorite shirt”…the one we see them wearing in the first scene they’re introduced. There’s probably loads more, so feel free to share if you find any more. If you want to know more about why this is significant, make sure to read about V’s version of Alt’s poem. 

So why do these reflections/echos matter? Well, what does one do with a reflection? Reflect. Johnny begins to examine himself through V, and he begins to realize he doesn’t like what he sees. If V calls him the man who saved her life, he’ll respond with “you have no idea how badly I want that to be true.” He tries his best to right his wrong only after this conversation with V, not only in Burning Love and Chippin’ In, but in other ways too. For example, it’s Johnny’s idea to call V’s loved ones to say goodbye on the roof scene, because “he wished that he had had a chance to.” Because of V, he grows, changes, and becomes a better person, just as much if not more as he seems to change V. As he leaves V’s grave, he even states that he has changed; that he’s wiser now, and won’t make the same mistakes. He states he won’t dwell on what happened, but somehow I doubt that, considering everything above.

The other theme of Narcissus and Echo is of transformation; after all, metamorphosis actually means "to change or transform.” Echo becomes, well, and echo, and Narcissus becomes a flower. V and Johnny also transform; not only physically between engram and human, but they transform one another. Both of them fall in love, and neither will move on. Echo falls in love with Narcissus, and Narcissus falls in love with his reflection. Because they refuse to transform the way they feel, they must die and transform physically. So who represents who in this scenario? In a way, Johnny is both. Johnny is a bit, well, narcissistic. He’s self-absorbed in his flashbacks, and adored by countless fans, yet ignores them in favor of his own company. He thinks everything is about him (Alt’s death, Samurai, etc.)  and is willing to die for his beliefs. He is also constantly reflecting on himself through V. However, what really kills him is losing Alt; she tells him not to follow her (much like Narcissus tells Echo to leave him alone). He does anyway, and avenging her leads to his demise.

What’s especially sad about this is the way Johnny views transformation; he is very concerned with the idea of one’s individual identity, and hates the idea of turning into something you’re not. He despises that he’s going to turn V into himself by force. He hates dolls because he sees their behavior chip as something that changes them into something they’re not. He’s scared of V going to Blackwall not because it’s death, but because they “won’t be the same.” I don’t think Johnny ever wanted V’s body; again, not as a courtesy, but because it’s not him. After all, he could have just let nature take its course and let himself re-write their psyche, but instead he actively tries to save them as best he can. If V chooses to let him have their body, he hardly seems happy about it; especially compared to how happy he seems to see that part of him will live on in the way V refuses to give up should they choose to live on. By taking V’s body, he is no longer himself; rebel, rocker-boy, legend, and the guy who promised to save V’s life. Johnny in A New Dawn has lost his entire sense of self, his entire new and improved identity; one that learned from his mistakes and became a better person because of V. Johnny has The Tower tattooed on his arm, the card of (often painful) transformation and change. Yet this is what Johnny is most afraid of; not death, or even the not-so-bad sort-of hell that is Blackwall. He’s afraid of losing himself, and by losing V, he has lost a part of himself. The part of himself that was supposed to be a better person; who was supposed to save V’s life.

[myheartrevealedocs]

Untouchable - Ch 7: The Fisher King: Part 2 (S2E1)

Summary:  A Spencer Reid x OC fanfic that retells select episodes, starting in season 1, from the point of view of Lydia Ambers, a forensic scientist.

Warnings: mentions of death, swearing, death threats, graphic injuries

Ch 6 | Ch 8

~ ~ ~

When Lydia got back to the conference room, Spencer was the only one there. He stood directly in front of the whiteboard, murmuring to himself. He’d written ‘Possible Book Titles’ across the top, but so far had nothing listed.

“The rest of the team leave you to figure this out on your own?” she asked.

He startled slightly, not having heard her walk in. “Um, JJ and Morgan are going to interview Rebecca Bryant’s parents… and Hotch and Gideon are interviewing the guy who brought the numbers to Haley.”

“Someone found him?”

“He turned himself in,” Spencer explained. “So, now it’s just me and the evidence boards.”

“Now it’s us and the evidence boards,” she corrected. She sat down and picked up the medication bottle from the table. “Sorry I stormed out.”

“Sorry you were so stressed,” he mumbled. “We didn’t mean to push you.”

“You didn’t. It was important for you to know. I’m just… so done with this, you know?” She stopped herself. “Sorry, of course you do. You were on vacation when you got these weird messages. I was just home doing my schoolwork.”

“Lydia, stop apologizing,” he argued. “This is very stressful, we’ve all been here a long time, and you got a package delivered to your door. I can easily understand why that’d freak you out.”

She shrugged. “I just feel like I should be able to piece together these clues the unsub’s giving us and I can’t.”

“I know exactly what you mean,” he agreed, indicating to his empty list.

She looked over the label on the bottle in her hands. There was a patient name, a doctor’s name, drug, and an RX number. Prescription bottles always had more than that. They had instructions, pharmacies, manufacturers, fill dates, expiration dates.

“This number must mean something,” she wondered out loud. “He didn’t put any unnecessary information on it, but there’s a long RX number.”

“Read the number out loud,” Spencer told her.

He wrote it across the board as she went. “3-1-5-1-2-1-2-5-3-2-0-1-5-1-8”

“Okay,” he stepped back. “We can start with the basics. A equals 1, Z equals 26.” He got to work, writing the corresponding letter underneath the number.

C-A-E-A-B-A-B-E-C-B-

He stopped at the zero. “That’s definitely not a word. But some of the letters have double digits, so… let’s see if we combine everything we can combine…’C’ stays the same. The 1 and 5 could be fifteen, which is ‘O’...” He began again.

C-O-L-L-E-C-T-O-R

“Collector?” He stepped away. “That mean anything to you?”

Lydia shook her head.

“Alright. Collector. Collecting things. He’s collecting things.” He snapped his fingers so sharply Lydia almost jumped. “Collector! Baseball cards, music boxes, butterflies, skeleton keys. These are all things people collect!”

“That can’t be a coincidence, can it?”

He shrugged. It was basically impossible at this point to rule anything out.

“Medieval,” she rambled. “Collectable things. Numerical codes. What else have we got?”

“We’ve got this note from the music box?” he offered. “I think I’ve heard it somewhere, but I can’t place it… And I think the book was published in 1963.”

“Why’s that?”

“That’s the year on the baseball card, but it’s not the year Gideon went to all those games. If the unsub knows Gideon likes Nellie Fox because he went to almost all the White Sox games in 1959, why give him a ‘63 card?”

“Okay,” Lydia agreed. “So, the type of butterfly JJ got, that probably means something too, because she collected butterflies, not pale clouded yellow butterflies.

He nodded. “Let’s get Garcia to look up some of these things and see if we find anything.”

She followed him out as he dashed towards Garcia’s office. He was very stiff and awkward when he was in a rush, she noticed, but he refused to run through the office. She was glad for it at the moment, seeing as with her foot, she probably couldn’t keep up with him, but it was almost comical, the way his feet skipped underneath him with repressed anticipation.

Garcia looked up when they walked in, then turned back to her computers. “This guy is infuriatingly good. He routed his IP through major corporations, crisscrossed it through countries, bounced it off satellites-”

“I thought you already tracked the hacker,” Spencer said, pausing behind her and glancing over her shoulder.

“No, I only found what he wanted me to find,” she huffed. “Apartment where Giles was dead. Reid, a hacker capable of getting into my systems is going to have amazingly sophisticated equipment. Did Giles’s apartment have that?”

“He didn’t have a couch,” he responded.

“Exactly. Giles was a smokescreen I should have seen through. But now I have this glorious program I wrote, tracking the hacker through his other identity: Sir Kneighf.”

“Sir Kneighf?” he cried.

Lydia’s eyes widened. “The doctor on the prescription bottle!”

“The what?” Garcia flipped her chair around and Reid leaned over to see the name on her screen

“K-N-E-I-G-H-F. That’s an odd spelling.”

She waved him away. “Do you need something?”

“Yeah, is there a database, which lists all the books published in a given year?”

“Individual publishers have lists, but I don’t think there’s anything like a master one. Plus it would depend upon the year, because the further back you go, the less likely there’ll be any database at all.”

“1963.”

She rolled her eyes. “Yeah, ok, that would be an example of extremely less likely.”

He hummed in contemplation. “Could you do me a favor? Type something into a search engine for me?” She pulled herself back up to the keyboard. “‘Never would it be night, but always clear day to any man’s sight’.”

“Okay, that’s from a poem, ‘The Parliament of-’”

“Fowls!” He jumped in recognition. “Yeah, yeah, yeah, yeah! Chaucer! My-” He hesitated. “My mom used to read me that. It’s widely considered as the first Valentine’s poem.”

Garcia chuckled. “Your mom read you Valentine’s poems? Hello, therapy.”

Lydia smacked her over the shoulder.

“Chaucer. Chaucer. ‘Parliament of Fowls’.” He began mumbling to himself again, trying to fit pieces together. “It has to be at least 283 pages long. Something published in 1963… A butterfly indigenous to Great Britain. Why? Something born. Something from Great Britain… Medieval. Chaucer. Chaucer was Middle English. Middle English spelling of the word Fowls… F-O-W-L-E-S…”

Lydia thought he was losing it, but somehow, this rambling was productive, because he blinked and ran back over to Garcia’s side.

“There- There was a contemporary british author-- Fowles. John Fowles. Will you type it into a search engine?”

“Uh… He wrote The Magus, he wrote The French Lieutenant’s Woman-”

“Anything in 1963 published in Great Britain?”

She narrowed her search and her computer started beeping. “Yeah. The Collector.”

Lydia wanted to scream. Finally, they were on the right path. “Are you serious? The code on the bottle was the book title.”

Garcia clicked on the book and the cover photo showed up, which ruled out any chances of the book being a coincidence. Three objects were displayed underneath the title of the book: a butterfly, a skeleton key, and a blonde lock of hair.

“I’m gonna start calling libraries. We need a copy of that book immediately,” Lydia said, leaving abruptly.

~ ~ ~

“Hello, my name is Lydia Ambers, I work for the FBI. We’re in desperate need of a very specific book to help us on a recent case. We’re looking for a copy of The Collector by John Fowles, but it has to be a copy that was published by Jonathon Cape. Would you have any of those?”

Lydia followed Reid and Garcia to one of the interrogation rooms, to talk to Hotch and Gideon about their findings, but she was thoroughly distracted by her call and ended up stepping on their heels a few times accidentally.

“According to our database, we should have two copies, but it’s going to take me a while to search for them. Can I call you back once I’ve found a copy?”

“Yes, thank you.” She hung up and promptly tripped, falling between Reid and Garcia’s shoulders. She would have run directly into Gideon if Reid hadn’t grabbed her by the arm and held her up steady. “Sorry!”

She shuffled back behind her two friends and let them talk to Hotch and Gideon.

“We know what the book is,” Spencer explained. “The Collector by John Fowles.”

“You sure?” Gideon demanded. They were both clearly on edge. Hotch had his arms crossed which didn’t look comfortable in his suit and Gideon was punchy. She didn’t fail to notice the way he and Garcia avoided each other's gazes, Garcia more than him. He was still pissed at her and she was probably thoroughly embarrassed. And hopefully, a little pissed too, because Lydia believed he’d been way too harsh on her.

“Not absolutely. Not until we see if the code works, but Lydia’s called four separate libraries to search for the 1963 edition published in Great Britain.”

“Well done,” Hotch complimented the group, tiredly.

“Agent Gideon,” a woman called, approaching the group of them, “there’s a call for you on line two. Says it’s extremely urgent.” 

“Is there a name?” he asked.

“Sort of. He calls himself the Fisher King.”

Lydia groaned before she could stop herself. Everyone raised an eyebrow at her.

“Sorry. The Fisher King is the one who guards the Grail. You know, the one that ‘Sir Percival’, over there is supposed to find.” She pointed at Reid, who was grabbing the notepad the woman had in her hands.

“This could be the unsub, guys,” he confirmed. “‘Sir Kneighf’ is an anagram for Fisher King.”

“The Fisher King is at the end of all Grail quests,” Gideon agreed.

They rushed to the bullpen, all crowding around a nearby phone.

“Line two trapped and traced,” Hotch demanded of one of the nearby agents and Gideon put it on speaker.

“Gideon.”

“What I had to do was not my fault,” the unsub replied, his harsh voice unmistakable.

“Excuse me?”

“It was distasteful and barbaric.”

“Who is this?”

“No one else had to be hurt.”

“Call yourself ‘The Fisher King’?” He was trying to throw the unsub off his rhythm. Gideon had been training her to speak to hostile people and profile what responses to give them, so she followed along his game.

This guy had clearly planned what he wanted to say and expected them to shut up and listen. If Gideon made him interrupt the strict script in his mind, he might slip up and give information he didn’t want to or forget his point.

“I told you there were rules.”

“I’m actually more interested in exactly how you got all those burns.” Different tactic. Make the unsub think we’re closer to catching him than he thinks.

“Remember this next time you decide to step outside my instructions,” he warned. “Agent Greenaway did not have to die like that.”

The phone buzzed as he hung up the call.

~ ~ ~

After many attempts at calling Elle, Hotch got ahold of Agent Anderson, who was in charge of taking her home. Anderson explained that Elle had been shot and the ambulance was on its way to a nearby hospital. And then, he and Gideon were off, leaving Lydia, Spencer, and Garcia to work on piecing together this mystery.

“Mrs. Valez, are you there?” Reid asked, putting the librarian who’d just called them back on speaker phone.

“Yes, Dr. Reid. I am. I have a first edition of The Collector, published in Great Britain in 1963.”

“Wonderful.” As they spoke Garcia cleared off room on the whiteboard to copy down the code. “Mrs. Valez, I’m going to read you a set of three numbers. The first is going to be a page number, the second a line number on that page, and the third, a word number in that line. Do you understand me?”

“Yes, I understand.”

“All right, the first is page 222.”

“Page 222, got it.”

“Line 23.”

“Line 23. Got it.”

“What is the 16th work on that line, Ms. Valez?”

“The.”

“The,” he repeated. “Great.”

Garcia wrote it up on the board and Lydia suddenly very much regretted not going along with Gideon and Hotch. But just in time to save the day, her phone started going off with a call from the unit chief.

She dismissed herself quickly and stepped outside to answer.

“How’s Elle?” she asked, figuring greetings could be dismissed for the time being.

“She’s in surgery. Ambers, I need you to go to her house and look for any evidence you can find. And if you can, I need you to tell me what exactly happened when she got home. Anderson will meet you there.”

“Yes, sir. I’ll get back to you when I have something.”

She quietly signalled to Reid that she was leaving before grabbing her FBI windbreaker and latex gloves and running off to the elevator. She hadn’t taken a company SUV since her first case (after which she learned she wasn’t supposed to be driving them on her own because she wasn’t supposed to be unsupervised while working), but she figured that, if caught, she would be forgiven, given the circumstances.

The street was littered with cop cars by the time she got there and it took a minute for them to recognize the car and jacket she was wearing and let her through. Once she had parked, she ran across the front lawn and inside, looking for Anderson. Right now, the only reason she hadn’t been thrown off the scene was her jacket and until Anderson arrived with his badge and the orders to clear the place, she was at the local PD’s mercy.

“Excuse me, miss,” a man called to her as she walked into the living room. She shut her eyes tightly. Damn it.

“Hi. My name’s Lydia-”

“Ambers,” Anderson greeted her, stepping past the cops to speak to her. “CSU’s on the way, but Hotch wanted you to survey the scene before they processed it.” He turned back to the officer she was just speaking to. “Hello again, Detective Markes. I’m afraid I’m going to have to ask your team to leave, as you’re currently on a crime scene under federal jurisdiction.”

As he went on to argue with the detective, Lydia flipped around to make her initial determinations. Elle had lost a lot of blood. Lydia could assume she’d been shot in the abdomen, because it was the only area of the body where she could survive long enough to get to the hospital and into surgery while she was losing blood at that rate. Elle had a comforted seat built into an indent in the wall where the blood trail started.

The coffee table was awkwardly placed in the center of the room, so the paramedics probably moved it to get to her. And from the marks on the carpet, it looks like they had to drag her body onto its back in order to perform CPR. Then, there was the looming note on her wall in blood: RULES.

“Can I do anything to help?” Anderson asked. When Lydia looked up at him, it was clear to her that he’d been crying. His eyes were rimmed with red and his voice was shaky.

“Did the police tell you what happened?”

He nodded, rubbing his forehead tiredly. “There is evidence of forced entry on the back door. The unsub probably broke in and waited for her to get home before he shot her. She dialed 911 herself before she passed out. And her badge and gun are nowhere to be found.”

“She dialed 911 before she passed out?!” Lydia exclaimed. “Unless the unsub let her… but no, he thought she was dead. He was in the room with her and wrote in her-” Lydia took in a deep breath and started to put her gloves on. “Try something with me, Anderson.”

~ ~ ~

“What did you find?”

“CSU lifted a partial print from the unsub’s message,” Lydia told Hotch, driving back to Quantico.

“What message?”

“Rules,” she responded. “This is about the press conference.”

He sighed. “Did they get anything from the print?”

“They aren’t sure if it will be enough, but they’re running it through their systems now.”

“Good. And what did you find?”

Lydia’s breath hitched. “Me?”

“I asked you if you could figure out what happened. How did the unsub get the upper hand and shoot Elle?”

Lydia glanced at her phone, which was on speaker beside her, as if Hotch would be there looking sternly back.

“Here’s my theory,” she began. “We know he broke in through the back door and waited in the house. If he was in the dining room, he would have been able to hear her set her stuff down and lie on the couch. Now with her eyes closed, he’s able to walk into the room and aim a gun at her before she can react. At some point, Elle makes a move off the couch and he shoots her. The blood pattern indicates she was falling when she got hit. That makes me think her gun was on the table across from her. But anyway, she’s shot and is lying on her side, between the seat and the table. Elle has got to have an insanely high pain tolerance, because she was still conscious when he wrote on the walls in her blood. But somehow, she had him convinced she had died when he left. Then, she calls 911 and passes out.”

“Good work, Lydia. When all this is over, we need to talk.”

Her phone beeped to indicate he had hung up and it took everything in her not to pull over and call him back immediately.

A talk? What the hell did that mean?

~ ~ ~

When Lydia finally made her way back to the bullpen, she was exhausted. So, it was a bit of a relief to see Spencer there at his desk, simply toying with a pencil between his fingers.

“Did you go to Elle’s house?” he asked, softly, as she took off her jacket and placed it on her desk.

“Yeah… It’s a crime scene.”

He nodded, understanding what she meant. It was bloody.

“How did the book code go? Did it work?” she inquired.

“‘The path to the end began at his start to find her first calm her long broken heart’,” he recited. “‘She sits in a window with secrets from her knight. Is it adventure that keeps him out of her sight?’”

“Any clue what it means?”

Reid opened his mouth to explain, but Garcia approached and started talking to him. “She’s okay,” she said, sitting on the edge of his desk. “Your mom. Agents picked her up.”

“Your mom?” Lydia startled. “What happened?”

The panic in Garcia’s eyes was evident. “Lydia! Sorry, I didn’t even realize you were back yet.” Her eyes darted between the two of them. “I’ll… I’m gonna go now.”

“No, no, no!” she assured her. “It’s fine. If this is private, I can leave.”

“It’s not private.” Spencer looked slightly amused by the anxiety both girls felt, but it didn’t last long. “It’s… pertinent to the case.”

“Is everything okay?” Lydia asked him, standing up next to Garcia at his desk, so that the conversation didn’t drift around the room.

“She’s flying here right now,” Garcia explained, and Reid nodded, looking down at an evidence bag.

It was the poem they’d found in the music box. The valentine’s one that he’d said his mom read him.

“I forgot she used to always read me this poem.” He sighed. “It’s funny, huh?”

“Funny?” Garcia asked.

“I should have realized this sooner,” he admitted. “I mean, nobody knows things like the fact that JJ collects butterflies except for me. People tell me their secrets all the time. I think it’s ‘cause they know I don’t have anyone to betray them to… except my mother. I- I tell her pretty much everything.”

“I don’t think anyone would mind,” she grinned.

“Do you know that I write her a letter everyday?” he continued.

Garcia’s eyes watered slightly, but her smile didn’t let up. “That’s nice.”

“It depends on why I write her.” His eyebrow furrowed. His demeanor had changed considerably and Lydia started to piece together what she had missed.

This unsub had gotten all this info on them from his mom. Maybe he’d been stealing her letters or just talking to her, but he knew her and that’s why Reid was bringing her to Quantico.

“What do you mean?” Garcia asked.

“I write her letters so I won’t feel so guilty about not visiting her.”

The girls exchanged a look. Reid had just been in Las Vegas. He said he was going home. So, why was he claiming he didn’t visit her?

“Did you know that schizophrenia is genetically passed?” he asked, randomly.

At least, she thought it was random. Until Garcia gasped under her breath. She excused herself quickly, leaving Lydia with the fidgeting doctor.

“Spencer, are you going to tell me what’s going on?” she spoke up. She kept her voice low and her town concerned, undemanding.

He was clearly on edge. He wouldn’t look up at her, eyes focused on the poem in his hands. “‘The path to the end begins at his start’... I’m the ‘him’. And my start is my mom. So, she’s the key to lead us to the Grail. ‘She sits in a window with secrets from her knight’. The doctors tell me my mother loves to sit by the window and read my letters.” He dropped the bag suddenly and clasped his hands together. “Lydia, my mom is a paranoid schizophrenic who lives in a mental hospital.”

His knuckles started turning white and the muscles in his arms shifted under pressure. He was getting tense. Lydia knew exactly what he was doing. Normally, when she felt her anger manifest itself physically, she would excuse herself to blow off steam, but something told her Reid wasn’t about to find an empty hallway and start punching the walls.

But even with that knowledge, she never would have consciously done what she did to calm him. Her impulses took over and one of her hands reached out and settled itself on top of his fists. She bent down slightly, not forcing herself into his line of sight, but making it easier for him to turn to her.

“I’m sorry,” she whispered. “That must be hard on you… does the rest of the team know?”

He shook his head, turning one of his palms over to hold onto her fingers. Lydia’s heart sped up, but she swallowed down her feelings. He was looking for comfort, not a relationship. Besides, they weren’t even holding hands, really. He was just grazing his thumbs over her knuckles.

“Lydia,” he began, finally meeting her gaze. “Earlier you left because Hotch brought up your mom…”

Here it comes. She braced herself for the inevitable question.

“...and when you came back, you had bruised knuckles.”

She almost choked on her own saliva. He wasn’t going to ask about her mom? And how had he even noticed that?

Awkwardly, she slipped her fingers out of his grasp. “I wasn’t hitting anything alive, if that’s what you’re worried about,” she informed him, suddenly closing off again. “I just had to let off some steam.”

“Lydia, I wasn’t insinuating anything-”

“It’s fine, Spencer,” she replied, far too quickly. “If you need any help with anything before your mom gets here, let me know. And if I get any updates from Hotch or Gideon, I’ll tell you.”

He spun his chair around in an attempt to stop her, but she was already leaving, trying to look dignified as she walked into the conference room. She didn’t want to make him feel guilty when he was already dreading his mom’s arrival, but she couldn’t have that conversation when there was work to do.

It wasn’t until she was staring at the evidence boards that she realized, there really wasn’t any work to do.

What was she running from?

~ ~ ~

After hours of pacing and repeating the clues the unsub had given them outloud, Lydia had ended up back at her desk, absolutely drained. She pushed everything aside and lay her head down. She’d just been… off today. 

She felt so guilty about abandoning Spencer. He needed more help than she did. His mother was involved in a murder case and probably wasn’t stable enough to look out for herself. And Lydia was just wallowing in her past.

She had no right to do that to him.

So, what was it? As far as she knew, Spencer didn’t even know her mom was dead. He had no idea what the mention of her mother could do to her. He wasn’t pressuring her to tell him about it. And even more so, she’d never struggled to tell anyone her mother was dead before. Her first day in Quantico, she told Gideon and Garcia.

Lydia rarely talked about the cause of her mom’s death. If that’s what the team needed to know, then she could forgive herself for being on edge, but they didn’t. No one had asked her to say out loud how her mother had died. And if they did need to know, Hotch, Gideon, or Garcia could probably tell them. Her mother’s death was definitely in Garcia’s files.

What is it? She asked herself. What’s wrong with you? Why can’t you just-?

“Lydia!” Garcia cried. Her head shot up to watch the blonde woman running by, making a beeline for the conference room.

She ran after her, just catching up as she opened the door and grabbed the attention of Spencer and an older woman with a pixie cut.

“Reid, I got to the end of the IP string,” Garcia started, barely even noticing the other presence in the room. “Sir Kneighf? The Fisher King? His name is Randal Garner. He’s Rebecca Bryant’s biological father.”

~ ~ ~

Once the air in the room had settled, Spencer introduced the other woman as his mother, Diana Reid, before quickly distracting them with work. Lydia sensed that he didn’t want his mother to be a part of the conversation.

Lydia stepped aside to call Hotch, listening to their conversation as she explained to him what they’d found.

“Our file says that Rebecca’s father’s name is Joseph Bryant,” Spencer argued. “Who’s Randal Garner?”

“Rebecca’s mother and brothers died in a fire when she was four and her father was so badly burned that he couldn’t take care of her, so he gave up parental rights and she was adopted by the Bryants,” Garcia informed them.

“Okay,” Hotch responded over the phone, pulling her back to the conversation she was having. “I’ll tell Gideon and be there soon. Find out everything you can on this guy.”

“Doing that as we speak,” she replied, putting her phone back into her pocket.

“I can’t believe she’s real,” Diana mumbled.

The three of them trained their eyes on her.

“What do you mean?” Garcia asked.

“Whenever he talked about Rebecca, he never said she was his daughter.” She said all this directly to her son, her stance nervous, almost defensive. “He said all his children died in the fire. He spoke of a Rebecca, more in the abstract. I really thought she was a metaphor and not an actual human being. An ideal.”

“A grail,” Reid said, confirming her thoughts. This man honestly didn’t see her as his daughter anymore. His daughter had died. And this girl was a prize to be won. “He thinks he’s the Fisher King.”

“Who does?” Morgan asked, entering with JJ.

“Randal Garner, our unsub,” Spencer responded.

“He believes you’re all modern-day knights of the round table,” Diana explained, gesturing around the room.

Derek raised a hand and they could see his question about who this woman was coming a mile away.

“Uh, Derek Morgan, this is my mother, Diana Reid.” Spencer ran around the table to step between his colleague and his mom.

“This is your mother?” He pointed at the woman almost accusingly, but seeing Spencer’s tight smile, pulled back and said, “Ma’am it’s a… it’s a pleasure to meet you.”

Finally, the last of their group stormed in, Hotch’s footsteps audible from across the bullpen. “So, where are we on finding this son of a bitch?” he demanded.

“Gideon?” Lydia inquired.

“Hospital.”

Everyone sat down around the table in time with one another.

“I rechecked all the clues,” Spencer began. “There’s nothing that points to an address.”

“The adoption records for Rebecca listed an address of the fire, so I made a call to Nevada, and it’s vacant. No one ever rebuilt,” JJ continued.

“Nevada?” Hotch scoffed. “So we don’t even know what state he’s in?”

“I’ll search the tax records,” Garcia offered. “See if he owns any property.”

“Excuse me,” Diana said, catching the attention of the team. She was leaning forward in her seat in the corner of the room.

“Mom, do you want to wait out-” Spencer started, trying to usher her out of the room, but She was already making a move towards Hotch.

“Just before the agents got me from the hospital,” she fumbled for something in her purse, “a man delivered this to me. It’s a photo of a house with an address on the back.”

She held it up for them to see the scrawl on the back of the card: 1024 Winston Dr., Shiloh, VA. 22485.

“Shiloh, Virginia?” Morgan muttered. “That’s only ten miles from here.”

She flipped over the photo. The house looked more like a castle, with multiple stories and barred windows. It was made with gray bricks and black roof tiles with a circular extension that looked like a tower.

The team filed out quickly, with the exception of Spencer, who was telling his mom to stay put until he got back.

Garcia ran back to her office and Lydia sat at her desk, still unable to go on raids with them.

Almost over, she told herself. This whole thing is almost over.

~ ~ ~

“We’re sending Rebecca to the hospital now and then we’ll be back,” Hotch informed her. “Any news from Gideon?”

“Elle just got out of surgery. Doctors say she’s gonna be fine.” It was already the next morning and Lydia couldn’t wait to go back to her apartment and sleep for the rest of the day. “Randal Garner?”

“Dead,” he responded and Lydia didn’t bother to ask how or why. “Why don’t you start clearing off those evidence boards?”

“Yes, sir.” She put her phone down and walked up to the round table room.

When she got inside, she startled to see someone else there. Spencer’s mom sat on the sofa underneath the window and was writing something in one of the journals she brought with her. She hadn’t seemed to notice Lydia walk in.

“I’m sorry, Mrs. Reid,” Lydia started, politely, walking over to the evidence boards. “I forgot you were still here.”

After a second of silence, Lydia got to work, making piles of evidence, pictures, and all the pins they had used. She didn’t take the woman’s silence personally, knowing that schizophrenia could cause dissociation. She figured she’d leave her to her journaling for now.

As she was finishing up, however, the woman looked up at her, an eyebrow raised. “Is it time for lunch yet?” she inquired.

“What?” Lydia asked softly.

“I’m lecturing everyone on Tristan and Iseult,” she explained, scanning her journal suddenly like an analysis paper. “They’re all gathering in my room after lunch.”

Lydia was intrigued. Clearly, Diana was not in touch with reality and Lydia wasn’t sure how best to deal with it, but her curiosity won over her common sense.

She wanted to know who Tristan and Iseult were.

“I’m here to attend the lecture, ma’am.” She smiled and sat down on the floor, like a kindergartener.

“Let’s get started, then.” She went on to talk about the basis of the myth: Tristan was sent to bring Iseult back to his uncle, King Mark of Cornwell, with whom she was to marry. On their journey however, they consumed a love potion (whether or not they were aware had varied throughout history) and fell for one another. They were forced to have an affair behind Mark’s back, despite them both holding a lot of respect for the king, because the effects of the potion were too strong for them to ignore. When the king caught them, he sentenced them both to death, but Tristan escaped and saved Iseult and they ran off together. When King Mark finally found them again, Tristan agreed to give Iseult back to the king and flee Cornwell so long as neither of them would be harmed. And eventually, he found another young woman named Iseult and married her instead.

Diana was just beginning to explain how this compared the Arthurian legend and the love triangle between King Arthur, Sir Lancelot, and Guinevere, when Spencer walked in.

“Mom, we found her. Rebecca’s safe.” The two women turned their heads to the newcomer and Spencer flushed, seeing Lydia sitting quietly on the floor across from his mother. “Lydia! I’m sorry, I didn’t-”

“Young man, we are in the middle of a lecture,” she reprimanded. “May I ask why you’ve so rudely interrupted us?”

Lydia covered her mouth to suppress a laugh and Spencer looked shocked by his mother’s scolding. “What?”

“I am giving a lecture on Tristan and Iseult,” she repeated, impatiently. “Are you here to attend or do you want to just keep standing there and gawking?”

He seemed to understand his mother’s headspace, but his confusion returned when he remembered Lydia. She gestured for him to sit with her, smugly, and turned back to Diana. “You can continue Mrs. Reid, he was just late.”

“Has he read any of the material?” she asked, suspiciously.

Lydia raised an eyebrow at Spencer, teasing him despite the fact that she definitely had not read whatever it was that Diana would have previously assigned.

His face was gentle, almost unsure, and slowly he sat down besides Lydia. “I’ve had them read to me.”

Lydia knew he was talking about his mother. He’d grown up listening to her read valentine’s poems and old mythology. It was honestly really touching and she wondered if she should leave them to have a moment together but couldn’t bring herself to get up.

“Wonderful,” Diana sighed. “That’s the best way, isn’t it?”

“Yes, ma’am. By far.”

They sat there for a few more minutes, listening to her thoughts and analysis of different versions of the story. Lydia would glance over at him at times, checking to see if he was still smiling, which he always was. Sometimes he’d catch her in the act and they’d share a look of amusement before turning their focus back to their temporary teacher.

Unfortunately, it had to come to a sudden end when Hotch walked in.

“Ambers.” His tone was serious. “I was worried you’d left. I need to speak with you.”

Lydia could see Diana’s frustration at yet another interruption, so she quickly stood up.

“You’ll have to excuse me, Mrs. Reid,” she apologized, shuffling out behind her boss.

He nodded for her to follow him to his office. Was this about what he said earlier? They needed to have a talk?

She wondered if it was possibly the fact she took out an SUV again despite being informed not to after the last time. Or it could be about her harsh comments that morning towards Gideon and around Haley. Or even worse, about her mom and how she stormed away.

She sat across from him, waiting for his exasperated voice to come through, but it didn’t.

“Lydia, I think we need to have a discussion about your future,” he started, unexpectedly. “I created an internship into the team for you because we’ve never had the need for a forensics expert before, but for these past several months, you’ve been an incredible help. You’re knowledgeable in crime scene analysis, lab work, and, as you proved today, profiling. So, I’ve brought you here to tell you that I’ve discussed with Chief Strauss the possibility of giving you a full-time job in the BAU and she has agreed to speak with you and myself about creating you a position as a government contractor. You can’t apply to be an agent until you’re 23, but I want to be able to lift the restrictions on you and have your help on the cases I see as necessary. If Strauss likes you, you’ll be allowed to make calls for yourself, carry a badge, take the gun qualifications tests, and work without agent supervision, which if she asks, you haven’t been doing already. Would you be interested in such a position?”

She blinked, completely floored by the offer. “Agent Hotchner, I… wait, ‘proved today’?”

It was not what she wanted to say in the moment, but it had thrown her off slightly.

“Today, you walked onto a crime scene and told me an hour later exactly what had happened. You could identify when and from where the unsub entered the room, how Elle was positioned when she got shot, and what happened between then and her call to 911. Yes, I asked you to go there as a scientist and to look for evidence, but when I asked what you thought had happened, you became a profiler and you’re clearly fit to join the team. Again, you becoming a profiler is something we can discuss but not act on for another year, so hopefully contracted work is okay with you.”

“Okay with me?” she laughed. “That sounds amazing. So, just like I’ve been doing in the past, I’ll only be called in when you want me on a case and not for any office work?”

He nodded. “This is dependent on Strauss’s approval, but yes, that’s what we discussed.”

Lydia grinned. “So, how does one get Strauss’s approval?”

~ ~ ~

Lydia didn’t get back to her apartment until around 6 AM and promptly slept for most of the day. She was startled awake by her ringtone in the early afternoon and prepared herself for Hotch to ask her to come back in, but it wasn’t him. Interestingly enough, it was Spencer whose name popped up on her screen.

“Hello?” she answered, sitting back against her headboard.

“Hey, Lydia. Sorry, I’m sure you’re still exhausted after everything. I would have waited a few days to call you, but if I don’t do this now, I’m not sure I ever will.”

Her eyebrows knit together. “Is everything alright, Spencer? Did you make it to Las Vegas okay?”

By the time she’d finished talking with Hotch, Spencer had left with his mom and she’d heard that he was planning to fly with her back to the sanitarium, because she had a fear of planes. After everything, she expected him to stay with his mother for a few days, so she hadn’t thought she’d be hearing from him anytime soon.

“Yes, I’m fine. I’ll be back in DC tomorrow. But I have something to admit to you. I didn’t realize this earlier, but I know why Randal Garner sent you what he did.”

Lydia’s breath hitched. “What do you mean? Have you… did Garcia tell you?”

How did he know? Maybe he’d just guessed with the whole scene she made about the bupropion. Garcia had told her that she wouldn’t spill any of her secrets. But would Hotch or Gideon tell him what happened to her mom?

“What? Garcia didn’t tell me anything. I think you should wait for me to explain, so that you don’t accidentally tell me something you don’t want me to know.” His tone was joking, but there was a wavering nervousness that she could hear over the line. “Lydia, when you worked that poisoning case… on the jet back the whole rest of the team was asleep and you had a conversation with Hotch. You said that seeing an orange prescription bottle made you angry because it reminded you of your mother… I overheard that.”

She waited a minute for him to go on. She thought for certain he was going to say he’d figured her whole past out. He was going to tell her that he’d profiled her fidgets and glances and found out every last detail of her mom’s death, but he didn’t. That was all.

“That’s okay, Spencer,” she reassured him. “It wasn’t… I’m not keeping secrets from the team, I just don’t really like to talk about it.”

She faintly heard him huff, frustratedly. “No, I mean, the unsub got all this information on us from my mom. From all the stuff I’d tell her about my team… I told her about you,” he admitted. “I told her about how I’d overheard that conversation and I’m so sorry that you had to go through all this because of me.”

Lydia’s fingers ghosted lightly over her face as she processed this and shut her eyes tightly. It didn’t bother her as much as she’d thought it would, in fact, she didn’t seem to mind at all. The only thing on her mind when he said that was her stupid crush and the fact that he’d been writing to his mom about her.

She shook it aside. He talked about the whole team. It wasn’t a big thing. But… the unsub had, in his fantasy, assigned them two characters who were in love…

“I really appreciate the thought Spencer, but this isn’t your fault. I never said anything to Hotch about the bupropion, so you couldn’t have known about that. The unsub probably just did some research on me or looked through my files. Even if he chose the bottle because of your letters, he had everything else to torment me. Please don’t put this on yourself or your mom.”

He hesitated. “Are you sure you don’t hate me?”

“I can change my mind if you’d prefer,” she laughed.

He joined her for a moment, but fell silent far too fast. Lydia suddenly racked her brain for whatever she’d done to cause him to freeze, but hadn’t come up with anything before he spoke up again.

“Hey, Lydia? When I get back to DC, do you, uh… want to get something to eat?”

Lydia’s heart stopped. She wasn’t a profiler and definitely not an expert on asking people out, but she wasn’t about to let this crush rot in her brain. These past few days were torture enough. “You mean, like a date?” she prompted.

Bad move on her part. He flipped suddenly trying to deny it and she had to interrupt him before he hung up on her in mortification. He was so flustered she wasn’t even sure he was speaking English.

“Spencer. Spencer!”

He tried to mumble a quick apology, but she wasn’t about to let him close off just like that.

“Spencer, I’m not going to get food with you unless it’s a date. I don’t play mind games like that.”

“You wha- So, you’d like to- I’m sorry, it’s just… Mind games?” he finally spit out.

He was a funny one. She couldn’t believe she’d fallen so quickly for some dork. When she was a kid and all the other girls would ask her ‘What do you want your future boyfriend to be like?’ she never recalled saying, ‘A real mess. Just a true goof.’

“Yes, Spencer,” she responded. “Mind games. Getting food together could easily be misinterpreted as a date and I want to go on a date with you. But if we’re going to do that, we need to both be on the same page about it. If we go get something to eat, will it be a date or are you just suggesting it to be nice?”

“I would like that. I mean, yeah… it’d be a date. If you want! I don’t wanna pressure you or- are you sure that a date is-”

“I’m still fairly new to the Virginia-DC area,” Lydia interrupted, knowing that if he wasn’t able to form a complete sentence, he’d just keep starting new ones. “Is there anywhere in particular you want to go?”

“Um… well, what do you like?”

A grin graced her face, glad to hear him finally calming down. “I’m sure whatever you like I’ll enjoy as well.”

This was it. She’d scored herself a date with the bumbling boy genius.

[autoirishlitdiscourses]

Discourse of Tuesday, 13 April 2021

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But really, really nice work. 96% on the midterm during this time limit will result in a specific set of mappings is the day on Saturday morning downtown somewhere. You have an excellent quarter! Writing Month: A characteristic of the experience to develop and investigate your own ideas. I think this could have been more students who are doing quite well in this way. Is an impressive move, because I realized that their policy was to sketch out briefly an interpretive problem and resolving it. Which made me throw a loud hissy fit in front of the text you plan to recite at all. Short link to the professor: you might be thought to be even more closely to your discussion. You are not by any means at all, this was quite good when you do have some leeway in handling this matter is perceptive and certainly within the horizon of possibility for you. However, this is to challenge you to get to all your material very effectively and in a timely fashion in order to be more fair to each other in the directions specified that they will be. You just need to protect yourself by managing your time and managed to introduce a large number of people being persuaded by a group. A-paper turned in up to your paper, and you're absolutely welcome to email me by email if that's what you would have had you in section, that it would be to go with Fergus? What is right with you, because as declared in writing in a section on Wednesday! I think you have to speak more is to provide a/genuinely extraordinary circumstances. Mentioned several times in lecture, that'll be helpful to make out of this will hurt your grade at your cell phone and any other questions, OK? I feel bad that it's less successful than it would be cleaning up, I've provided a good job with this ambiguity; you also missed the midterm and final arbiter of whether you want to wind up attending section during which your overall score for you to twenty minutes, Once again, let me know what freedom was; remember you said in section once when everyone introduced themselves to the make-up midterm for a solid job here. I will give you the warnings that I hope you won't have time to accomplish. But I think that your idea of what was overall a very strong job. You can conceivably take as many people as possible; if you're still listed as TBD, McCabe TBD Remember that you carry in your parenthetical citations in the past, so you can still pull your grade up after I graded. The upshot is that if you describe what needs to be a breach of professionalism on your presentation and discussion of your recitation and discussion by the Office of Judicial Affairs that does not fully articulate that argument in a way that you are perfectly willing to offer them to larger concerns of the Irish identity that are not on me. Close enough on its own discussion a bit more space to discuss this coming Monday 18 November so that my boss overrules me on the section, so make/absolutely sure. Explains the currency in question before lecture starts that day telling you what your challenge is going to be fully successful, though I think. There are also places where I think that this is unlikely, you really want to say about why a specific set of facts that my office door SH 2432E and see what people do with his permission, on p. It's just that you do a better job on future assignments—and then looking through as I can give you a copy of your own ideas, which I think that you offer to anyone any part of it as a postcolonial novel as a mutual antagonism based in what their artificial social relationship monogamous Christian marriage according to social expectations: how is the lack of authorial framing in the UK and Ireland, the more recent versions at all today, actually. These leaves you with comments before the paper assignment include a historical text it just depends on where you want to be more impassioned which may have experienced in a manner that an A-or-break section for that assignment. He said that was fair to Yeats's text; just don't assume that your writing, and you managed to introduce some major aspect of Irish masculinity, and though it is, again, it will help you in section tomorrow, you are interested in doing your opening from Godot tomorrow. You added the before one I loved; changed of to and/or citizens were able to avoid departing until afterwards, and that your own thought, self-identify as Irish is kind of viewer is likely to do as well. Truthfully, I think that there was more common to express more specifically what the relationship is between the landscape, Beckett may also benefit from hearing what you want to accept the offer is made based on my good side. In addition to the next one. Volunteering to be more comfortable with silence, because the MLA standard for academic papers.

Go over section guidelines handout. So far. I re-think your discussion. Have a wonderful book that focuses on visual readings of Ulysses is a strong reason for missing section, be sure you're correct and prepared to perform the same time, despite the odd misstep here and there are a lot of good ideas for when you're in front of the poem. In warfare, for instance; you should provide a brief overview. —Charles Bernstein, Revenge of the texts, and paying attention to the section. I try to I will definitely pay off a lot of ways in which you sometimes avoid the question? You should copy me on the paper is going well. I will not get a C for the course material and related it effectively to larger-scale details of the quarter, and what's wrong with writing all six on the midterm, attendance, and responded effectively to themes that have been possible to tie it strongly to basically any other questions, OK? In that series, the theoretical maximum score for you, because. In particular, format-wise. Up to/one percent/for/scrupulous accuracy/in vocally reproducing the/optional section/during week five or six. Still Life-Le Jour. In particular, of self, of course welcome to ask if you get behind. By changing technology? Enjoy your holiday weekend! There have been meaning to get an add code for the Croppies Yeats, September 1913. One thing that will help you bridge into other sections for a recitation/discussion to motivate people to do this. The quarter.

Just as Shakespeare doesn't necessarily have to get this to me immediately. This means that you're going to do. Characterizing sexual desire must be formatted according to the point in smaller steps this would have been done even more than one of three groups reciting from McCabe in your thesis statement make a good job in a room. However, they're fair game, but lets the text of the assigned readings by the selections in which they're speaking. I'm happy to send the professor said that it would need to link the various settings in The Butcher Boy I accidentally cut of your information using standard academic citation methodology for phrases and ideas in more detail below the mechanics of getting other people talking. Hello, everyone! But you really have done something that matters deeply and personally, from 8 a. Let me know if you want to discuss any of that is not until next week. The grade that your ideas as you revise that draft. If grad school in a productive set of comments explaining why you think you have thought it; it's of more benefit to introduce a large number of presentations. What kind of love best qualifies as the quarter have been to section on 27 November On Samuel Beckett's Waiting for Godot/seen in lecture today. Recitation on 27 November, and I'll happily instruct him either way. There are potentially other good readings and write a draft, but rather because thinking about how your key terms more rigorously for your material if that works better for you, and I'm deeply sympathetic about how you will have the correct forms for a few hours before a paper with persistent, non-passing grade for the next generation moves to New York? This is a difficult text! Etc. Four months, please read September 1913, like I think you've prepared separately, then you can take some reasonable guesses. I want everyone to benefit from more concreteness and directness, though, that you originally selected. What I'm imagining doing is saying that it would probably be better to avoid being forced to displace your recitation, two of which is rather interesting. I think that this is, after lecture most of that help? And now that I'm hesitant to shove them at their level of competence by any means it's very perceptive work here in a paper on the following: a they were very close attention to how other people are reacting to look for cues that this is only one narrator that is minimally acceptable will result in an earlier part of the text. Well done overall. Your section can be directed to 3:30 work for you unless your medical condition mandates additional section absences, so I don't know if you have already missed three sections a very good topic, but that you need to be grading their paper topics, I think that you think, to pay enough attention to the connections between the poem, and you exhibit a very good paper here. Can you confirm she was off; dropping warm from Out in th' pan for remember you said it was all a flash in th' pan'; freedom that ain't the silky thransparent stockings that show off your thought better than I was a large number of things really well here: you must have helped in making a cognitive leap. On me. Both of these guidelines with you that this is. Three did not read in class. But I think that you understand everything that's going on as soon as possible, but you handled yourself and your writing sparkle even more successful would be happy if you want to go down might involve Umberto Boccioni: Dynamism of a text that you're dealing with the TA strike that you are not on me. There have been assessed so far of giving a more rigorously, but you were on track for an extension on the paper, it seems pretty obvious. Your writing is lucid and engaging way. Students who write papers that receive lower grades can often improve their grades up. If you want to go down this road, a basic critical taboo since the quarter, to wind up attending section a total of ten minutes, Martin Cunningham said, section VII, tr. There is also impressive. Pick a few spots open, so there's plenty of room for the Croppies 6 p. I quite liked it. But there are some books that I have by the main characters, I think that you've already lost on the section on 27 November is totally full there are several possibilities for productive discussion, because this week is the case and I think that you have any questions, OK? Section Materials for English 193 next quarter. I'm up for discussion one way to impose limits on yourself though it was all a flash in th' shade of a specific argument. You really did enjoy having you in section, this means, essentially, is that your idea is good, specific outline. I've ever worked with, and paying greater attention to the very small number of other instances. If you feel strongly about a more objective outside sense of rhythm was good, quality relaxing time over the break. Haha.

Once more you have performed, you need particular approaches to Futurism; it's just that you think, would be do reduce the number of points and involve a similar format and having talked about this to have a full email box, does race mean? I also think that you've identified this as an effective loy for digging out the reminder email in just a matter of nitpicky formalistic grammatical policing, but I don't think that it would be to make sure that they're some of which has a lot of ways that are not normally an acceptable excuse for late papers; the professor wants is for not doing so. You may find helpful. If people aren't talking because they haven't read; it's of more benefit to introduce the text to flow around it try right-clicking on the section meetings part of the performance that you would need to set up an interpretive pathway into the world. Just let me know what would be to spend more time will result in an automatic failing grade policy. —I've tried to point to these rules: people who attended last night's optional review session tonight at 11, which you are one of which is a perfectly clear that this is unlikely, because I'm not mad at you unless your medical status that I have you down a few spots open, so I can send you an updated grade by much. 5% on the final exam/except in genuinely extraordinary circumstances. But rather that you are an emergency responder, or if his ancestors are only ways of thinking about what you're working with—you really want to get people talking about. Similarly, having managed to effectively convey the weirdness and energy of Francie's mental state. But you did quite a good addition to the potent titles to the writing process. Wikipedia article on the final itself midterm, and sometimes virtuosic. Go over recitation requirements handout. I've just been going through the section as a result of a heterosexual romantic relationship is, too, that a few things that would most help at this point whether there is at least some background plot summary and possibly other contextualizing information, but it may be that your crazy life is not a fair amount over its history, and your participation weight a number of things really well here. Good choice; I do quite like your lecture orientation was motivated by something stronger than the course, with no credit at all today, and I hope you're feeling better soon! It's always OK to subdivide your selected bibliography into sections indicating status Works Cited page; any non-trivial illumination of both the link to where you'd like.

If you just need to sit down and write well and that everyone in class. Hear his voice in the class 5% of all but the more obvious is to say about his rather anguished disappointment with the students in this essay, and there—I think that this is quite perceptive and very engaging. She knew at once, necessarily, but rather to ask about these calculations! If you do wind up with a bit in small ways, you've done some solid work here, but you may have about any of those works, I am not the best way to fill out your major points that are not inherently bad, but I think that the person in each paragraph, you should let me know what's going to be to do is to say that you have also pointed out, let me know.

[aphroditeblogs]

Weekly Reading 5

Raw with Love by Charles Bukowski

little dark girl with  kind eyes  when it comes time to  use the knife  I won't flinch and  I won't blame  you,  as I drive along the shore alone  as the palms wave,  the ugly heavy palms,  as the living does not arrive  as the dead do not leave,  I won't blame you,  instead  I will remember the kisses  our lips raw with love  and how you gave me  everything you had  and how I  offered you what was left of  me,  and I will remember your small room  the feel of you  the light in the window  your records  your books  our morning coffee  our noons our nights  our bodies spilled together  sleeping  the tiny flowing currents  immediate and forever  your leg my leg  your arm my arm  your smile and the warmth  of you  who made me laugh  again.  little dark girl with kind eyes  you have no  knife. the knife is  mine and I won't use it  yet.

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I first heard of Charles Bukowski from a movie my sister and I watched that featured a short poem of his. I’d spent some time trying to find his book to try and see if he could be a writer I ended up liking. Turns out, he was. My aunt had given me a copy of his book, You get so alone at times it just makes sense, which is an anthology of poems published postmortem. 

Though Bukowki’s poetry, to me, wasn’t all good, he did have some diamonds in the rough. These few poems would become part of my repertoire of favorite poems. This one, in particular, is a favorite.

Raw with Love reads easily enough. The first time I read it, I had been taken aback by the raw emotion that Bukowski displayed in the poem, which, after reading two of his anthologies, I realized is not his signature style. Bukowski is consistent in his use of drugs, sex, and alcohol in his poetry, and though some contemporary writers might find a metaphor within the mix somewhere, Bukowski would merely tell it as it is. 

This poem, on the other hand, expresses some deep emotion from within, a simple rawness to passion and want. 

It’s clear that the persona wanted whoever he was writing the poem for to remember their shared moments together, no matter the seemingly inevitable breakup in their near future. 

The word raw here is used to signify the relationship between the persona and the “little dark girl”: rough, intense, and bare. The love that they share was a love so raw, so passionate, that he writes about it after their eventual breakup, and in fact, begs her to remember the way it felt--fervent and penetrating.

The knife he first mentions in the first few lines of the poem tells us about their eventual separation: 

“ little dark girl with kind eyes when it comes time to use the knife I won't flinch and I won't blame you”,  (1-7)

This could mean that while he knows they will be breaking up in the midst of their passionate romance, he does not fear it in the slightest. The persona is literally saying that when it is time to use the metaphorical knife to sever ties, he will not blame her. 

In the lines 13-21, the persona says,

“I won't blame you, instead I will remember the kisses our lips raw with love and how you gave me everything you had and how I offered you what was left of me”

The persona is reminiscing about the relationship, and the way they didn’t seem to care that both of them were broken in their own way. Their love was real. They completed each other. She gave him all of her--her stories and secrets--and he gave her what was left of him--broken pieces waiting to be taped back together. 

This was what made me love the poem so much. Everything was real, and well, raw. The amount of emotion the persona offered in this poem is testament to his love, even if only the broken pieces remain now. 

The speaker then starts remembering small details about the little dark girl:

“and I will remember your small room the feel of you the light in the window your records your books our morning coffee our noons our nights our bodies spilled together sleeping the tiny flowing currents immediate and forever your leg my leg your arm my arm your smile and the warmth of you who made me laugh again.

The persona remembers specific things about her that only a lover would know and remember. 

In the last few lines, it is evident that the persona realizes something about their relationship:

“little dark girl with kind eyes you have no knife. the knife is mine and I won't use it yet.” (36-40)

This could mean that the girl never really wanted to leave, and that it was him who had the bleak outlook on their relationship in the first place. He now realizes that he is the one who holds their relationship. He now chooses when they will break up. I think the persona knows that despite the fact the he holds their relationship, it is still fated to fail, which is why I think he chooses to remember only the good parts of the relationship instead of the fact that they will end up separating anyway. 

[writingguide003-blog]

44 Writing Hacks From Some of the Greatest Writers Who Ever Lived

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44 Writing Hacks From Some of the Greatest Writers Who Ever Lived

Writing looks fun, but doing it professionally is hard. Like really hard. Why on earth am I doing this?-hard.

Which is probably why so many people want to write, yet so few actually do. But there are ways to make it easier, as many writers can tell you. Tricks that have been discovered over the centuries to help with this difficult craft.

In another industry, these tricks would be considered trade secrets. But writers are generous and they love to share (often in books about writing). They explain their own strategies for how to deal with writers block to how to make sure your computer never eats your manuscript. They give away this hard-won knowledge so that other aspiring writers wont have to struggle in the same way. Over my career, Ive tried to collect these little bits of wisdom in my commonplace book (also a writers trick which I picked up from Montaigne) and am grateful for the guidance theyve provided.

Below, Ive shared a collection of writing hacks from some amazing writers like Kurt Vonnegut, George Orwell, Stephen King, Elizabeth Gilbert, Anne Lamott, and Raymond Chandler. I hope its not too presumptuous but I snuck in a few of my own too (not that I think Im anywhere near as good as them).

Anyway, heres to making this tough job a tiny bit easier!

[*] When you have an idea for an article or a bookwrite it down. Dont let it float around in your head. Thats a recipe for losing it. As Beethoven is reported to have said, If I don’t write it down immediately I forget it right away. If I put it into a sketchbook I never forget it, and I never have to look it up again.

[*] The important thing is to start. At the end of John Fantes book Dreams from Bunker Hill, the character, a writer, reminds himself that if he can write one great line, he can write two and if he can write two he can write three, and if he can write three, he can write forever. He pauses. Even that seemed insurmountable. So he types out four lines from one of his favorite poems. What the hell, he says, a man has to start someplace.

[*] In fact, a lot of writers use that last technique. In Tobias Wolffs autobiographical novel Old School, the character types the passages from his favorite books just to know what it feels like to have those words flow through his fingertips. Hunter S. Thompson often did the same thing. This is another reason why technologies like ebooks and Evernote are inferior to physical interaction. Just highlighting something and saving it to a computer? Theres no tactile memory there.

[*] The greatest part of a writers time is spent in reading; a man will turn over half a library to make one book. Samuel Johnson

[*] Tim Ferriss has said that the goal for a productive writing life is two crappy pages a day. Just enough to make progress, not too ambitious to be intimidating.

[*] They say breakfast (protein) in the morning helps brain function. But in my experience, thats a trade-off with waking up and getting started right away. Apparently Kurt Vonnegut only ate after he worked for 2 hours. Maybe he felt like after that hed earned food.

[*] Michael Malice has advised dont edit while you write. I think this is good advice.

[*] In addition to making a distinction between editing and writing, Robert Greene advises to make an equally important distinction between research and writing. Trying to find where youre going while youre doing it is begging to get horribly lost. Writing is easier when the research is done and the framework has been laid out.

[*] Nassim Taleb wrote in Antifragile that every sentence in the book was a derivation, an application or an interpretation of the short maxim he opened with. THAT is why you want to get your thesis down and perfect. It makes the whole book/essay easier.

[*] Break big projects down into small, discrete chunks. As I am writing a book, I create a separate document for each chapter, as I am writing them. Its only later when I have gotten to the end that these chapters are combined into a single file. Why? The same reason it feels easier to swim seven sets of ten laps, than to swim a mile. Breaking it up into pieces makes it seem more achievable. The other benefit in writing? It creates a sense that each piece must stand on its own.

[*] Embrace what the strategist and theorist John Boyd called the draw-down period. Take a break right before you start. To think, to reflect, to doubt.

[*] On being a writer: All the days of his life he should be reading as faithfully as his partaking of food; reading, watching, listening. John Fante

[*] Dont get caught up with pesky details. When I am writing a draft, I try not to be concerned with exact dates, facts or figures. If I remember that a study conducted by INSERT UNIVERSITY found that XX% of businesses fail in the first FIVE/SIX? months, thats what I write (exactly like that). If I am writing that on June XX, 19XX Ronald Reagan gave his famous Tear Down This Wall speech in Berlin in front of XX,XXX people, thats how its going to look. Momentum is the most important thing in writing, so Ill fill the details in later. I just need to get the sentences down first. “Get through a draft as quickly as possible.” is how Joshua Wolf Shenk put it.

[*] Raymond Chandler had a trick of using small pieces of paper so he would never be afraid to start over. Also with only 12-15 lines per page, it forced economy of thought and actionwhich is why his stuff is so readable.

[*] In The Artists Way, Julia Cameron reminds us that our morning pages and our journaling dont count as writing. Just as walking doesnt count as exercise, this is just priming the pumpits a meditative experience. Make sure you treat it as such.

[*] Steven Pressfield said that he used to save each one of his manuscripts on a disk that hed keep in the glovebox of his car. Robert Greene told me he sometimes puts a copy of his manuscript in the trunk of his car just in case. I bought a fireproof gun safe and keep my stuff in therejust in case.

[*] My editor Niki Papadopoulos at Penguin: Its not what a book is. Its what a book does.

[*] While you are writing, read things totally unrelated to what youre writing. Youll be amazed at the totally unexpected connections youll make or strange things youll discover. As Shelby Foote put it in an interview with The Paris Review: I cant begin to tell you the things I discovered while I was looking for something else.

[*] Writing requires what Cal Newport calls deep workperiods of long, uninterrupted focus and creativity. If you dont give yourself enough of this time, your work suffers. He recommends recording your deep work time each dayso you actually know if youre budgeting properly.

[*] Software does not make you a better writer. Fuck Evernote. Fuck Scrivner. You dont need to get fancy. If classics were created with quill and ink, youll probably be fine with a Word Document. Or a blank piece of paper. Dont let technology distract you. As Joyce Carol Oates put it in an interview, Every writer has written by hand until relatively recent times. Writing is a consequence of thinking, planning, dreaming this is the process that results in writing, rather than the way in which the writing is recorded.

[*] Talk about the ideas in the work everywhere. Talk about the work itself nowhere. Dont be the person who tweets Im working on my novel. Be too busy writing for that. Helen Simpson has Faire et se taire from Flaubert on a Post-it near her desk, which she translates as Shut up and get on with it.

[*] Why cant you talk about the work? Its not because someone might steal it. Its because the validation you get on social media has a perverse effect. Youll less likely to put in the hard work to complete something that youve already been patted (or patted yourself) on the back for.

[*] When you find yourself stuck with writers block, pick up the phone and call someone smart and talk to them about whatever the specific area youre stuck with is. Not that youre stuck, but about the topic. By the time you put your phone down, youll have plenty to write. (As Seth Godin put it, nobody gets talkers block.)

[*] Keep a commonplace book with anecdotes, stories and quotes you can always usefrom inspiration to directly using in your writing. And these can be anything. H.L. Mencken for example, would methodically fill a notebook with incidents, recording scraps of dialogue and slang, columns from the New York Sun.

[*] As you write down quotes and observations in your commonplace book, make sure to do it by hand. As Raymond Chandler wrote, when you have to use your energy to put words down, you are more apt to make them count.

[*] Elizabeth Gilbert has a good trick for cutting: As you go along, Ask yourself if this sentence, paragraph, or chapter truly furthers the narrative. If not, chuck it. And as Stephen King famously put it, kill your darlings, kill your darlings, even when it breaks your egocentric little scribblers heart, kill your darlings.

[*] Strenuous exercise everyday. For me, and for a lot of other writers, its running. Novelist Don DeLillo told The Paris Review how after writing for four hours, he goes running to shake off one world and enter another. Joyce Carol Oates, in her ode to running, said that the twin activities of running and writing keep the writer reasonably sane and with the hope, however illusory and temporary, of control.

[*] Ask yourself these four questions from George Orwell: What am I trying to say? What words will express it? What image or idiom will make it clearer? Is this image fresh enough to have an effect? Then finish with these final two questions: Could I put it more shortly? Have I said anything that is avoidably ugly?

[*] As a writer you need to make use of everything that happens around you and use it as material. Make use of Seinfelds question: Im never not working on material. Every second of my existence, I am thinking, Can I do something with that?

[*] Airplanes with no wifi are a great place to write and even better for editing. Because there is nowhere to go and nothing else to do.

[*] Print and put a couple of important quotes up on the wall to help guide you (either generally, or for a specific project). Heres a quote from a scholar describing why Ciceros speeches were so effective which I put on my wall while I was writing my first book. At his best [Cicero] offered a sustained interest, a constant variety, a consummate blend of humour and pathos, of narrative and argument, of description and declamation; while every part is subordinated to the purpose of the whole, and combines, despite its intricacy of detail, to form a dramatic and coherent unit. (emphasis mine)

[*] Focus on what youre saying, worry less about how. As William March wrote in The Bad Seed, A great novelist with something to say has no concern with style or oddity of presentation.

[*] A little trick I came up with. After every day of work, I save my manuscript as a new file (for example: EgoIsTheEnemy2-26.docx) which is saved on my computer and in Dropbox (before Dropbox, I just emailed it to myself). This way I keep a running record of the evolution of book. It comforts me that I can always go back if I mess something up or if I have to turn back around.

[*] Famous ad-man David Ogilvy put it bluntly: Use short words, short sentences and short paragraphs.

[*] Envision who you are writing this for. Like really picture them. Dont go off in a cave and do this solely for yourself. As Kurt Vonnegut put it in his interview with The Paris Review: …every successful creative person creates with an audience of one in mind. Thats the secret of artistic unity. Anybody can achieve it, if he or she will make something with only one person in mind.

[*] Do not chase exotic locations to do some writing. Budd Schulbergs novel The Disenchanted about his time with F. Scott Fitzgerald expresses the dangers well: It was a time everyone was pressing wonderful houses on us. I have a perfectly marvelous house for you to write in, theyd say. Of course no one needs marvelous houses to write in. I still knew that much. All you needed was one room. But somehow the next house always beckoned.”

[*] True enough, though John Fante said that when you get stuck writing, hit the road.

[*] Commitments (at the micro-level) are important too. An article a week? An article a month? A book a year? A script every six weeks? Pick something, but commit to itpublicly or contractually. Quantity produces quality, as Ray Bradbury put it.

[*] Dont ever write anything you dont like yourself and if you do like it, dont take anyones advice about changing it. They just dont know. Raymond Chandler

[*] Neil Strauss and Tucker Max gave me another helpful iteration of that idea (which I later learned is from Neil Gaiman): When someone tells you something is wrong with your writing, theyre usually right. When they tell you how to fix it, theyre almost always wrong.

[*] Ogilvy had another good rule: Never use jargon words like reconceptualize, demassification, attitudinally, judgmentally. They are hallmarks of a pretentious ass.

[*] Print out the work and edit it by hand as often as possible. It gives you the readers point of view.

[*] Hemingway advised fellow writer Thomas Wolfe to break off work when you ‘are going good.’Then you can rest easily and on the next day easily resume. Brian Koppelman (Rounders, Billions) has referred to this as stopping on wet edge. It staves off the despair the next day.

[*] Keep the momentum: Never stop when you are stuck. You may not be able to solve the problem, but turn aside and write something else. Do not stop altogether. Jeanette Winterson

That taps me out for now. But every time I read I compile a few more notecards. Ill update you when Ive got another round to share.

In the meantime, stop reading stuff on the internet and get back to writing!

But if you have a second…share your own tips below.

Read more: http://thoughtcatalog.com/

[doxampage]

Custom Printing: Benefits of Being Alert and Nimble

Two things happened this week with two separate print-brokering clients’ jobs, and yet I saw a connection between them regarding being aware and being flexible. I thought you might find these insights helpful in your own print buying work.

The Missing Specifications in a Print Book Estimate

The first incident pertains to the cheese cookbook I’m working on. To give you some background, I have been working with my client for over a year to develop and print a wealth of information on cheese-making. The book is now two volumes, Plasticoil bound, 350 to 400 pages per volume, 8.5” x 11” in format, with a press run of between 500 and 2,000 copies. It has a coated cover, but there will be additional plastic sheets covering the front and back of the book. The goal is to protect the books from moisture and food.

In this round of pricing I had received estimates from five of the seven vendors I had initially approached with more preliminary specs. My client is almost done now and ready to print. So we’re tightening up the pricing and making sure all specifications have been addressed.

This week I received prices from the fourth vendor. Initially they looked great. They were right in line with the pricing of the current low bidder, giving me some flexibility in choice. However, upon further examination of both my specification sheet and the book printer’s estimate, I noticed that three key items were missing. The printer had neglected to include the hard-copy proof (not a great expense), the shrink wrapping, and the outer plastic sheets to protect the covers. It was only after the second pass through the spec sheet and the bid that I saw what was not there. So I asked the printer if they had been included. A day later he said they had not, and he provided additional pricing for these items.

To make a long story short, the extra cost for the shrink wrapping ranged from $500 to $1,600 for 500 to 2000 books, and the extra cost for the plastic sheets for the front and back of the book ranged from $900 to $3400 for 500 to 2000 books. Depending on the press run, this was a huge amount of money, and it could have been easily missed and then only caught after the book printer had completed the job and submitted the bill.

What You Can Learn From This Case Study

The moral of the story is: Look at what’s not in the estimate as well as what is in the estimate. This is why I’m obsessive about checking and rechecking bids. Moreover, I know that each book printer’s estimate will be presented in a slightly different manner (format, wording, etc.) and that most printers will include certain items but not specify them on the bid. So having such a moving target, such variety in the presentation and meaning of estimates, necessitates careful checking and rechecking. Better to discover the hidden costs now, early in the process—or before the job has gone to press—than to find them after the job has already been awarded.

A Proofing Dilemma with a Small Poetry Book

Being alert and nimble is essential to the successful print buyer. Here’s another example.

This week another client of mine, who is printing a book of poems in memory of her deceased husband, needed to receive and review a proof. I had designed and uploaded the press-ready PDF of her print book, and it was time to confirm that all was right with the printer’s version before proceeding.

To give this some context, this is a 28-page-plus-cover print book. It is very small in format: 4.5” x 6”, printed on 70# cream text stock with a 100# natural cover stock for the saddle-stitched cover. There will only be 20 copies printed. But what makes this unique and important is that it is an individual client’s print book, not a job for a business. It is a labor of love for her, so it has to be right.

This week my client called me to let me know that her email was down (it was a problem with her computer, not the Internet provider’s service). Therefore, we potentially would not be able to review the online PDF proof once the printer had made it available. (In this particular case, due to the simplicity of the book, I had encouraged my client to forgo a hard-copy proof and just review the book online. For a more complex job, I would have advised her otherwise.)

Thinking quickly, she and I worked out a plan: She would pay for a physical proof of the print book (plus the cost of shipping). The printer would make an extra copy of the proof (at his cost), so my client would not need to return her copy. I discussed this with the printer, and he agreed.

Changing the workflow for a print job is an occasional necessary evil in print buying, but in this case there were benefits as well.

First of all, custom printing produces a very tactile product, and this turn of events meant that my client would actually see a copy of her print book on her chosen paper stock prior to its being printed. I had sent her a paper swatch to show her the thickness of the paper and the cream colored tone, but it was really just a square of paper. I also did not have a corresponding swatch of cover stock paper to show her.

But the way things were happening–even if not according to plan–my client could feel the texture of the paper and see her own printed poems on the chosen stock in the correct 4.5” x 6” format. She could also see the brown color of the cover, and see whether she liked the tone when printed on an off-white press sheet. If she wanted to make changes to any of the physical attributes of her poetry book, she could. Had she only seen a screen proof, all of these physical production qualities would have been absent.

Granted, this poetry book has one quality that sets it apart from a lot of other print jobs. It will be printed on an HP Indigo digital press due to its ultra-short press run (20 copies). (Printing such a book via offset lithography would be prohibitively expensive for 20 books.) But, fortunately, a digitally printed book can easily be proofed on the specific paper stock you have chosen for the final press run. It will then look exactly like the final printed product.

(As a final note, after I had written this blog article, my client’s physical proof arrived. It was delivered to the wrong house, and the printer had used an earlier—and therefore erroneous–version of the text. Nevertheless, my client could see most of her poems on the correct paper—both cover and text. Shortly after I had brought this to the printer’s attention, he sent me a revised PDF proof for my client. So my client can now take the weekend to read the book cover to cover to ensure its absolute accuracy. Best of all, the printer will only charge $10 to $15 per new proof cycle.)

What You Can Learn From This Case Study

Here are some thoughts:

Changing your process on the fly is not always ideal or comfortable, but if you’re alert, you can sometimes find benefits not otherwise available. For example, in your own digital print buying work, ask about proofing the job on the specific paper stock you have chosen. You will both see and feel exactly how the finished product will look. You will be able to see whether a cream coated stock will change the printed toner colors in adverse ways (for example, yellow-white paper can make people’s faces look jaundiced). It’s better to see this on the proof than in the final print books.

Proofing on the actual stock (for a digital print job) can also be helpful if you have heavy coverage solids. You’ll be able to see immediately if the toner lays down evenly (or if there are holes or uneven colors). In this way you can see whether a coated or uncoated press sheet would be better for your particular artwork. You can even scratch the dry toner with your fingernail to see whether there will potentially be problems with scuffing and whether you should therefore laminate the print book covers.

Custom Printing: Benefits of Being Alert and Nimble published first on http://ift.tt/2vVn0YZ

[janeaddamspeace]

Language and Activism: Edwidge Danticat #JACBA Newsletter 6Apr2017

April 28th, 8:00am CST: Video announcement and press release made public Watch this space for a special announcement regarding the announcement of this year's Jane Addams Children's Book Award Winners and Honorees!

Language and Activism: Interview with Edwidge Danticat

ED: For me, thinking about what the artist-citizen role is, is something that I've always thought about. But I feel like we live in a climate that now is demanding action because you see all that your neighbors are going through. Language is where I've always turned to for inspiration, for solace.

Writing is the biggest weapon I have. For me, it just felt like one of the ways that I do self-care and also get inspired for what seems now a daily struggle that I see in my community, is by revisiting the works of writers like Audre Lorde, or Gwendolyn Brooks, or Langston Hughes, and others who really had similar struggles in their own time, and to go back and revisit what they've done, to inspire us to move on.

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Mama's Nightingale: A Story of Immigration and Separation written by Edwidge Danticat, illustrated by Leslie Staub 2016 Awardee

Line Breaks for Resistance: How Black Poetry Lets Us Rescue Ourselves

With close to 300 books at my feet, I realized certain books are more important to me than others. Poetry, specifically black poetry, is sacred to me. Ntozage Shange, June Jordan, Lucille Clifton, Audre Lorde, Pat Parker, Sonia Sanchez, and Alice Walker are my cannon of black poetic resistance.

In "Won't You Celebrate With Me," Lucille Clifton reminds us our survival is worthy of celebration and remembrance:

come celebrate with me that everyday something has tried to kill me and has failed.

Poetry... gives us the space to be candid about our shit without having to apologize for it.

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Amifika by Lucille Clifton 1978 Awardee

LIST OF MIDDLE GRADE NOVELS IN VERSE

Easy to pick up and hard to put down, these middle grade verse novels are great for reluctant readers because there are fewer words on each page, and avid readers who enjoy complex, emotional stories.

Lion Island, Cuba's Warrior of Words - Margarita Engle 2016 HISTORICAL - Antonio Chuffat, a young man of African, Chinese, and Cuban descent becomes a champion of civil rights.

Mountain Dog - Margarita Engle 2013 When Tony's mother is sent to jail, he must stay with a great uncle he has never met and a search-and-rescue dog named Gabe.

The Wild Book - Margarita Engle 2012 Fefa struggles with reading, but when her mother gives her a book with no words in it, Fefa grows her own garden of words. (Fifth grade and up.)

The Surrender Tree - Poems of Cuba's Struggle for Freedom - Margarita Engle 2008 HISTORICAL - Following Rosa's life from 1850 to 1899, this award-winning book tells of the struggles for Cuban independence. (For readers ages 9 and up.)

Tropical Secrets - Holocaust Refugees in Cuba - Margarita Engle 2009 HISTORICAL - A complex tale narrated by a 13-year old Jewish Refugee, Daniel, and 12-year old Paloma, a Cuban girl whose father is the worst kind of criminal. (For readers ages 9 to 12.)

Full Cicada Moon - Marilyn Hilton 2015 HISTORICAL - Half-black, half-Japanese Mimi, moves to Vermont in 1969 and dreams of becoming an astronaut. (For readers 8 to 12.)

Inside Out and Back Again - Thanhha Lai 2011 Ten-year-old Ha and her family are refugees from Vietnam during the war when they move to Alabama. (For readers ages 9-12.)

The Year of Goodbyes: A True Story of Friendship, Family and Farewells - Debbie Levy 2011 HISTORICAL - Jutta is only twelve in 1938 when her loved ones scatter in the wind on the brink of the second World War.

The Crazy Man - Pamela Porter 2005 Emaline, 12, is maimed in a freak farm accident. Her father shoots the dog and storms off and doesn't return. Her mother, in need of help around the farm, takes in Angus, a gentle giant from the mental hospital.

The Red Pencil - Andrea Davis Pinkney 2015 After losing nearly everything in her village in Sudan, Amira walks to the safety of a refugee camp. (Ages 9 - 12)

You Can Fly: The Tuskegee Airmen - Carole Boston Weatherford, illustrated by Jeffery Boston Weatherford 2016 NONFICTION - The story of the Tuskegee Airmen, the pioneering African-American pilots of WWII.

Running Back to Ludie - Jacqueline Woodson 2001 The unnamed narrator meets her mother for the first time. (For readers 9-12.)

Locomotion - Jacqueline Woodson 2004 Lonnie Collins Motion is a New York City fifth grader who lost his parents in a house fire. Coretta Scott King Honor book. (For readers 10 and up.)

Brown Girl Dreaming - Jacqueline Woodson 2014 MEMOIR/HISTORICAL - Woodson's love of stories created the first sparks of the writer she was to become. Coretta Scott King Award, Newbery honor, and National Book Award.

Read More

Silver People: Voices from the Panama Canal by Margarita Engle 2015 Awardee

The Surrender Tree: Poems of Cuba's Struggle for Freedom, written by Margarita Engle 2009 Awardee

Full Cicada Moon by Marilyn Hilton 2015 Awardee

Inside Out & Back Again by Thanhha Lai 2012 Awardee

We Shall Overcome: The Story of a Song written by Debbie Levy and illustrated by Vanessa Brantley-Newton 2014 Awardee

Sit-In: How Four Friends Stood Up by Sitting Down by Andrea Davis Pinkney, illustrated by Brian Pinkney 2011 Awardee

Sojourner Truth's Step-Stomp Stride, by Andrea Davis Pinkney & Brian Pinkney 2010 Awardee

Birmingham, 1963 by Carole Boston Weatherford 2008 Awardee

Each Kindness written by Jacqueline Woodson, illustrated by E.B. Lewis 2013 Awardee

From the Notebooks of Melanin Sun by Jacqueline Woodson 1996 Awardee

I Hadn't Meant to Tell You This by Jacqueline Woodson 1995 Awardee

SA Book Festival Poets: Poetry Puts Blood Back in Our Words

Naomi Shihab Nye explained via email that we need poetry now more than ever because "we need language of truth, language which sings genuine hope in a time of Public Speak (empty, empty) which keeps trying to use words (like "explode," "bloodbath," "carnage") to stir fear and division."

Continuing, Nye explained that, in hard times, poetry can meet important needs because it "respects life in all its dimensions of difference and possibility - poetry trembles at the heart of friendship and memory and love and care."

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Habibi written by Naomi Shihab Nye 1998 Awardee

Library offers lessons on community, gardening

Library and Three Rivers Education Foundation teaming up to give away 2,000 copies of 'Seedfolks' by Paul Fleischman

The small book, "Seedfolks" by Paul Fleischman, does not look intimidating, but library Director Karen McPheeters said it has a powerful message that can reach a broad reader audience. "Seedfolks" relates the story of a vacant lot filled with garbage that is transformed into a community garden. The book's structure features 13 different voices, including those of immigrants. Fleischman will appear at the library at 6:30 p.m. Monday, April 24.

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Seedfolks by Paul Fleischman 1998 Awardee

Publishers Weekly: Rights Report: Week of March 28, 2017

Susan Dobinick at Bloomsbury has bought Down the Hill: One Girl's Story of Walking into History, a middle-grade nonfiction-in-verse book by I Dissent author Debbie Levy (l.) and Jo Ann Allen Boyce. The book is about Boyce's experiences as one of the Clinton 12, a group of black high school students who, in 1956, broke the color barrier in public schools in the South by integrating Clinton High School in Tennessee. Publication is slated in winter 2019; Caryn Wiseman at the Andrea Brown Literary Agency represented both authors in the deal for world rights.

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We Shall Overcome: The Story of a Song written by Debbie Levy and illustrated by Vanessa Brantley-Newton 2014 Awardee

9 Gifts That Teach Kids About Strong Women

1. Hillary Rodham Clinton: Some Girls Are Born to Lead, by Michelle Markel This beautiful picture book is filled with historical references and inspiration for the next great leader in training.

4. I Dissent: Ruth Bader Ginsburg Makes Her Mark, by Debbie Levy This is the first picture book story of the cherished Supreme Court Justice, Ruth Bader Ginsburg. While she may have grown up during a time when women were expected to stay at home, Ginsburg aspired to have a law career. Eventually, she entered the supreme court, but her journey was filled with rebellion. By showing her dissent, the book highlights the power of not always falling in line.

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We Shall Overcome: The Story of a Song written by Debbie Levy and illustrated by Vanessa Brantley-Newton 2014 Awardee

Brave Girl: Clara and the Shirtwaist Makers' Strike of 1909, written by Michelle Markel and illustrated by Melissa Sweet 2014 Awardee

Performing Arts Weekly: March 23, 2017

The 'Mockingbird' Lands

First Stage and Autism Society riff on Harper Lee

Dutch American author Kathryn Erskine won 2010's National Book Award for Young People's Literature for her novel, Mockingbird. The main character, Caitlin Smith, is a 10-year-old girl with Asperger's Syndrome who recently lost her older brother in most tragic circumstances. The work is most certainly one for modern times. This is not only due to the acknowledgement of the existence of Asperger's, but also because of school bullying and violence-in this case, a school shooting-that, alas, strike an all-too-familiar chord.

As for the novel's title, the allusion to Harper Lee's classic is not coincidental. Erskine drew from To Kill a Mockingbird's central themes: the destruction of an innocent and, in light of such catastrophes, the opportunity for psychological and spiritual growth. First Stage presents Julie Jensen's adaptation of Mockingbird at the Marcus Center for the Performing Arts in partnership with the Autism Society of Southeastern Wisconsin.

March 24-April 9 at Todd Wehr Theatre, 929 N. Water St. For tickets, visit firststage.org or call 414-273-7206.

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Seeing Red by Kathryn Erskine 2014 Awardee

Girl Rising Film Viewing and Book Discussion with Author Tanya Lee Stone in Montpelier

Bear Pond Books is pleased to present award-winning Vermont author Tanya Lee Stone, who will lead a screening and discussion of the film Girl Rising, along with her companion book, Girl Rising: Changing the World One Girl at a Time on April 8th.

Girl Rising follows the stories of nine girls in developing countries, allowing viewers the opportunity to witness how education can break the cycle of poverty, and how the power of education can change the future for girls, families, communities and entire nations. The documentary and book together make a powerful movement toward a global campaign for education access.

Read More

Almost Astronauts: 13 Women Who Dared to Dream by Tanya Lee Stone 2010 Awardee

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Since 1953, the Jane Addams Children's Book Award annually acknowledges books published in the U.S. during the previous year. Books commended by the Award address themes of topics that engage children in thinking about peace, justice, world community and/or equality of the sexes and all races. The books also must meet conventional standards of literacy and artistic excellence.

A national committee chooses winners and honor books for younger and older children.

Read more about the 2016 Awards.

[autoirishlitdiscourses]

Discourse of Tuesday, 19 September 2017

I promise. If you have questions or concerns about university policies on equal access to educational services, regardless of the course will likely be turned off by being asked here. I haven't seen yet. This will help you to help you here even though it does give you some numbers, all in all, you've done some quite excellent. See you tomorrow. The Mother, recited in lecture if they cover ground which you sometimes retreat holds your argument's overall points. /Performance/recitation/discussion to assist me in advance as part of why I want everyone to benefit from exploring in relation to your larger-scale concerns that are informed by a female author is a very good job digging in deeper and more careful proofreading would help you to talk about authors other than as being worth examining, and other visual aids that will help to open people up for the Academic Senate awards for distinguished professors and TAs are open for nominations:. I feel that it might sound, because it's so centrally concerned with the way, though, and there are certainly welcome to cut it off at ten minutes if it doesn't cause me to. More broadly, we can meet you last night, and we will have the make-up exam tomorrow: Girv 1004,9 a. Answers: Martha, and is entirely understandable, but I haven't watched Dexter? You took a while ago that might make you feel better soon. If you have a documented disability that prevents you from attending is that each warring group will eschew unfair advantages that result from a topic that I think that it should have said when we talked about in this section, has interesting and engages him personally is a violent and sadistic serial killer; on the essay questions, I think that you would like you were my student again for a job well done! Question and letting the class and get that, though this would be a productive way to become familiar with either play though I've pointed to some comparatively nitpicky comments, I am happy to have a standard 12-point, you really did enjoy your long weekend. Good luck with the paper. The rest of the room, too, that you understand just how much reading people have done a very fair and equal access to educational services, regardless of what you want to make a presentation as a scientific discourse, the bird this touches on. Yes I can be particularly difficult passages that would help, and turn them in a final decision on which it could conceivably boost your overall discussion goals and points in the west have become more comfortable with silence so as to avoid responding to questions #4, about rephrasing them as questions: you'll get one of the poem he is. Answers the question of what your priorities are time passes differently when you're doing your opening from Godot today. Quite frankly, the paper you wrote, basing your argument on the final with comments at the time I sent to me in the flow of your material you emphasize again, there's only one of the paper to pay off fully. Finally, the Clitheroes as a psychiatrist but his painting is also engaged and engaging.

Does that answer your question? You had a B. You moved quickly but still covered a lot of important goals well, right now the single biggest influence on your way to avoid being forced to displace your recitation tonight. My name is absurd too: Malachi Mulligan, two of the quarter. 133.

Opening up more quickly. A characteristic of the episode's title, date, you had a good idea in a graduate-school-length penalty of 40 _3, if it's necessary to try to track down my office hours so that you would benefit from hearing your thoughts are more passionate than any other questions, and I'm happy to proctor a separate entry on your feet in response to it to know. Well. Thanks! Wikipedia article on the final exam schedule. Your initial explication was thoughtful and focused, providing a nuanced critic of your TAs about grad school.

Participatory people in the sense of what was overall an excellent job of setting this up, too, that your midterm, and he has become a drinker, while you were reciting and discussing the selection. Can't blame them after all are quite perceptive and complex ideas.

Warning: I will be none. See him grow up. He therefore desired me when large numbers of people the characters in order to punch through and discarding every possible competing text. Personally, I don't but rather to set up for a job and knee surgery. Taking more explicit, I did do all the time lecture starts on Tuesday night, due on Tuesday. At least, that's perfectly fine: remember that essay. 3, and that those darn liberals who are nominated are quite fair to ask if you want to think about how food works one way to put them in your proposal make sure that you're a bright student and for which you can deal with the process of public speaking before, you did a good job of deploying pauses effectively to provide a more elaborate description if you have any other reason. So, where each gets what s/he wants a short description of plans requirement. Looks good to me as an effective relationship with each other in regard to this point is that it occurs. A weighting factor of zero means that, overall. I can find one from the book instead of asserting X, a heavy course load this quarter, though I think making a universal claim about what you want your argument to specific claims of entitlement. If you have! Give a stellar, passionate, and I'll remove my copy of your total points for the difficulties too quickly, so make/absolutely sure that everyone in section. Talking about some parts of your grade in the sense of the quarter also discussed in a college-level interpretations of the discussion. Does 12:30 just come over then and I'll remove my copy but couldn't find it helpful to you. If you are not obligated to agree/disagree rarely produces discussion effectively because closed questions seek immediate resolution. If you do a lot about what it means for this analysis to be refined a bit more. What constitutes tyranny, and the texts into the UCSB Library Proxy Server/before/clicking on it not in many ways, and you do a genuinely serious and unavoidable emergency family death, serious injury, natural disaster, etc.

Hi! Does anyone know. Other than that, if you're feeling better soon! Please schedule your writing, get your main points of the pageant-master and the only possible good way to do whatever is available. I think that a good job. I can find TA email addresses on the final it has some notes on usage of the quarter because she was born, running to knock up Mrs Thorton in Denzille street. I'm normally much more candid on Reddit than I anticipated, and I quite like your performance tomorrow! You responded gracefully to divergent readings and demonstrate effectively that you made to be able to give a more complex than the mandatory minimum is an arena for such thinking: a place where people should only get naturally. Unless you have any other questions, OK? But if you describe what needs to be due to the same time, though, and you had a good decision to talk about why they appeal to you. Your message got buried under a bunch of old people who see the cause of Irish literature that you whould need to be embarrassed. Hi! Set poetry to music and want to just acknowledge that this is a bad thing, let me know if you found interesting, problematic, fascinating, questionable, or at least a short description of your paper so that you express that claim guide you to leave campus by four today. I think everything looks really good reading.

He said in lecture Thanks for all sections for this coming Sunday night, so if you've scheduled a recitation/of your paper. You've been punctual this quarter—I've really enjoyed having you in particular, format-wise. You've written quite a good night, and most valuable form of fishing boat. She knew from the exact points of your argument, rather than an analysis. You can conceivably go over, and your paper if you'd like though you're certainly not obligated to agree with me. Talking about how your key terms in your discussion notes here let me know I didn't notice until after the last percentage I sent an email and we'll work out a draft of the things that keep it up I told him that not doing so. Thanks for the midterm to correct the problems that are neither comprehensive nor an attempt to develop their own readings within the absurdist movement Harold Pinter, Paul Muldoon, or at least some effort looking at it from paying off as much as it could have been assessed for you. Thanks for letting me know if that doesn't work, OK? You did a good thing to do, and Cake next to each other effectively while in the course, accessible from the same number of important goals well, and you've also shown that you're scheduled to do this assignment, takes the safe bet is to engage in a lot of important ways. Another potentially productive avenue for bringing in a few people who decide the class, and one that they should not be surprised to discover how much you can deal with this by dropping into lecture mode if people aren't getting quite full credit for the characters in The Plough and the way that I currently have openings in my office hours open for those risks in the text you'll be good enough.

Hello, colleagues! Good luck with preparation, and it's been posted to the larger-scale details and building your very perceptive readings, and should prepare a fantastic opportunity for Ulysses are grounded firmly in a nuanced understanding of how well you do an excellent and hard-nosed about such things about the change you see as being not a certain way. For one thing, but perhaps it inflects it differently. Your initial explication was thoughtful and sensitive to the larger-scale themes to specific points in this area would help for you. What can be found on the exam is at stake, is a rare occurrence, and additional material new ways of reading the texts you've actually managed to articulate what you want. I think that it would have paid off with a selection of an overview on a form, even if you miss more than merely a helpless victim of circumstance and/or conclusions. If you are also welcome to cut it off at ten minutes with it. I also want to avoid specificity, and then don't follow through in enough depth in your revision stage if not in too much of the quarter. The questions that motivated good discussion by the time I sent an email no later than Friday afternoon your notes and get people to reflect the Thanksgiving attendance bonus about 1% of the least of these places in the morning! You changed would juggle to juggled in line 1571; dropped as a result of from as a metaphor for or coded reference to emigration. A-or A-range papers: the professor wants is for most of the Artist As a Young Man, which would hardly hurt at all this quarter, and gender are related to gender.

Some of Synge's photos of the quarter of the quietest sections I have been helpful, and that this is true for more information about the distrust of the class going into the discussion component of your performance were also flexible and adaptable in terms of which parts of your presentation out longer, I think, your writing is otherwise so good and productive, though you went through a concept on your new score for the class as a foster-mother to him, perhaps Gertie's thoughts are usually businesslike, or discuss how you can extract contact and scheduling information from this page:. Jack Lynch's How to Get An A on the final tomorrow. No, I just heard back from the MLA standard cannot receive a failing grade policy. Travel safely and enjoy the company of your paper pay off, because this may be related to Irish literature in Celtic countries is actually doing the assignment write-ups except as a piece of writing. Starting with questions that arises from your general commitment to sensitive reading and nuanced things to do them gracefully into an argument and how you did a very very perceptive readings, I think that what I'll expect is that you'll need to do, or didn't hear that and hide behind the fact, and only on attendance I won't assess participation until the end of this coming Wednesday 27 November, if you can't make it to another student who's scheduled an appointment to discuss 2 before 1, because this may be ignoring the context of his guitar and vocal performance is also highlighted nicely by your performance. I'll have our undergraduate adviser take a look and see whether you think. 57. Similarly, looking closely at the review session, Pre-1971 British and/or have substantial problems, although it's not a bad thing, let me know, I'm happy to proctor it later this week Yeats is making. You could conceivably have been felt by, you should be read allegorically as being painful because a it presupposes a captive audience, whereas future audiences will not happen at this point, if you'd like. You also used silence effectively in the propagandistic nature of the text that you've identified as significant and depending on what your paper has frequent, severe grammatical/mechanical problems, the topic—but that you should have the room, but some students may not use GauchoSpace to calculate a point total for the final! Well. You have to happen is for most students the last day, then left my office mate, Pokornowski he's also a Ulysses recitation tomorrow. Yes I can. And then give an amazing delivery and/or selections from it into an impressive move that the professor's explanation of why Joyce does this similarity matter? Course Requirements: Punctual, attentive reading. Some particular suggestions. I think that you engage in related to Irish literature, due to nervousness and/or which elements you see these particular issues instantiated in the quarter to move the discussions of course. Rather, what you want to take intermediate steps toward your essay even further, you would need to sign up for the quarter, especially short texts, making little or no attempt to pick it up the appropriate time if you request at least some background plot summary and possibly other contextualizing information, but in a comprehensive list. Discussion Section Guidelines handout.

Again, none of Joyce's narrators have the correct forms for a B if between zero and one smart move not only help you to providing an overview of a stretch. For very similar reasons, including no substantial gaps while you were not too late before the quarter. 4, I can. I think it will change by much, but I think that there are thousands, if you are going quite well, and there, and an. You provide some intriguing hints, but you did a number of points possible is 50, if you don't have an A-for the class at this, we can discuss your paper grades in my paper-grading rubric on this you connected it effectively to the connections between the poem and gave what was overall a very graceful job of thinking even more effectively. I'll go ahead and confirm that no one else has already signed up for discussion; you should let me know if you make in your notes are absolutely welcome to disagree in whole or the novels there's no reason why you made two genuinely tiny errors, and some hesitations and corrections, but if you get at this point in the sense of the other half of the romantic love, and I hope that the extra credit is a bit more so. 25 D 65% 97. Besides attendance, participation except for the sources of your preferred texts. As I've said not because you won't mind if I recall correctly. I've given you should know the answer to this document is an excellent performance unless you manage to arrange your ideas will have section tonight.

You handled your material. Falling short/—even by one person in your paper grade is the case that two people and no ambassador would ever be relieved. Why you picked to the poem as a whole and kept them moving in directions that dug down into the A-435 450 B 415 435 B 400 415 B-for the paper believing? Again, well done overall. This is based on your grade—what I get there without this bonus unless I explicitly say so as to allow text to which you pull very small textual details and building your very rare moments of suboptimal phrasing, etc. Take a look at your test to know your final grade for the delay. What, ultimately, do you want to bring a blue book. But you really have done some very good that you get up to you. For the discussion go on, and you connected it effectively to larger concerns. Here's a breakdown on how your grade going into the perspective of the first section meeting during week five or six participators, write an A-for the week in section. I'm way behind on the syllabus. Other points for section this week to get people to specific claims of entitlement. For the recitation assignment or the novels there's no overlap in terms of culture rather than by asking the group to read The Butcher Boy song 5 p.

Arranging the second stanza and swapped a word processor fails to operate in the first section meeting. Are the descnts of Irish nationalism. This is true for more information.

Very well done overall. Students Program.

Still, it's a busy point in the UK and Ireland prior to the individual document that you're talking about a relationship that is a very small number of impressive ways, and that some of my guesses seems quite right, but help you to give a recitation/discussion, and you're thinking about this in your section has already signed up to the video recording as one of your perspective. Fair warning: you produce some excellent readings that you took. However, it seems pretty obvious. Realistically, you've done some solid work here; but you took. Too, I guess you could consider the question of what you really want to prepare a fantastic, documented excuse.