#independent shakespeare co

[mattnben-bennmatt]

LET'S TRY IT BEN'S WAY

Vanity Fair (October 1999)

A college dropout, Ben Affleck found sudden fame in 1997 after he and Matt Damon teamed up as writers and stars of Good Will Hunting. But at 27, even as he is offered up to $12 million a movie and acquires the spoils of success—the new house in the Hollywood Hills, the Tribeca loft, the five motorcycles—Affleck remains, indisputably, a guy. EVGENIA PERETZ gets him talking about the "Matt 'n' Ben show," his romance with Gwyneth Paltrow, and his upcoming thriller Reindeer Games, for which he literally knocked himself out

By Evgenia Peretz

-

To Ben Affleck, nothing is more meditative than a motorcycle. Today he has selected his red Suzuki GSX1300R Hayabusa, nicknamed "the Blackbird Killer," to take his passenger from Hollywood to the Brentwood branch of Koo Koo Roo, the fast-food chicken chain popular among those on "the Zone Diet." The route he takes? Scenic and maddeningly winding Sunset Boulevardideal terrain, apparently, for Affleck to do what he finds most uplifting: dodge between SUVs and BMWs, barrel up the lanes at 100 miles an hour, and play a hair-raising little game in which he weaves in and out among a line of cones set up in a construction zone. Affleck rides a motorcycle everywhere. He owns five of them, including a Yamaha R6 and a BMW R 1100 S.

"I don't think of it as 'I'm Bike Guy Affleck says over a barbecued-chicken lunch, for which he shelled out the entire $8.50. "I can't stand those guys who talk to you and all they say is 'Gonna put my leathers on and hit the canyons.' I'm not Adrenaline-Junkie Guy. "

He may not be Bike Guy or AdrenalineJunkie Guy, but spend a few minutes with Affleck, who's usually seen around town in baggy army pants, a T-shirt, and a leather jacket, and one thing becomes clear: he sure as hell is a guy. His best friends—and he does have other friends besides Matt Damon—are still his buddies from Cambridge, Massachusetts. They're currently camped out at his new, Mediterranean-style house (undergoing renovation) in the Hollywood Hills. He longs for the time when models looked like Christie Brinkley. He thinks Tom Cruise is a god. He stands behind Hootie. He has been known to forgo sex for video games. (A wall in his Tribeca loft—yes, Affleck is bi-coastal—is lined with old-school arcade favorites, including Ms. Pac-Man and Millipede.) And, these days at least, his favorite words seem to be "chump," "weak," and, especially, "jackass." "Jackass," to Affleck, is the worst of insults. A jackass is what he fears he sounds like in profiles like this one.

Indeed, Affleck might well come across as a jackass were it not for his acute self-awareness (which borders on the neurotic), his willingness to look like a fool, and the fact that he is naturally curious, disarmingly smart, a bit flirtatious, and lampshadeon-his-head funny. It is these very qualities, in fact, that make Affleck irresistible to men and women, and decidedly un-jackassy. These qualities have also made Affleck one of the busiest actors of his generation, a movie star without delusions of grandeur, who has bridged the gap between independent and mainstream films without getting too much grief for it. To wit, the 27-year-old Affleck has, in a little more than two years, kissed a boy in Kevin Smith's Chasing Amy, saved mankind from an oncoming asteroid in Armageddon, stolen scenes in Shakespeare in Love, and, along the way, picked up a best-original-screenplay Oscar for Good Will Hunting, which he famously co-wrote with Damon.

"He's larger than life and yet people can relate to him," says the producer of Affleck's upcoming thriller Reindeer Games, Bob Weinstein, who thinks Affleck is this generation's version of Harrison Ford and Mel Gibson. Or, as Sandra Bullock, his costar in the recent romantic comedy Forces of Nature, puts it, "He has that lummox quality. He's not afraid to make a fool of himself, but then he'll turn around and kick your ass."

Even the hard-boiled director John Frankenheimer, who cast Affleck in Reindeer Games—a kind of modem take on the Rat Pack heist movie Ocean's 77—melts a bit when talking about Affleck. "He has a very winning, likable quality about him," says Frankenheimer, who immediately thought of Affleck when he first read the script. "I've been doing this for a long time, and I've worked with some of the best and some of the worst. And he's really one of the nicest—really one of the nicest."

To hear Affleck tell it, his success has been sheer luck. "I have a personality that's kind of willing to let myself skate by," he says, "to get B's and not really try." But Reindeer Games, it must be said, provided him with the opportunity to put in a little effort. "I wanted him to like me—I wanted him to think I was good," Affleck says of Frankenheimer, who has directed 34 films, including The Manchurian Candidate, Seven Days in May, and Ronin. "I worked twice as hard just out of fear of having him say, 'You're a sham. You're a fraud.'"

In his role as Rudy Duncan, a down-on-his-luck ex-con who gets pulled into a casino robbery on Christmas Eve, Affleck, for the first time, is on-screen in virtually every scene. For the first time, he gets to engage in some "hard-core-style sex," with co-star Charlize Theron. And—also for the first time—he finds himself on the receiving end of actual physical pain. He gets chased by a vindictive gang of truckers. He falls into freezing water. And, throughout, he has his face pummeled by the trucker-in-charge, played by Gary Sinise.

And so it should come as little surprise that, in the midst of shooting, Affleck experienced his first Grade 3 concussion when, while filming a prison brawl, an inmate played by the Washington Redskins' 315-pound defensive tackle, Dana Stubblefield, accidentally slipped and landed on Affleck's head, knocking the actor unconscious. "I don't remember what happened.

I saw the tape later, and it's hard to tell. But the noise is kind of unmistakable. I just go, 'Whomp! Bang!'" says Affleck, suddenly looking and sounding like an 11-year-old skateboarder relating his latest awesome wipeout. "And my head goes, 'Boom!' Bounces off the concrete. It's like 'Whack!' Knocked me so stone-cold out that I don't remember a thing. That was the day I realized I had no chance of playing in the N.F.L." He sounds sincerely disappointed.

Is there anyone in America who doesn't remember exactly when, why, and how Ben Affleck became Ben Affleck? Naturally, he did it in typical guy fashion—alongside Matt Damon, his best friend from down the street since Affleck was eight years old. First they starred in the sensitive 1997 buddy picture Good Will Hunting, in which Damon played a working-class math savant and Affleck had a smaller but funnier role as his wisecracking sidekick. Then, at the Oscars, they scored major points by bringing their moms as their dates. Before you knew it, Ben 'n' Matt hysteria was full-blown (notwithstanding a vocal minority who considered their whole aw-shucks thing a big, annoying act).

"It was such a good publicity thing for marketing people," says Damon later at Affleck's house. "We ended up just talking about our friendship, which is really kind of a weird thing to do.... Hey, Ben," he asks, "what do you think about whoring out our friendship for personal gain?"

"At a certain point, some things in your life shouldn't be used to sell movies," Affleck replies. "Hey, I have two sphincters! See my movie!"

In the public mind, Affleck and Damon have become Hollywood's very own Bert and Ernie. Damon can't go on location without people wondering what in the world has happened to Affleck. For Affleck's part, the men reno [sic] his house call him Matt, and he is routinely congratulated for his work in Saving Private Ryan. On Affleck's coffee table in his Tribeca loft sits a recent issue of YM magazine—someone's idea of a joke, Affleck swears. Ben and Matt are on the cover, promising "Every Juicy Detail!"

Just as their friendship has become a warm and fuzzy American legend, the story behind Good Will Hunting will forever be a part of Hollywood lore: that it all began in 1992 with 40 pages that Damon churned out for a writing class at Harvard; that, after showing it to Affleck, then a struggling actor in L.A., the two worked it into a script; that it was briefly a "NASA thriller"; that they eventually amassed 1,500 pages; that they sold the script to Castle Rock Productions; that the project was put into turnaround, largely because Castle Rock demanded that the film be shot at a location cheaper than Boston; that the two were given 30 days to find a producer; that, with just 3 days left, Harvey Weinstein rode in like a white knight and purchased it for $ 1 million.

Weinstein also agreed to shoot the film in Boston, which allowed Affleck and Damon to feel comfortable doing the Boston accent, which, for obvious reasons, is near and dear to their hearts. "It was the whole reason I did the movie—just to do the accent," Affleck says, not entirely facetiously. Given any opportunity, he will launch into full-voltage riffs about Boston landmarks— from Jordan's Furniture commercials ("I think these sofas hajfta go!") to the pride surrounding the brutal winters ("Stock up on wahta, it's the Noreasta!"). He endlessly amuses himself with the names of Massachusetts towns ("You don't know me, fucker, but I'm from Hull. Bitch, I'm from Lynn. You don't know Medfield. Come down to Medfield, then we'll see what the fuck's up!").

"The Boston accent is more of an attitude than an accent," Affleck explains. "Underneath everything you say has to be the attitude of: You're an asshole, I know better than you, fuck you." It's an attitude that Affleck knows well. Dinner at the Afflecks' home, in Central Square, Cambridge, was characterized by heated debate on any topic, including whether to have the television on while eating. At times Affleck's reality wasn't so far from the scrappy existence depicted in Good Will Hunting. In addition to Ben and his younger brother, the up-and-coming actor Casey Affleck (who played Ben's weaselly younger brother in Good Will Hunting), there was Affleck's mother, Chris, a public-school teacher, and his father, Tim, an alcoholic and a frequent gambler who worked as a janitor, an electrician, and a bartender. "At the end of the football season," Affleck says of his father's tendency to bet on the games, "there would either be tough times or we'd get a VCR." The parents divorced when he was 12, and Tim is now a counselor in an alcohol-rehab center.

Affleck's neighborhood was largely African-American. So while other white kids from Boston were spending the 80s listening to the Cure and writing Goth poetry, Affleck (then called "Biz" to Damon's "Matty D") was listening to Prince and break-dancing in a nylon Puma sweat suit. "I was a real chump," he says.

Perhaps. But he was still on his way to starting his acting career. When he was seven, a casting-director friend of his mother's got him a tiny role in the independent movie The Dark End of the Street. By age eight, after winning a part in the PBS science series The Voyage of the Mimi and a brief stint as a Burger King pitch-boy, the young wiseass was hooked. Even as Affleck and Damon were starring in plays at Cambridge's Rindge and Latin high school, they were plotting their paths to glory. They had a joint bank account, designated strictly for New York excursions (the upcoming auditions and all), and even conducted "business lunches" during which, Damon recalls, "we'd basically sit over our cheeseburgers and not talk about anything." When Damon went to college at Harvard, little changed. Affleck hung out with Damon's new Ivy League friends and did his part to help drain the beer supply at the Delphic, the frat-boyish "finals club" Damon belonged to.

For Affleck, college held considerably less appeal than it did for Damon. After two months at the University of Vermont, he dropped out—much to the dismay of his mother, who, Affleck says, "always wanted me to be a history teacher." And so it was on to Los Angeles, where he and another friend lived in a one-bedroom "shit hole" on Franklin and Cherokee—"the Times Square of L.A.," as Affleck puts it. Between auditions, he spent his time rustling up the $300 rent and generally living a Slacker-style existence in which he spent too much time fielding calls from someone named "Fat Ed." "He'd always call and be like 'Yo, this is Fat Ed. Motherfuckers owe me $70 for groceries!'"

Luckily, it wasn't long before Affleck was getting movie work—the 1992 prep-school drama School Ties, Richard Linklater's 1993 Dazed and Confused, and Kevin Smith's embarrassing 1995 homage to New Jersey, Mallrats. Invariably, Affleck would be cast as the lunkhead, perhaps because he had yet to grow into his leading-man looks. Most of his roles required him to beat the crap out of some pencil-necked pre-adolescent. "I'd always go in for the lead," says Affleck, "and they'd be like 'You're interesting as Steve. We'd like you to read Bruiser.'"

Smith saw that Affleck had more to offer, and cast him as the main character in Chasing Amy, the 1997 Sundance hit that landed Affleck on the indie-film map. Playing an insecure, flabby, goatee-wearing cartoonist, Affleck got to do some hard-core, scenery-chewing emoting, including a monologue in which he pours his heart out to a yammering lesbian, played by Joey Lauren Adams. The scene was profoundly informed by Affleck's personal life at the time: he was in the process of breaking up with his high-school girlfriend. "I could strongly identify with the feeling of unrequited love," says Affleck. "Basically, I was in love with someone for years and years. And ultimately I felt like she just didn't love me in the same way—which was extremely painful."

Affleck would never admit that he likes to talk about mushy stuff—"It would be very difficult for me to say, 'That hurts.'" But get him started on any topic—including love and relationships—and he's virtually impossible to shut up. Nothing sends him on a sentimental roll quite like Gwyneth Paltrow, his girlfriend of a year, with whom he split last January.

"Gwyneth has a lot of things that haven't come across in her public image," says Affleck, who is forever defending her against the perception that she's an ice queen. "She's extremely funny, she's extraordinarily smart—not because she's a 1,600-on-theS.A.T. girl, but smart in the way that she kind of gets it," says Affleck. "She's actually the funny, down-to-earth fat girl in the beautiful girl's body." He is equally valiant about their well-publicized breakup. "People's stories always seem more interesting and more full of intrigue from the office-gossip perspective," says Affleck, perhaps referring to tabloid accounts that had Paltrow alternately sneaking around with Joe Fiennes, Viggo Mortensen, and ex-boyfriend Brad Pitt. "But when you're on the inside of your own relationship, you know the answers to those kinds of questions are much more mundane than when it's all shrouded in mystery and infused with conjecture: 'I heard he caught her in a menage a trois with a transvestite and two Pygmy lesbians!'"

Like a true movie star, Affleck is determined to keep the details of their relationship hidden. Like a true guy, he can't quite help himself from doing the opposite. An amateur photographer (his current passions are his Widelux camera and his Adobe Photoshop), Affleck keeps several albums of his work in his loft. Amid pictures of Cambridge, his mother, and his brother are pictures of Gwyneth: Gwyneth with flowers in her hair, Gwyneth waking up in the morning, Gwyneth dressed as Romeo on the set of Shakespeare in Love, Gwyneth about to head into Makeup. "Isn't she pretty?" Affleck says wistfully, gazing at the last image. "She's much more beautiful just natural like this than when she's all done up." He's lost in a Gwyneth moment. "I'm getting sad." But he's no sucker, and makes it clear that there will be no weeping here.

Affleck wasn't always so evolved in this department. Think back to the height of the Ben 'n' Matt frenzy, in 1997, when Affleck was dating Paltrow and Damon was seeing her friend Winona Ryder. "It was so gay," Affleck says, in the eight-year-old-girl sense of the word. "If I had gone by the tabloid stories of it, I would have been like 'Look at these fuckin' chumps. I just want to smack these people.' And I kind of wanted to smack myself," he admits. "But it's one of those things you kind of can't help. What are you going to say? 'Look, dude, don't go out with her. It'll look really weak.'"

Cringe-worthiness wasn't the only issue. More than anything, Affleck was concerned about how the tabloid stories would affect those around him—such as his ex-girlfriend. He likens the tabloids to "the friend who says, 'I don't want to get involved, but I did see Cathy blowin' three guys.'" Equally bothersome are the tabloid items describing Affleck as a rabid Lothario —buying out all the condoms in a 7-Eleven in Wisconsin (a state he's never set foot in), and getting cozy with Mariah Carey, Pamela Anderson, and, most recently, navel-baring pop star Britney Spears. "Britney Spears is 16 years old, O.K.?" says Affleck, rolling his eyes. "Can you dig it?"

Nor has Affleck been excluded from one of Hollywood's favorite games: Guess Who's Gay. His sexuality has been the subject of blind tabloid reports, and Affleck is often told that it's a foregone conclusion in the gay community that he and Damon are in love—a nugget that Affleck seems to get a particular kick out of. According to Hollywood gossip, says Affleck, "not only is every [actor] gay, but somebody has a friend who slept with them. Maybe there are gay people who are in the closet in Hollywood—I'm sure there probably are—but I'm sure they didn't sleep with Henry's friend. " As for his own sexuality, Affleck says, "I like to think that if I were gay I would be out. Rupert Everett-style."

Though Affleck has learned to handle the rumors with panache, his sudden fame and formidable wealth (he is now offered up to $12 million per picture) have been a bit harder to reconcile. "It's a tricky moral issue for me," says Affleck. "[Sometimes] I feel that maybe I should just keep $50,000 and give everything [else] away." His healthy Cambridge-liberal guilt is hard to miss. Even Frankenheimer, who briefly met Affleck's mother, couldn't help but notice that Affleck's "childhood was well formed and that he grew up with the right values." On the other hand, Affleck is too smart to pretend that he doesn't enjoy "priming the pump." "I once read an interview with a young actor who was saying, 'I'd like to live in a country house—the kind that Henry Miller lived in,'" says Affleck. "And I always thought, I want to live in the house that Reggie Miller lived in."

True to his guy-with-a-conscience form, Affleck has found himself somewhere in the middle: Sure, there are the two homes, the five motorcycles, the marble bathroom, the four computers, and the two cars (a Chevy Malibu and '69 Cadillac Sedan DeVille, which he shares with his brother). But he also gives a lot of his money to charity and to "needy individuals, whom I seem to come across with increasing regularity," has recently purchased a house for his mother, and, let it not be forgotten, often eats lunch at Koo Koo Roo. Yes, he implies, on occasion his behavior veers toward the prima donna-ish—he's been known to snub the press at movie premieres. But when he complains about anything, he feels "tacky," and when he catches himself trying to escape conversations with aggressive fans—by, say, claiming he needs to "go to the bathroom"—he feels, well, "shitty."

"Hey, Ben!" says a grizzled Koo Koo Roo patron who, in his full biker regalia, resembles a 70s-era Hell's Angel. Instead of running to the rest room, Affleck stands, bear-hugs the man, and launches into a long discussion about teeth. The interloper, you see, is not a Hell's Angel at all; he's Affleck's dentist, Dr. Stan Goldman, and Dr. Stan Goldman, like almost everyone who has crossed Affleck's path, is a serious fan.

"Love that dude," Affleck says after Dr. Goldman congratulates him for his work in Shakespeare in Love, bums a Camel Light, and takes off on his Harley. "I got sent to him by Disney when we were doing Armageddon. Fixed my tooth. My tooth was cracked and fucked up."

If the $100 million Jerry Bruckheimer asteroid juggernaut marked the moment when Affleck began worrying about his teeth (the whole set looks better than it used to), it was also the event that propelled Affleck from indie boy to action star—and spawned the inevitable talk about "selling out." It is an accusation that Affleck finds roundly preposterous. "How many opportunities do you have to go onto the space shuttle? To go into the neutral-buoyancy laboratory?" he says. For one thing, Affleck was raised on Star Wars. For another, he realizes that "just because a movie's independent doesn't mean it's good." Yes, he remains involved in several upcoming lowbudget projects (Kevin Smith's beleaguered religious send-up Dogma, Ben Younger's Wall Street drama The Boiler Room, Billy Bob Thornton's southern comedy Daddy and Them, and Jay Lacopo's The Third Wheel, a romantic comedy about a date gone haywire, which he and Damon are producing). But nothing lights up Affleck's bullshit meter like a lousy art-house film with a pretentious title. "I'm always like 'Yecch,' " Affleck says, cringing. "You know, Manny and Chuck with the Strawberries, or whatever it is. I want to see Enemy of the State

Which is not to say that Affleck plans to spend his career spraying bullets into gangs of international terrorists or delivering Bruce Willis-type lines such as "Yippee Kai Yay!" with a straight face. In Affleck's opinion, there's nothing so inane as "the best there is" movies. "[Hollywood] can't make a movie unless the lead guy's the best so-and-so," says Affleck, launching into a testosterone-pumped movie-trailer voice. "It's always like 'The best valet parker there ever was! And now he's back, for one ... big ... party!'"

If anything has characterized Affleck's role choices, it's the instinct to keep looking for what's different. "His wheels are constantly turning," Sandra Bullock says. "I don't think he can turn his head off."

And so Affleck, burned out on Armageddon's "deep-core drilling," chose to do Shakespeare in Love, despite fears that the cast was "going to be a bunch of R.S.C. knighted British people who were going to hate me and make fun of me." Next was Forces of Nature, which touched a nerve. "I identified with that dilemma, that fear of commitment," Affleck says of his character, a conservative groom-to-be who questions everything when he meets the free-spirited Bullock. On a few occasions, Affleck even rewrote dialogue in hopes of making the scenes more honest. "He'd brainstorm, and he'd get quiet for 20 minutes," Bullock recalls, "and we'd know what that meant. He was writing 12 pages of dialogue."

"I wished they had used more of my stuff," Affleck admits. "In retrospect, I think that movie would have been better served to be edgier.... If [Bullock's character] had been talking about sex toys," says Affleck, "that would have freaked this guy out, and he would have been made uncomfortable."

If Affleck is looking for a little discomfort, now is his moment. The new film Dogma—in which Affleck and Damon play angels with a penchant for automatic weapons—has come under attack by the Catholic League for Religious and Civil Rights, which thinks the film ridicules the church. (Affleck views the controversy as, in essence, "three guys who had this little jury-rigged operation in Duluth who were trying to get their names in the papers.")

More emotional turbulence may be ahead for Affleck as he begins shooting Don Roos's romance Bounce, opposite Gwyneth Paltrow. And with Reindeer Games, the world will see what Affleck looks like as a victim. "I saw him as a throwback protagonist," Affleck says of his most recent character. "The hard-luck protagonist who doesn't look good all the time, who's constantly getting shit on, and who has the opportunity for a wry loser's irony. He kind of reminded me of my dad," he says. "Not that my dad's a loser, but [he has] that tough-luck sense of humor."

And thus it appears that Affleck may be nearing the end of guy territory and approaching manhood, a secure place to utilize some of the skills he's picked up from his various directors—directing, alas, is yet another target Affleck has set his sights on— and to explore the jackassery that he fears so intensely. Among the many issues that Affleck is now confronting are, he explains, a limited capacity for compromise and a lack of willingness to put his energy into a romantic relationship. "The reason I'm single," Affleck says, "is because I wouldn't want to be with anybody right now who would be willing to be with me."

And, just for a moment, Ben Affleck sounds a little like Woody Allen. But only a little.

[maximumwobblerbanditdonut]

Such sad news to hear today. An amazing, and enigmatic actor someone who deserved to be called a star.💫

British actor Tom Wilkinson, best known for his role in The Full Monty, has died aged 75 💔Wilkinson, who became an OBE for services to drama in 2005, was born in Leeds - Yorkshire in 1948 and grew up in Canada and Cornwall before attending the Royal Academy of Dramatic Art (Rada) in the 1970s.

In 1994, he appeared as Pecksniff in the BBC's adaptation of Charles Dickens's Martin Chuzzlewit. He is pictured alongside Maggie Steed.

Across an illustrious career spanning nearly 50 years, Wilkinson won a host of acting awards, as well as two Oscar nominations. He won a BAFTA for 'The Full Monty,' and he also appeared in 'Shakespeare in Love,' 'In the Bedroom,' 'The Best Exotic Marigold Hotel' and 'Batman Begins', He won an Emmy and a Golden Globe for his role as Benjamin Franklin in the 'John Adams' miniseries. A versatile actor won acclaim through decades of work in television and film and onstage. Recently he was reunited with his The Full Monty co-stars, Carlyle and Mark Addy, in a Disney+ series of the same name.

Who remembers this classic!

The original 1997 comedy about an unlikely group of male strippers in Sheffield won an Oscar for Best Original Musical or comedy score and was nominated for three others, including best picture and best director.

Wilkinson’s best roles. Here are his finest films, Lieutenant General Lord Charles Cornwallis was an officer of the British Army and one of the leading British generals in the American War of Independence.

Wilkinson played a British officer in The Patriot, a US film about the Revolutionary War co-starring Mel Gibson, Heath Ledger and Jason Isaacs. The film was nominated for three Academy Awards.

From The Full Monty to Michael Clayton: was a lawyer - Arthur Edens - in Michael Clayton film 🎥 co-starring George Clooney. Tom Wilkinson was nominated for Academy Awards for Best Actor in a Leading Role for In The Bedroom in 2001, and Best Actor in a Supporting Role for Michael Clayton in 2007.

Wilkinson was winning acclaim again as a high-powered lawyer who has a breakdown in Tony Gilroy’s “Michael Clayton.” He was nominated for another Academy Award for his performance in that film.

In ‘Denial’, Confronting a Holocaust Revisionist in Court. Denial is a drama about a historian’s pursuit through the UK justice system by a Holocaust denier. It stars Rachel Weisz, Tom Wilkinson, Timothy Spall, Andrew Scott, Jack Lowden, Caren Pistorius and Alex Jennings.

On television, he played Benjamin Franklin in “John Adams,” James A. Baker in “Recount,” for which he was Emmy-nominated and Joseph P. Kennedy, Sr. in “The Kennedys.”

In Ava DuVernay's 2014 historical drama Selma, Wilkinson portrayed President Lyndon B Johnson. The film tells of the protest marches held in Alabama in 1965 over voting rights for African Americans.

RIP Tom Wilkinson 💔 1948-2023

[shakespearenews]

But with the collaboration of teachers, we co-constructed a research project to test which measurement tools might help us better understand the impact of our work bringing theatre-based approaches to teaching Shakespeare into the classroom. The result of that research is Time to Act.

[tomcprior]

Get to know me...

Tom Prior is an exceptional talent in the realm of acting and filmmaking. 

After graduating from the Royal Academy of Dramatic Art (RADA) in 2012 he has brought his undeniable presence to notable films such as "The Theory of Everything," where he portrayed the role of Robert Hawking, the son of Eddie Redmayne's character. His performance in "Kingsman: The Secret Service" showcased his versatility and ability to play an action hero. He left a memorable mark on television audiences with his appearances in the British ITV series “Endeavour."

Tom Prior delivered an extraordinary lead performance in the highly acclaimed and multi-award winning film "Firebird" (2022)”. Set against the backdrop of the Soviet Air Force during the Cold War, Tom's portrayal of love and connection in the face of adversity transcended the boundaries of traditional storytelling. His acting earned him a Breakout Performance nomination for the British Independent Film Awards (BIFA), 

Through his multifaceted contributions to “Firebird," as co-writer, a producer and later the music supervisor, Tom showcased his ability to craft compelling narratives that has touched the hearts of audiences worldwide. Firebird secured numerous accolades at the 60+ international film festivals it played at. 

His captivating performances on screen and stage are just a glimpse into his profound journey of self-discovery and his quest for truth and adventure.

With a newfound understanding of the inter-connectedness of body, mind, and spirit, Tom's acting talent has soared to new heights. 

Tom's artistic expression continued to evolve as he took on the role of Private Love in "Blood on The Crown" (2022). Through his performances, he not only entertained audiences but also shed light on profound truths.

Even on London's prestigious West End stages, Tom's commitment to self-discovery and personal growth shone brightly. His magnetic presence in productions such as "Tory Boyz," "Prince of Denmark," and "Romeo & Juliet" captivated audiences and reflected his deep exploration of the human condition.

Tom's passion for exploration has led him beyond the realms of traditional training and into the depths of meditation, the mysteries of quantum physics, and embarked on many transformative experiences with indigenous tribes working with consciousness expanding medicines including Ayahuasca, San Pedro and Bufo (also known as the God Molecule).

In his ongoing search and curiosity for truth, he actively shares his learnings influenced by Shakespeare, Rumi, Rupert Spira, Eckhart Tolle, Mooji, Dr. Joe Dispenza, Ramana Maharishi, and A Course In Miracles.

Tom now coaches and speaks about these deep insights into reaching liberation from the limitations of the mind. His quests have taken him to the far corners of the Earth including Rwanda, Uganda, Bhutan, Nepal, Brazil, Cambodia and Antarctica. 

Instagram 

https://www.instagram.com/tompriorthesecond

Tom’s IMDB Profile: 

[lcndonboysstuff]

https://deadline.com/2022/05/riz-ahmed-hamlet-indian-movie-aneil-karia-oscars-1235019715/

On the heels of their Oscar win for The Long Goodbye, Sound Of Metal and Rogue One actor Riz Ahmed and Surge director Aneil Karia are confirmed for a modern adaptation of Shakespeare’s classic Hamlet, which is being launched by WME Independent at the Cannes market.

-

-

-

-

WME Independent will handle international sales and co-rep North American rights with CAA. Ahmed and Karia will be on the ground in Cannes to discuss the project with buyers at a presentation and we hear there is already interest from potential financiers.

what does it mean to launch a film at cannes market?is it synonymous to premiering a film at cannes? do you have any idea?

i think it’s when they look for people to invest/support the film so they’re able to make it. i’m not sure though could someone correct me if they know?

[luiz-henrique]

="[ O MÍSTÉRIO DO NASÇER E DO MORRER ]"=

-:"( Parte Primeira)"-:

-:{ Versão com a Introdução de minha parte , que foi Re- Ajustada , sendo as Informações de Todo o Contexto Obtidas dos Textos Ditados pelos Seres Superiores que Não Procedem desta Terra }"-:

" Um Mistério que aqui se Revela..., mas ninguém iria acreditar..., entretanto vamos lá (...)-:

Em 18 de Agosto de 2002 , Algo me Contatou , até o Presente,

2021 , onde o Contato meu Referêncial relatou na Obra por mim escrita , de Título -:

"Um Outro Sonho de uma Noite de Verão...,"

Expressa em Cinco Partes ,

Uma Obra que continua em uma Outra , de Título -:

"Odisséia à Inexistência Inexorável...",

Expressante em 30(Trinta Partes), Não sendo um Conto ..., Sendo o Relato do Real...,

Entretanto..., Ninguém acreditaria , nesta terra se Urgindo dito Relato em Vão...,

Os demais Textos ...,

que Integram minhas Obras ,

foram escritos , deste módo...,

que aqui Transcrevo de meus pr��prios Escritos -:

Transcrição A -:

No Referido Raio-Conduto,

A Des-Sincrônização...,

ou Sincrônização Inversa...,

Incidente sobre um Personagem (Aspas -: Sou Eu mesmo ! )...,

como aquele do " Conto"-:"{Que é um Relato de Contato , Lógo -: Não é um Conto -:

No Princípio disse Metáfora , e Lançei à Publicação ,

Disse Metáfora porque -: Muçulmanos e Outros jamais iriam Acreditar em Inteligências do Além desta Terra ...,

Mas já sou Apontado como Louco...,

Lógo , fique claro (...)-:

pouco me Importa se estes Acreditariam ou Não...,

porque (...)-:

" O Verídico Independe de Dogmas , Crença , Descrença ,ou Parecer de Quem Seja...,"

Prefiro ser chamado de Deficiente Mental...,

o que é Transitório...,

e estar com a Verdade...,

do que com o Parecer de Quem Seja...,

O Relato de Contato dei o Título (...)-:

"Um Outro Sonho de uma Noite de Verão...,"

em Homenagem a William Shakespeare...,

e que constitue um Livro ou Obra Expressa...,

Este Relato continua nas Trinta Partes de -:

" Odisséia à Inexistência Inexorável...,"

por mim escrita ,

Como Mencionado...,

em Base nos Textos Ditados pelos Seres Contatantes }",

Onde formalizo a Pergunta...,

Direçionado para a parte de Cima , para a Fonte,

que Expede uma Via de Comunicação...,

e Algo Sonorizada Sintético,

próprio do dito Sistema Integrado ligado a um Vasto ,e Mais...,

que não corresponde a Voz de quem está por detrás da Fonte do Sistema Integrado...,

dito,

258 Comandos formariam este Comando Integrado,

Isto é , formado da Junção de outros Comandos,

Este é um , dentre outros

Comandos Integrados,

que são formados de vários Comandos,

como Este...,

Havendo Comandos Unitários,

que Não são formados pela Junção de outros Comandos,

Todos Estes formam-:

As Forças Superiores Especificadas , dentre as Outras e as Mais Indizíveis...,

do Mais Além desta Terra...,

que Não devem se os Confundir com os Tais Extraterrestres , pois estes Últimos Habitam Outras Faixas , Extratos e Ulteriores ou Ultras , em dadas Frequências ...,

Compleitados -:

as Faixas, os Extratos e os Ultras ou Ulteriores...,

nos Níveis...,

em Quanto a cada uma das Quase Três Mil Dimensões , cada uma Ligada a sua Tangente Co- Paralela..., do Espaço...,

Coordenadas ditas pelos Seres Contatantes ( Integrantes das Forças Superiores )...,

Onde os ditos Extraterrestres ,

Não tem Capacidade de se Exteriorizar para Fora e Além do Espaço...,

suas Naves são como de Brinquedo...,

Ante as que possuem as Forças Superiores do Mais Além desta Terra...,

os Extraterrestres são Contatados um e Outro , de suas Lideranças...,

Não Alcançam as Forças Superiores...,

Que Regularam em Ajuste ,

as Propriedades e Assoçiados...,

das Faixas , Extratos e Ulteriores ou Ultras, de cada Dimensão e Tangente Co- Paralela ( Aludizante a cada Dimensão, em Respectivo ) do Espaço...,

Quebram Anélos ,

Controlam Tudo...,

Onde se os Extraterrestres , entram e Interferem neste Esquema Mundial...,

Tem suas Naves Desintegradas na Espontânea Fulminação ,

Não conseguem Aderência para entrar na Faixa Específica , e dada Frequência -:

da Dimensão Desígnada Física ,

do Espaço...,

porque...,

Os das Forças Superiores ...,

Não permitem...,

e Quebraram Anélos...,

os das Forças Superiores Mencionadas...,

São os Intermediários entre Deus e a Criação...,

Nomeados por Deus...,

O Inominável...,

com seus Vários Nomes ...,

Sim...,

Então no Conto...,

o Personagem ,

O Conto tem Quatro Partes...,

focalizar acima...,

Qual posição que ele estiver ,

deitado ,

erecto,

sentado,

Dentro do Raio,

Ele se acha Erecto,

o Raio envolve não só sua Estrutura Física,

Mas outros Ícones de sua Constituição,

Deste , certos Ícones após a data dita enfática ,

18(666)de Agosto de 2002,

foram Absorvidos,

Puxados,

Como a Psíque e a Personalidade,

Algo Respectivizado os Simula , Plagia, cumpre suas funções...,

Então o Personagem ,

Henrich...,

Após formular a Pergunta,

Da parte de cima do Raio Contínuo,

Ante Além ,

onde está a Fonte que Determinou o Raio...,

Há uma Via de Comunicação ,

E uma Voz Sintética ,

Ele direçionado ao Acima,

Tem que se concentrar,

o Conhecimento este Sabe sem Palavras ,

Não sabia antes de perguntar,

Então a Resposta é Insubstâncial ,

Este se focaliza nesta

Resposta ,

e está pode se Traduzir

Descodificado de dois modos-:

Ou com suas Palavras,

ou Este anota palavra por Palavra até formar a Frase...,

Dentro da Sequência Mais que Lógica,

Entretanto ,

Quando este se dirige para a Via de Comunicação ,

Daquela Sala ou Compartimento Involucrada , dentro da qual está preso...,

Algo Mais que Maldito...,

O outro Personagem...,

O tal Não-Humano -:

Despojo Repugnante...,

Este cria uma alegórica

Nuvem ou Força de Resistência Oposiçional,

Proliferar Voçiferações dentro de onde está preso,

Palavrões,

Insinuações Zombeteiras e Obscenas ,

e ao mesmo Simultâneo,

Falsetes direçionando ainda acima outra

Voçiferação, mas como

Se fosse um alheio,

Plagiando Aquela Voz Sintética que vem da Via de Comunicação ,

dentro da Des-Sincrônização...,

para distrair e atrapalhar

ao Personagem ,

que foi buscar a Resposta ,

e para Interferindo assim,

O Buscador da Resposta ,

Anotar o que não pertence a Comunicação Original,

sendo sabotagem por parte do Tal Despojo Repugnante,

Enquanto se concentra recebe arremessos da

Tal Ala ( Compartimento) -Involucrada,

de Eflúvios mesclados

de -:

Bioplasma, Ectoplasma,

Ideoplasma e Distintos,

Convergido em Podridão,

Mescla esta , sintetizada

pelo tal Despojo Repugnante,

Mas o Sistema Integrado ...,

Tudo isto rebate ,

Enquanto que os Seres ditos ,

Atacam ao Maldito...,

onde Ele está preso...,

Lógo , para captar a Informação ,

O Buscador da Resposta,

Tem que firmar ,concentrando na Verdadeira Comunicação,

que não é a Plagiada...,

em Cinco Minutos ,

pode se escrever , sem saber da resposta ,

Ela só vem após a Pergunta...,

Deste Módo...,

Tenho Provas do que afirmo?

Absurdo se não tiver -:

Minhas Obras ,

São a Prova(...)!!!-:

Onde estão?

O Inenarrável...,

Uma destas...,

Outras ,

1-: O Espaço

2-:O Khaos

3-:Ultra-Trans- Cosmografia do Indizível

4-:Sinópsoplastia

Legadatária

Mneumosofal

(Sinópse +Plastia ),

Legadatária ( Legado),

Mneumo ( Memória ) : ( Mneumo+ Sofia-: Mneumosofia : Mneumosofal ).

Deste módo , Escrevi os Textos , sem ter conhecimento , Pergunto e Anoto a Resposta.

Assim..., Tais "Seres " , me disseram o que foi Jogado em meu Senso Compreensional , ligado a Psíque ,em forma de Conhecimento Insubstâncial , sem Palavras , Simplesmente se dá como Saber , o que Não Sabia ,Focalizou ali e se Traduz em Palavras.

O Segundo módo de Obter o Conhecimento é Anotar Palavra por Palavra dos Contatantes , que Eles Extraem a Maioria de meu Senso Compreensional,

ligado a Psíque.

Então Vamos Esclarecer o Mistério da Vida , como diriam alguns , o ligado ao Nasçer e Morrer.

Aqui na Primeira Parte , Revelarei o que disseram os Contatantes , Expresso com minhas Palavras.

A Segunda Parte é o Texto que Envolve Termos Científicos , ligados a Biogênica , que aqui eu nem sei o que é isto...,

Onde anotei em 40 Páginas o que os Contatantes ditaram , Palavra por Palavra , que anotava conforme iam ditando.

Vamos à Primeira Parte , o que me disseram e aqui descrevo com minhas Palavras (...)-:

"Consiste em que as Enfáticas Pessoas desta terra , as que Habitam esta Determinada Frequência , Predisposta à está Específica Faixa Dimensional Designada Física..., Possuem Ícones que Integram suas Constituições .

Dentre estes Ícones estão -:

Veículo de Manifestação Estrutural...,

uma Psíque , para a qual estes tem Outros Nomes...,

Onde Mente difere de Psíque ,Vejam-:

"Mente é a Relação Inter-Funçional entre a Designada Psíque e o Veículo de Manifestação Estrutural (Corpo)...",

Ademais estas tem -:

a Personalidade que Nada se Refere a Psíque , embora um Ícone tenha Relação Co-Intercâmbiante com Outro , à formação de uma só Integração.

Então hão ainda Outros Ícones , e dentre eles ,

Uma Formada Alma ,

e por detrás desta , o mesmo Espírito , como o chamam aqui.

Por detrás do Espírito Há uma Amálgama ,

para com a qual está Co-Inerentizado , isto é ,em Co-Inerência e ào Destaque da Pró-Erradicação , o Princípio Individualizados,

Que Determina a Ergonômia e torna a Pessoa um Indivíduo , e a está Amálgama Também se liga , deste módo , mas no Ajuste ao Onde deve se dar ligado , o Dimanado Ergo-Potêncial.

Já a Sexualidade é o que

se Co-Dimana ,por sua vez..., ligando Todos os Ícones para com a Amálgama , em desde a mesma , Amálgama.

Ademais os Contatantes me ditaram o que é o Ícone Específico , que aqui chamam Psíque , Onde Transcrevo o Ditado por estes , com as Palavras destes -:

Transcrição B-:

"A Designada:Psíque..., com sua forma definida, se é(...):Iso-Próto(origem)-Plástica Trans-Endo(Raiz)-Plasmóidizante Semi-Compacta Eso-Assimétrica-Morfóideana Integra-Contexturizada Meso-Hiper-Prismogramizada Ultra-Transposiçionadora Acoplógena Exo-Subsidiária Integrativista Constituçional..., em assim à se ligar ao: Veículo de Manifestação Estrutural,de forma excedente-supra-elo-vincular, por laços valênciais caracterizados que se conectam,neste mencionado , através de Pontos Especificados,definidos por alguns , em dada cultura e termologia , como "Chakras" ...,e correlaçionados Fócos-Feixônicos Pólo-Extrematizantes Inter-Relaçionados Trans-Héterofunçionais(...)!"

Até aqui a Transcrição B.

Continuando-:

Aqui vamos entrar no Assunto de Enfoque!-:

O Sêmen ou como diz

Paracelso , Teophrastro ,

Claro que já li Obras atribuídas a este , e para falar do Sêmen , o Chamarei -: Ens Seminis ,

no Referir ao Masculino e ao Aludizante Feminino...,

ligado por sua vez , ao que Envolve a Apontada -:

Sexualidade (...).

Cada Espermatozóide se movimenta com Vida própria , como dentro da Semente Característica Feminina há vida .

De Onde vem a Vida , de Cada Unidade , Movediça a do Homem , Passiva , a da Mulher ?-:

Quando um Homem derrama o Sêmen , em dadas condições este se perde , a Vida de cada Espermatozóide Regressa ,

Pois é uma Chispa

Centelhante do próprio Homem que próduziu o Espermatozóide , que Dimana está Centelha que dá Vida ao Espermatozóid e o faz Mover -:

Regressa ao Ergo-Potêncial da Pessoa a que se Refere,

Pois a Centelha Procede do Ergo-Potêncial de Tal Pessoa.

E o que fica , ao Corpo do Espermatozóide , morrendo se perde , à Dispersão Co-Substâncial e o Mais Relativo.

Onde Quando um Espermatozóide Masculino se Une ao Óvulo Feminino ,

Formam-:

Um Germe...,

que se Converge...,

no Embrião.

A Centelha do Espermatozóide se entra em Intercâmbiação com a Centelha do Óvulo ,se Semi-Fusionam , e depois se Separam , Apenas Acalentam uma Terceira Centelha que se liga ao Germe e ao Embrião ,

é Aquela de Quem se Predispôs a Nasçer ,

Após Criar Força de Assentamento , a Centelha do Óvulo se Volta ao Ergo-Potêncial da Mulher , quando o Óvulo se Desconfigura.

A Centelha do Espermatozóide Masculino ,

Volta para o Ergo-Potêncial do Homem , Quando o Espermatozóide se Desconfigura.

E fica Apenas a Centelha referente ao Ergo-Potêncial , de Quem se deu Predisposto à Nasçer (...).

Vamos Adiante (...)-:

Falemos agora sobre Quem se Predispôs à Nasçer ,

Onde Está e como se Ligou ao Germe ou Germen que se Converge em Embrião , que Constituíram o Feto , da Criança que está na Co- Adjuncão de Nasçer (...).

As Enfáticas Pessoas desta terra , se encontram em dada Frequência dentro da Faixa Dimensional Designada Física...,

Os que Não Nasçeram se encontram em um Outro Onde , em dada Frequência

ligada a uma Outra Faixa , Margeante a Apontada da Faixa Dimensional Designada Física ,

Quando lá , estes se

Impulsionam para o Nasçer ,

Conectados a esta terra ...,

Desde no se darem Ligados ,

Não por si mesmos , aos" Ciclos da Existência..., "

que Traduzem o Nascer e o Morrer...,

Estes de Onde estão , Conforme para Onde se Direcionam , Tal ou qual Nação dos mesmos , Enfáticos desta terra ,

Estes que querem Nasçer ,

Enxergam Várias Frestas ,

Estas Frestas surgem e desaparecem rápido...,

As Frestas se formam quando o Espermatozóide Masculino fecunda o Óvulo Feminino, na Faixa Dimensional Designada Física e dada Frequência ,

Mas as Frestas surgem ,

na Intermediação destes Dois Ondes .

A Pessoa que se Direçionou para Nasçer ...,

então se Identifica com uma Fresta , e Ocorre que Algo desta se Desdobra...,

e entra dentro da Fresta , que então Some.

Se são Duas , ou Três , Neste exemplo , que no mesmo Simultâneo se Identificaram com a Fresta ,

Então Algo do Ergo-Potêncial destes Dois ou Três , Pessoas Distintas,

entra na Fresta que some e Nascerão Gêmeos.

Assim se cria o Elo e Anélo Vincular de quem vai Nasçer com o Germem que se Convergerá em Embrião ou no Relativo ao Nasçer dos Gêmeos , se forem Gêmeos.

Quando este Algo do Ergo-Potêncial entra na Fresta , Vai com a Fresta que some...,

e dentro da Fresta que se foi..., este Algo ligado à Pessoa que vai Nasçer ,

se Modula em Quanto aos Caractéres Genéticos , Genes com os Cromossomos e o Mais Associado...,

Até que a Criança Nasçe...,

na Faixa Dimensional Designada Física,

e dada Frequência...,

Assim (...)-:

Ante o Vislumbrar do Desconhecido...,

do qual os vivos e mortos ...,

dos Enfáticos desta terra...,

Nada sabem...,

O Desconhecido que se Refere ao Mais Além...,

por detrás do qual...,

em Além dos Céus do Inenarrável...,

DEUS...,

Assim Determinou...,

por Seus Sagrados Mistérios...,

à sua Glória Exímia Maior (...)!!!"

[timesofinnovation]

Your summer read may be doing double-duty as your latest source of makeup inspiration. With a striking blend of literature and beauty, a new trend is emerging from the shelves: book covers that not only tell a story but also serve as a canvas for makeup aficionados looking to elevate their beauty game. The recent crossover of literary and cosmetic visuals signals an evolution in how readers interpret characters and how beauty brands can seize this opportunity to expand their reach. On a casual visit to a local Barnes & Noble, I couldn’t help but notice the array of new releases featuring covers that look more like beauty campaigns than traditional book jackets. Titles such as “Lady Macbeth” by Ava Reid caught my eye; the protagonist gracing the cover is adorned with flawless, matte skin, expertly shaded eyes, and impeccably defined lips. It raises an intriguing question: Could Shakespeare's iconic female character be rocking a gloss from Tarte's Maracuja line if she roamed the modern world? This shift in aesthetics is not a standalone phenomenon. The covers of young adult and contemporary novels are rapidly adopting beauty standards to create appealing images that resonate with readers’ aspirations. For instance, the thriller “Where Are You, Echo Blue?” features a celebrity missing persons narrative alongside a cover that showcases picture-perfect blonde hair akin to that seen in R+Co campaigns. Likewise, “Kween” introduces readers to a relatable character whose radiant features — including a perfect cat-eye and glossy lips — are reminiscent of the current social media influencers. Jazzi McGilbert, founder of the Rep Club, an independent bookstore and community hub in Los Angeles, emphasizes the importance of visual impact in literature. Her perspective sheds light on how modern readers increasingly desire to see themselves reflected in the stories they consume. She notes, “It’s definitely something that makes you stop and stare,” when discussing the recent trend of book covers mirroring beauty campaigns. McGilbert, also a seasoned fashion editor and stylist, has noticed that readers are now drawn not just to narratives but also to the characters’ visual appeal. The charm of these beautified book covers lies in their ability to captivate audiences and create an aspirational identity. As McGilbert elaborates, while past book covers often mirrored fashion editorials, they now seamlessly incorporate beauty aesthetics. The appeal centers on what readers want to become rather than just who they are, showcasing the shift in cultural aesthetics. The designs compellingly merge fantasy with relatable beauty idealization, redefining the visual storytelling landscape. Furthermore, these trends indicate a lucrative and largely untapped market between publishers and cosmetic brands. On platforms like TikTok, almost 40 million posts related to this book-cover-to-beauty-shoot movement reveal the cultural phenomena driving sales opportunities. For instance, a collaboration between Pat McGrath Labs and a book that features a striking cover could enhance product visibility and authenticity among target consumers. When speaking of strategic marketing opportunities, it is essential to consider the timing and thematic relevance of collaborations. A six-shadow smoky eye palette inspired by “Daisy Jones and the Six” would likely see success, while niche tie-ins—such as a “Handmaid’s Tale” hand cream—may not resonate in the same way. Successful partnerships hinge on understanding the nuances between storytelling and aesthetic appeal. In terms of product placements and brand launches, the beauty industry continues to innovate. Recent releases such as Glossier’s Crème de You Body Lotion and RMS’s SunCoverUp Tinted SPF demonstrate a commitment to year-round beauty. Companies like Westman Atelier and Charlotte Tilbury consistently introduce products that appeal to beauty enthusiasts seeking high-quality, functional cosmetics. Westman Atelier’s Vital

Skincare Concealer and Tilbury’s Exagger-Eyes Volume Mascara are examples of innovative offerings that highlight the trend toward multifunctional beauty solutions. In the realm of haircare, brands like Ouai and Oribe are leading the way with treatments that simplify daily routines. For instance, Ouai’s limited-edition hair oil infused with St. Barts scent caters to a sense of seasonal escapism, while Act+Acre's Daily Hydro Serum emphasizes the importance of scalp care as part of an overall beauty regimen. This evolving focus signals a deeper understanding of the consumer’s desire for products that enhance rather than complicate their daily habits. Notably, there is also a notable shift within beauty companies hiring creative leadership from diverse backgrounds. Emily Bromfield has taken on the role of SVP of global marketing at MAC Cosmetics, a move that hints at a focus on blending pop culture with brand prestige. Similarly, Loops has appointed Atlanta de Cadenet Taylor as its head of brand marketing, tapping into her unique perspective to appeal to younger audiences. As we consider this convergence of literature and beauty, it is evident that opportunities abound for brands willing to cross the line between storytelling and cosmetic innovation. The allure of a beautifully crafted cover may, after all, be a gateway to a deeper engagement with readers and beauty enthusiasts alike. In conclusion, the intersection of beauty and literature reflects a new narrative-building strategy that positions both industries to pivot toward a more visually driven market. As brands innovate, they can also create a more interactive experience for consumers, establishing pathways that empower them to express their identity through the products they choose.

[brookston]

Events 1.7

Holidays

Charlie Hebdo Day (France)

Distaff Day (Medieval Europe)

Estelle Reel Day (Wyoming)

Festa del Tricolour (Tricolour Day or Flag Day; Italy)

Flash Gordon Day

Harlem Globetrotter’s Day

Hydrogen Bomb Day

I'm Not Going To Take It Anymore Day

International Programmers' Day

International Silly Walk Day

Invisible Pain Day

Jupiter’s Moons Day

Limestone Day (French Republic)

Millard Fillmore Day

National Alaskan Malamute Day

National Bobblehead Day

National Job Hunting Day

National Nicholas Cage Day

National Old Rock Day

National Pass Gas Day

National Plagiarism Day (Ghana)

National Run-For-Your-Life Day

No Pants Subway Ride Day

Old Rock Day (a.k.a. Roc Day)

Pioneer’s Day (Liberia)

Remembrance Day of the Dead (Armenia)

Tommy Johnson Day

Tumbes Anniversary Day (Peru)

Usokae (Bullfinch Exchange Day; Japan)

Victory from Genocide Day (Cambodia)

World Day of the Postage Stamp

Food & Drink Celebrations

Jinjitsu (Festival of Seven Herbs; Japan)

Nanakusa no Sekku (Festival of Seven Herbs; Japan)

National Tempura Day

1st Sunday in January

Ati-Athan Festival begins (Philippines) [1st Sunday through 3rd Sunday]

Feast of the Holy Family [Sunday after Xmas]

Second Sunday of Christmas [2nd Sunday after Christmas]

Trappist Beer Day [1st Sunday]

Festivals Beginning January 7, 2024

Carnival of Limoux (France) [thru 3.17]

Golden Globe Awards

Independence & Related Days

Bascal (Declared; 2009) [unrecognized]

Constitution Day (Ghana)

Empire of Agber (Declared; 1998) [unrecognized]

Matthew City (Declared; 2016) [unrecognized]

Feast Days

Albert Bierstadt (Artology; Saint)

André Bessette (Canada)

Baptism of the Lord (Christian)

Bl. Widukind, Duke of Saxony (Christian; Saint)

Canute Lavard (Christian; Saint)

Charles of Sezze (Christian; Saint)

Council of the Holy Prophet John the Baptist (Romania)

Distaff Day (a.k.a. Saint Distaff’s Day; Starza Pagan Book of Days)

Easter Day (Sudan)

Feast of Sekhmet (Ancient Egypt)

Felix and Januarius (Christian; Saint)

John the Baptist (Eastern Orthodox Church)

Justicia I: Themis’s Day (Pagan)

Koshogatsu (Shinto Goddess Izanami)

Lucian of Antioch (Christian; Saint)

Merelots (Remembrance Day of the Dead; Armenian Apostolic Church)

Nativity of Christ (Orthodox Christian)

No Knitting Day (Pastafarian)

Numa (Positivist; Saint)

Orthodox Christmas (a.k.a. ...

Bozic (Serbia)

Christmas (Russia, Eastern Europe)

Christmas Remembrance Holiday (Armenia)

Coptic Christmas (Egypt)

Craciunul Pe Stil Vechi (Moldova)

Eastern Christmas (Sudan)

Genna (Ethiopia)

Krishtlindjet Ortodoske (Kosovo)

Leddet (Coptic; Eritrea)

Palestinian Martyrs’ Day

Pascal Dagnan-Bouveret (Artology)

Raymond of Penyafort (Christian; Saint)

Rudder Rabbit (Muppetism)

Russ Meyer Day (Church of the SubGenius; Saint)

Say No To Knickers Day (Pastafarian)

Sekhmet (Ancient Egyptian New Year's)

Synaxis of John the Forerunner & Baptist (Coptic)

Lucky & Unlucky Days

Fatal Day (Pagan) [2 of 24]

Perilous Day (13th Century England) [5 of 32]

Prime Number Day: 7 [4 of 72]

Shakku (赤口 Japan) [Bad luck all day, except at noon.]

Umu Limnu (Evil Day; Babylonian Calendar; 1 of 60)

Premieres

Another Brick in the Wall (Part 2), by Pink Floyd (Song; 1980)

The Avengers (BBC TV Series; 1961)

Bad Day at Black Rock (Film; 1955)

The B.B. Beagle Show (Hanna-Barbera TV Pilot; 1980)

The Birthday Party (Disney Cartoon; 1931)

Boston Cooking-School Cook Book (Cook Book; 1896)

Building a Building (Disney Cartoon; 1933)

The Butcher of Seville (Terrytoons Cartoon; 1944)

Cannery Woe (WB LT Cartoon; 1961)

Changes, by David Bowie (Song; 1972)

Crossroads of Twilight, by Robert Jordan (Novel; 2003) [Wheel of Time #10]

Empire (TV Series; 2015)

Fame (Film; 1982)

Fred Ott’s Sneeze (Early Short Film; 1894)

Hare-Brained Boris or The Dumb Bunny (Rocky & Bullwinkle Cartoon, S5, Ep. 246; 1964)

Henry V, by William Shakespeare (Play; 1605)

Homeless Homer (Oscar the Lucky Rabbit Cartoon; 1929)

Hooch Coochie Man, recorded by Muddy Waters (Song; 1954)

The Hustler, by Walter Tevis (Novel; 1959)

The Image of the City, by Kevin Lynch (Science Book; 1960)

Lion Hunt (Terrytoons Cartoon; 1938)

Little Quacker (Tom & Jerry Cartoon; 1950)

The Lone Stranger and Porky (WB LT Cartoon; 1939)

Mckeesport on the Prod or The Pennsylvania Poker (Rocky & Bullwinkle Cartoon, S5, Ep. 240; 1964)

Mules and Men, by Zora Neale Hurston (Folklore; 1935)

Paranoid, by Black Sabbath (Album; 1971)

The Pelican and the Snipe (Disney Cartoon; 1944)

Pop Team Epic (a.k.a. Poptepipic, Anime TV Series; 2018)

Pretenders, by The Pretenders (Album; 1980)

Robinson Crusoe Isle (Oscar the Lucky Rabbit Cartoon; 1935)

Saturnin, by Zdeněk Jirotka (Novel; 1942)

The Shanty Where Santa Claus Lives (WB MM Cartoon; 1933)

Spitfire Girl, by Jackie Moggridge (memoir; 1957)

The Spirit of ’43 (Disney Cartoon; 1943)

Start Mater, by Gioacchino Rossini (Opera; 1842)

Suddenly Last Summer, by Tennessee Williams (Play; 1958)

Werewolf of the Timberland (Animated TV Show;Jonny Quest #17; 1965)

Zoey’s Extraordinary Playlist (TV Series; 2020)

Today’s Name Days

Raimund, Valentin (Austria)

Ioan, Ioana, Ivan, Ivanka, Ivayla, Ivaylo, Ivet, Kaloyan, Vanya, Vanyo, Yoan, Yoana, Zhan, Zhana (Bulgaria)

Lucijan, Rajmund, Zorislav (Croatia)

Vilma (Czech Republic)

Knud (Denmark)

Hirvo, Kanut, Nuut, Susi (Estonia)

Aku, August, Aukusti (Finland)

Aldric, Cédric, Raymond (France)

Reinhold, Valentin (Germany)

Gianna, Giannis, Ioanna, Ioannis, Jeannette, John, Prodromos, Yanna, Yannis (Greece)

Attila, Ramóna (Hungary)

Luciano, Raimondo (Italy)

Juliāns, Rota, Zigmārs (Latvia)

Julius, Liucijus, Raudvilė, Rūtenis (Lithuania)

Eldbjørg, Knut (Norway)

Chociesław, Izydor, Julian, Lucjan, Walenty (Poland)

Ioan (Romania)

Bohuslava (Slovakia)

Raimundo (Spain)

August, Augusta (Sweden)

Alda, Aldea, Alden, Aldo, Aldric, Canute, Knut, Knute, Millard, Miller (USA)

Today is Also…

Day of Year: Day 7 of 2024; 359 days remaining in the year

ISO: Day 7 of week 1 of 2024

Celtic Tree Calendar: Beth (Birch) [Day 13 of 28]

Chinese: Month 12 (Jia-Zi), Day 26 (Geng-Wu)

Chinese Year of the: Rabbit 4721 (until February 10, 2024)

Hebrew: 26 Teveth 5784

Islamic: 25 Jumada II 1445

J Cal: 7 White; Sevenday [7 of 30]

Julian: 25 December 2023

Moon: 17%: Waning Crescent

Positivist: 7 Moses (1st Month) [Numa]

Runic Half Month: Eihwaz or Eoh (Yew Tree) [Day 13 of 15]

Season: Winter (Day 18 of 89)

Zodiac: Capricorn (Day 17 of 31)

[influencermagazineuk]

From the Spotlight to the Boardroom: Actors Who Became Entrepreneurs

When we think of, we think of actors who deliver powerful performances on stage or on the big screen. What many people don't realize is that some of these talented individuals have also succeeded in the business world as entrepreneurs. In the dynamic world of show business, actors often captivate us with their on-screen performances. But did you know that many of these talented individuals have also ventured into the realm of entrepreneurship? From creating their own production companies to launching innovative startups, these actors have proven their versatility and business acumen. In this blog post, we will explore the inspiring stories of actors who took the leap into entrepreneurship and achieved remarkable success in their new ventures. 1. Ashton Kutcher - A-Grade Investments Ashton Kutcher, known for his roles in TV shows like "That '70s Show" and movies like "The Butterfly Effect," is also a savvy entrepreneur. He co-founded A-Grade Investments, a venture capital firm that has invested in numerous successful companies, including Airbnb and Spotify. With his keen eye for promising startups, Kutcher has made a name for himself as a shrewd investor in the tech industry. 2. Jessica Alba - The Honest Company Jessica Alba, beloved for her performances in films like "Sin City" and "Fantastic Four," is the co-founder of The Honest Company. This consumer goods company specializes in producing non-toxic, eco-friendly products for baby care, personal care, and household cleaning. Alba's commitment to creating safe and sustainable products has earned The Honest Company a loyal customer base and solidified her reputation as a successful entrepreneur. 3. Robert De Niro - Tribeca Enterprises Robert De Niro, an acting legend with iconic roles in films such as "Taxi Driver" and "The Godfather Part II," has also made a significant impact as an entrepreneur. He co-founded Tribeca Enterprises, a media company that encompasses the prestigious Tribeca Film Festival, Tribeca Studios, and Tribeca Film. De Niro's entrepreneurial endeavors have played a vital role in promoting independent filmmaking and fostering creativity within the industry. 4. Gwyneth Paltrow - goop Gwyneth Paltrow, acclaimed for her performances in movies like "Shakespeare in Love" and "Iron Man," is the founder of goop, a wellness and lifestyle brand. Paltrow's venture started as a newsletter and has since expanded into a global phenomenon, offering curated products, health advice, and thought-provoking content. Through goop, Paltrow has created a platform that empowers individuals to lead healthier and more conscious lives. 5. Mark Wahlberg - Wahlburgers Mark Wahlberg, known for his roles in films like "The Departed" and "Ted," is not only a versatile actor but also a successful entrepreneur. He co-founded Wahlburgers, a popular restaurant chain that specializes in gourmet burgers. With its unique concept and delicious offerings, Wahlburgers has become a favorite dining destination for burger enthusiasts around the world. These actors-turned-entrepreneurs have demonstrated that their talents extend beyond the silver screen. Through their dedication, vision, and business acumen, they have successfully transitioned into the world of entrepreneurship and made a lasting impact in their respective industries. Their stories serve as an inspiration for aspiring entrepreneurs, highlighting the importance of passion, adaptability, and taking calculated risks. So, the next time you watch a movie or TV show, remember that behind those captivating performances may lie the mind of a brilliant entrepreneur. Read the full article

[brookstonalmanac]

Holidays 12.26

Holidays

Alexandria Day

Annabel Nostra’s National Cozy Day

Awful Tie Day

Boxing Day [26th unless Sunday, then 27th, but generally ignored] (a.k.a. ... 

Boxing Day (UK, Commonwealth) 

Day of Goodwill (South Africa, Namibia)

Family Day (Namibia, Vanuatu)

J’Ouvert (Saint Kitts and Nevis)

Le Lendemain de Noël (Quebec, Canada)

Thanksgiving (Solomon Islands)

Dissolution of the Soviet Union Day

Father’s Day (Bulgaria)

Holiday Magic Days begin (Mystic Seaport, Connecticut) [thru 1.1]

Junkanoo (Bahamas)

Lava Day (French Republic)

Lunes Siguiente a Navidad (Spain)

Maomas

Mauro Hamza Day (Houston, Texas)

Mummer's Day (Cornwall, UK)

National Homeowners Day

National Ranboo Day

National Safety Day (South Africa)

National Thank You Note Day

National Whiner's Day

Proclamation Day (South Australia)

Recyclable Packaging Day

Sakewa (Sikkim, India)

Second Day of Christmas (Baltic states, Belgium, Bulgaria, Czechia, Denmark, Germany, Hungary, Iceland, Netherlands, Norway, Poland, Romania, Slovakia, Sweden)

Shenandoah National Park Day

Sports Day (Falkland Islands)

Stairway to Heaven Day

Utamanduni Day (Kenya)

Wren Day (a.k.a. Day of the Wren; Ireland, Isle of Man, Wales)

Food & Drink Celebrations

Blessing of the Wine (Luxembourg)

Candy Cane Day

Coffee Percolator Day

Irish Pub Day

Kitty Dukakis Day (Challenge to Drink 750ml in 24 Hours)

National Leftovers Day (Australia)

Unbottling Day

4th & Last Tuesday in December

Charity Giving Day [4th Tuesday]

National Co-op Day [4th Tuesday]

Independence Days

Essexia (Declared; 2017) [unrecognized]

Independence and Unity Day (Slovenia)

Istria (Declared; 1935) [unrecognized]

Marienbourg (Declared; 1935) [unrecognized]

Monmark (Declared; 2017) [unrecognized]

West Sayville (Declared; 2022) [unrecognized]

Feast Days

Abadiu of Antinoe (Coptic Church)

Day of Horus (Pagan)

Day of Theotokos (Byzantium)

Dionysius, Pope (Christian; Saint)

Feast of Fools, Day 1 (St. Stephen's Day)

Full Moon [12th of the Year] (a.k.a. ... 

Bitter Moon (China)

Christmas Moon (Colonial)

Cold Moon (Amer. Indian, Celtic, North America, Traditional)

Fruit Moon (South Africa)

Hoar Frost Moon (Traditional)

Long Night’s Moon (Alternate, Amer. Indian, Neo-Pagan)

Moon of the Popping Trees (Traditional)

Oak Moon (England, Wicca)

Peach Moon (Choctaw)

Snow Moon (Cherokee)

Southern Hemisphere: Honey, Rose, Strawberry

Unduwap Full Moon Poya Day (Sri Lanka)

Winter Maker Moon (Traditional)

Iarlath (Christian; Saint)

James the Just (Eastern Orthodox Church)

John Calvin Day (Church of the SubGenius; Saint)

Kwanzaa, Day 1: Umoja (Unity)

Linnæus (Positivist; Saint)

Maurice Utrillo (Artology)

Proclamation Day (Australia)

Saka Sirhind Martyrdom Day (India)

Scudge (Muppetism)

2nd Day of Noodlemas (Pastafarian)

Stephen (Western Church)

Synaxis of the Mother of God (Greek Orthodox Church)

Synaxis of the Theotokos (Eastern Orthodox Church)

Twelve Holy Days #1 (Aries, the head; Esoteric Christianity)

Twelvetide, Day #2; St. Stephens Day (a.k.a. the Twelve Days of Christmas or Christmastide) [until 1.5]

Veer Bal Dias (India)

Zartosht No-Diso (Zoroastrianism)

Lucky & Unlucky Days

Shakku (赤口 Japan) [Bad luck all day, except at noon.]

Premieres

The ABC Murders (BBC TV Mini-Series; 2018)

The Art of Self Defense (Disney Cartoon; 1941)

Brighton Beach Memoirs (Film; 1986)

The Exorcist (Film; 1973)

Fast & Furious Spy Racers (Animated TV Series; 2019) [F&F]

The Glass Menagerie (Play; 1944)

Happy, by Matthew West (Album; 2003)

I Want To Hold Your Hand, by The Beatles (US Song; 1963)

King Lear, by William Shakespeare (Play; 1606)

The Last Edition or Five-Scar Final (Rocky & Bullwinkle Cartoon, S3, Ep. 138; 1961)

Magical Mystery Tour (BBC TV Special; 1967)

Marvin the Martian in the Third Dimension (WB LT Cartoon; 1997)

Mati Hari (Film; 1931)

Measure for Measure, by William Shakespeare (Play; 1604)

Monterey Pop (Music Documentary; 1968)

Pluto’s Blue Note (Disney Cartoon; 1947)

The Private Afternoons of Pamela Mann (Adult Film; 1974)

Purple Haze, lyrics written by Jimi Hendrix (Song; 1966)

Queen Christina (Film; 1933)

Rashomon (Film; 1951)

Red-Headed Baby (WB MM Cartoon; 1931)

Rickety Gin (Disney Cartoon; 1927)

The Ritz (Film; 1976)

Road to Andalay (WB MM Cartoon; 1964)

Spice World (Film; 1997)

Subway Finish or An Underground Round (Rocky & Bullwinkle Cartoon, S3, Ep. 137; 1961)

Tequila, by The Champs (Song; 1957)

We Bought a Zoo (Film; 2011)

Wool: The Unraveling, by Hugh Howey (Novel; 2011)

Today’s Name Days

Stephan, Stephanie (Austria)

Iosif, Yosif (Bulgaria)

Kruno, Krunoslav, Stjepan (Croatia)

Štěpán (Czech Republic)

Stefan (Denmark)

Sten, Taban, Tahvo, Teho, Tehvan, Tehvo (Estonia)

Tahvo, Tapani, Teppo (Finland)

Étienne (France)

Stephan, Stephanie (Germany)

Constantios, Emmanouela, Emmanouil, Emmanuel, Manolis, Panagiotis (Greece)

István (Hungary)

Santo (Italy)

Dainuvite, Gija, Saulvedis (Latvia)

Gaudilas, Gindvilė, Steponas (Lithuania)

Stefan, Steffen (Norway)

Dionizy, Szczepan, Wróciwoj (Poland)

Štefan (Slovakia)

Esteban (Spain)

Staffan, Stefan (Sweden)

Joseph, Josephine (Ukraine)

Esteban, Estefania, Estefany, Estevan, Stefan, Stefanie, Stephan, Stephanie, Stephany, Stephen, Steve, Steven, Stevie (USA)

Today is Also…

Day of Year: Day 360 of 2024; 5 days remaining in the year

ISO: Day 2 of week 52 of 2023

Celtic Tree Calendar: Beth (Birch) [Day 1 of 28]

Chinese: Month 12 (Jia-Zi), Day 14 (Wu-Wu)

Chinese Year of the: Rabbit 4721 (until February 10, 2024)

Hebrew: 14 Teveth 5784

Islamic: 13 Jumada II 1445

J Cal: 30 Zima; Nineday [30 of 30]

Julian: 13 December 2023

Moon: 100%: Full Moon

Positivist: 24 Bichat (13th Month) [Linnæus]

Runic Half Month: Eihwaz or Eoh (Yew Tree) [Day 1 of 15]

Season: Winter (Day 6 of 89)

Zodiac: Capricorn (Day 5 of 31)

Calendar Changes

Beth (Birch) [Celtic Tree Calendar; Month 13 of 13]

Eihwaz or Eoh (Yew Tree) [Half-Month 1 of 24; Runic Half-Months] (thru 1.12)

[kamreadsandrecs]

If there’s one thing authors love more than procrastinating, it’s praising one another. During the Renaissance, Thomas More’s Utopia got a proto-blurb from Erasmus (“divine wit”), while Shakespeare’s First Folio got one from Ben Jonson (“The wonder of our stage!”). By the 18th century, the practice of selling a book based on some other author’s endorsement was so well established that Henry Fielding’s spoof novel Shamela even came with fake blurbs, including one from “John Puff Esq.”

Blurbs have always been controversial—too clichéd, too subject to cronyism—but lately, as review space shrinks and the noise level of the marketplace increases, the pursuit of ever more fawning praise from luminaries has become absurd. Even the most minor title now comes garlanded with quotes hailing it as the most important book since the Bible, while authors report getting so many requests that some are opting out of the practice altogether. Publishers have begun to despair of blurbs, too. “You only need to look at the jackets from the 1990s or 2000s to see that even most debut novelists didn’t have them, or had only one or two genuinely high-quality ones,” Mark Richards, the publisher of the independent Swift Press, told me. “But what happened was an arms race. People figured out that they helped, so more effort was put into getting them, until a point was reached where they didn’t necessarily make any positive difference; it’s just that not having them would likely ruin a book’s chances.”

Today, pick up any title at Barnes & Noble and you’re likely to find that it’s plastered with approving adjectives from everyone under the sun. When I asked Henry Oliver, who runs The Common Reader, a Substack devoted to literature, for examples of overused words, he sent back a long list: electrifying, essential, profound, masterpiece, vital, important, compelling, revelatory, myth-busting, masterful, elegantly written, brave, lucid and engaging, indispensable, enlightening, courageous, powerful. “We do it like some kind of sympathetic magic,” John Mitchinson, a co-founder of the book-crowdfunding platform Unbound, told me. “Like a rabbit’s foot … We all do it because we are desperate to prove the book has some merit. There is something slightly troubling about it.”

For first-time authors, offering up contacts for blurbs has become a routine part of the pitching process, along with boasting about how many social-media followers they have. Tomiwa Owolade, whose first book, This Is Not America: Why Black Lives Matter in Britain, came out in June, told me that he, his agent, and his editor drew up a list of potential blurb writers, “and my editor messaged everyone on the list. I don’t know how many on the list responded to the email, or received the book but didn’t read it, or read the book and hated it, and I didn’t pester my editor to find out: I only know of the ones who came back with an endorsement.” One of those who responded was the Dutch author Ian Buruma, a former editor of The New York Review of Books. His unexpected endorsement provided a confidence boost to Owolade, and perhaps a sales boost too. “I’m a big fan of his writing, but we’ve never interacted before,” Owolade said. “I thought it was very sweet of him.”

What’s behind the blurb arms race? Two things: the switch across the arts from a traditional critical culture to an internet-centered one driven by influencers and reliant on user reviews, combined with a superstar system where a handful of titles account for the great majority of sales.

Those trends have disrupted the 20th century’s dominant two-step model of book promotion, in which publishers brought out a hardback—conveying seriousness, prestige, and heft—and then a paperback about a year later. This allowed them two chances to “launch” the book, and the cheaper, more portable paperbacks could also benefit from the (hopefully) glowing reviews for the hardback in major newspapers and magazines.

That model is now broken. Mitchinson and Richards tell the same story: The volume of books being published has become enormous at the same time as many legacy publications have stopped publishing stand-alone book sections; the reviews they do publish have lost much of their cultural impact. So instead of harvesting effusive quotes from professional book reviewers, authors solicit them from celebrities and other writers, usually long before publication. A phalanx of powerful, insightful, vivid blurbs now means the difference between success and failure. In Mitchinson’s 12 years of running Unbound, he says, “it’s moved from sending books out for review, to sending them out at the earliest possible moment for endorsement quotes.” Building excitement before publication day leads to higher preorders, and in turn to more promotion on Amazon and in brick-and-mortar bookstores.

And that reveals another dirty secret of the blurb: They’re not addressed to you. “The biggest thing to understand is that blurbs aren’t principally, or even really at all, aimed at the consumer,” Richards told me via email. “They are instead aimed at literary editors and buyers for the bookstores—in a sea of new books, having blurbs from, ideally, lots of famous writers will make it more likely that they will review/stock your book.”

That’s the magic. Stephen King is well known for his generous praise for less commercially successful authors—which is to say basically all of them—and if he says this is an important book, then it is one. His approval is a signal as powerful as a publisher announcing that it has won a “seven-way” auction or paid a “six-figure sum.” Anointed by greatness, maybe such a golden title will be chosen by Reese Witherspoon’s book club. Maybe it will pick up chatter on TikTok or Instagram. Maybe it will become the title that everyone seems to be talking about, like Yellowface or Tomorrow, and Tomorrow, and Tomorrow. Blurbs are therefore an uneasy hybrid of quality-assurance mark and publicity gimmick. This makes the practice of blurbing a fraught one. Are you doing a fellow striver a good turn, or acting as a gatekeeper of excellence, making sure that only the best books succeed?

Reading a book takes time, so writers have an incentive to blurb only their friends. Writing a good puff quote takes time too: If you ever see the words inspiring and illuminating, assume the blurber hasn’t even cracked the spine. Most established authors are bombarded with proofs, accompanied by heartstring-tugging notes from editors about the importance of this author’s vision. After writing my own book on feminism, I could have made a fort out of advance copies of other books with women in the title sent to me by hopeful publishers. I can only imagine the number of books Stephen King receives; it must be like a snowdrift on the wrong side of his front door. The distinguished classicist Mary Beard announced a few years ago that she was declining all requests, because she felt like she was becoming a “blurb whore” after being asked at least once a week. “I’m beginning to get a lot more authors who say, I can’t do it,” Mitchinson told me.

Not everyone says that, though. In my reporting for this piece, certain names repeatedly came up as prolific blurbers. “Salman Rushdie, Colm Tóibín, even the reclusive J. M. Coetzee make frequent appearances, so many that you wonder how they find time to read all these books and keep up the day job too,” the critic John Self told me. The British polymath Stephen Fry, meanwhile, “has hilariously blurbed about half of all books published in the U.K.,” said James Marriott of the London Times. His brand is cerebral, patrician, and politically unchallenging. “To me his endorsement means nothing, but I wonder how far casual bookshop visitors get that he puts his name on everything.” (I requested a comment from Fry via his agent but have not yet heard back.)

Unsurprisingly, publishers are grateful to the authors who do participate in the practice. Mark Richards sees them as “good literary citizens.” The novelist Amanda Craig agreed. “My thoughts have done a 180 turn,” she told me. When she published her first book, Foreign Bodies, in 1990, she was offered a cover quote by fellow novelist Deborah Moggach, who was nine years older than her. Craig turned it down because she wanted her work to speak for itself. “I was very purist,” she said. Now, though, the squeeze on reviewing space means that good authors struggle to attract attention, and she has a policy of blurbing “anybody I think is good, including people I thoroughly dislike.”

Craig is also annoyed that the male-dominated golden generation above her, whose members prospered in the 1980s when novels were far more profitable, have largely been reluctant blurbers of their successors. They “got the cream, but it never seemed to have occurred to them … to pass it on,” she told me, adding that she wondered if this had contributed to the decline in male authorship. (The success of men at the very top of publishing—as CEOs of publishing houses, as lead critics on newspapers, and until recently on prize shortlists—obscures the fact that most buyers and readers of books are women, and the industry as a whole is female-dominated.) The generation of women above Craig were supportive because they wanted to see other women succeed, but her male peers today did not benefit from similar solidarity. “When I got Rose Tremain and Penelope Lively, it was like God descending from the clouds,” Craig said. “I do feel for the men of my generation.” The blurb arms race, then, is unfair to many marginalized groups—and men may be one of them.

One obvious thing about blurbs is that they are open to corruption. Ask around and you will quickly discover deep suspicions about, for example, reciprocal blurbing—or what you might call a blurblejerk: “You scratch my back, I’ll scratch yours,” as George Orwell once wrote to his friend Cyril Connolly, proposing that they gush about each other’s books in print.

Tactical mutual admiration has always been so common that Spy magazine had a recurring feature called “Log-Rolling In Our Time,” and back in 2001, Slate revealed that Frank McCourt had gone hog wild after the publication of Angela’s Ashes, “doling out 15 blurbs” in five years, including one for the wife of his film producer. (You can see the extent of blurb inflation because, for such a prominent author, three blurbs a year now seems like a low number.)

I learned of Orwell’s logrolling—and the puff quotes by Erasmus and Ben Jonson at the start of this article—from Louise Willder’s fascinating study of book marketing, Blurb Your Enthusiasm. In it, Willder, who writes marketing copy for Penguin Random House, confirms (sadly, without naming names) that some puffers don’t read the books they’re endorsing. “One of the slightly shameful secrets of publishing is that occasionally an author will really want to give an endorsement for a writer they admire, but is too busy to do it—and so they hand the responsibility over to somebody else,” she writes. “I confess that, yes, occasionally I have made up review quotes for a couple of high-profile authors in this manner (although luckily they did find the time to sign off on the finished piece of praise).”

Halfway through our conversation, John Mitchinson revealed the existence of something even more shocking than ghostblurbing. Recently, when he requested a blurb from a public figure via his agent, he said, “they quoted us £1,000.” Wow. I knew the blurbosphere was corrupt, but not that corrupt. Mitchinson declined the offer.

But then, as we talked more, I realized that a celebrity can earn five or six figures for a corporate speech that takes far less time than reading a book and writing a gushing paragraph about it. And in terms of sales, a puff quote from the right person is probably worth far more than a few thousand dollars. Perhaps I was naive to assume, as James Marriott put it, “that publishers—a prestige, highbrow industry—would never indulge in the dark arts of publicity the way, I don’t know, fast-food manufacturers would.”

A blurb has always been a type of currency, and many of the most successful books are not really books at all, but brand extensions for a diet guru or productivity hacker or business titan. Why assume that those authors care about literature? Some probably regard people who read books before blurbing them as hopeless saps who don’t even take ice baths or keep a bullet journal. The fallen crypto billionaire Sam Bankman-Fried once said that he would never read a book, and that anyone who wrote one had screwed up, because “it should have been a six-paragraph blog post.”

Hearing these descriptions of blurbing—which can be both a selfless act and a shamelessly corrupt one—reminded me of nothing so much as academic peer review. Getting a paper published in Science or Nature, or another respected journal, is a coup for any scientist. You have been publicly acknowledged as producing something of value, which has been rigorously checked and endorsed by your community. Your university will appreciate the visibility. Your H-index will be bolstered. You might get more research funding or more time off teaching responsibilities. At the same time, for the big journals, the rewards of publishing more and more papers are also obvious: profits (big ones). But the entire system relies on academics giving up their time for free to assess the submitted work. Devolving this quality-control mechanism onto unpaid peer reviewers has obvious flaws, turning what should be an objective process into one that’s open to political bias, petty score-settling, or plain old laziness. The same is true of relying so much on book blurbs. Publishers make money from books; blurbers don’t (well, mostly). In both science and publishing, the merits of the work are supposed to be paramount, but the structure of the industry means that prestige and connections matter too.

Scientists, being scientists, have methodically built an entire movement—called Open Science—to address these potential problems. Authors, being authors, largely complain about them to their friends. They tell stories of being asked for a blurb and then having their tightly constructed praise discarded in favor of a tossed-off sentence by a more fashionable writer. They whisper that some blurbers are only generous with their praise because it makes them feel important. They confer about who’s a soft touch and whose approval really means something. They claim never to be swayed by blurbs themselves, before revealing that praise from a favorite author did, in fact, prompt them to buy a now-beloved title.

“My own personal view is that there should be a moratorium on them—that we as editors should collectively decide not to put any on any of our books for a year, and reclaim our own taste,” Mark Richards of Swift Publishing told me. “Of course, this won’t happen, so like hamsters we’ll be on the quote treadmill until we finally fall off.”



[kammartinez]

If there’s one thing authors love more than procrastinating, it’s praising one another. During the Renaissance, Thomas More’s Utopia got a proto-blurb from Erasmus (“divine wit”), while Shakespeare’s First Folio got one from Ben Jonson (“The wonder of our stage!”). By the 18th century, the practice of selling a book based on some other author’s endorsement was so well established that Henry Fielding’s spoof novel Shamela even came with fake blurbs, including one from “John Puff Esq.”

Blurbs have always been controversial—too clichéd, too subject to cronyism—but lately, as review space shrinks and the noise level of the marketplace increases, the pursuit of ever more fawning praise from luminaries has become absurd. Even the most minor title now comes garlanded with quotes hailing it as the most important book since the Bible, while authors report getting so many requests that some are opting out of the practice altogether. Publishers have begun to despair of blurbs, too. “You only need to look at the jackets from the 1990s or 2000s to see that even most debut novelists didn’t have them, or had only one or two genuinely high-quality ones,” Mark Richards, the publisher of the independent Swift Press, told me. “But what happened was an arms race. People figured out that they helped, so more effort was put into getting them, until a point was reached where they didn’t necessarily make any positive difference; it’s just that not having them would likely ruin a book’s chances.”

Today, pick up any title at Barnes & Noble and you’re likely to find that it’s plastered with approving adjectives from everyone under the sun. When I asked Henry Oliver, who runs The Common Reader, a Substack devoted to literature, for examples of overused words, he sent back a long list: electrifying, essential, profound, masterpiece, vital, important, compelling, revelatory, myth-busting, masterful, elegantly written, brave, lucid and engaging, indispensable, enlightening, courageous, powerful. “We do it like some kind of sympathetic magic,” John Mitchinson, a co-founder of the book-crowdfunding platform Unbound, told me. “Like a rabbit’s foot … We all do it because we are desperate to prove the book has some merit. There is something slightly troubling about it.”

For first-time authors, offering up contacts for blurbs has become a routine part of the pitching process, along with boasting about how many social-media followers they have. Tomiwa Owolade, whose first book, This Is Not America: Why Black Lives Matter in Britain, came out in June, told me that he, his agent, and his editor drew up a list of potential blurb writers, “and my editor messaged everyone on the list. I don’t know how many on the list responded to the email, or received the book but didn’t read it, or read the book and hated it, and I didn’t pester my editor to find out: I only know of the ones who came back with an endorsement.” One of those who responded was the Dutch author Ian Buruma, a former editor of The New York Review of Books. His unexpected endorsement provided a confidence boost to Owolade, and perhaps a sales boost too. “I’m a big fan of his writing, but we’ve never interacted before,” Owolade said. “I thought it was very sweet of him.”

What’s behind the blurb arms race? Two things: the switch across the arts from a traditional critical culture to an internet-centered one driven by influencers and reliant on user reviews, combined with a superstar system where a handful of titles account for the great majority of sales.

Those trends have disrupted the 20th century’s dominant two-step model of book promotion, in which publishers brought out a hardback—conveying seriousness, prestige, and heft—and then a paperback about a year later. This allowed them two chances to “launch” the book, and the cheaper, more portable paperbacks could also benefit from the (hopefully) glowing reviews for the hardback in major newspapers and magazines.

That model is now broken. Mitchinson and Richards tell the same story: The volume of books being published has become enormous at the same time as many legacy publications have stopped publishing stand-alone book sections; the reviews they do publish have lost much of their cultural impact. So instead of harvesting effusive quotes from professional book reviewers, authors solicit them from celebrities and other writers, usually long before publication. A phalanx of powerful, insightful, vivid blurbs now means the difference between success and failure. In Mitchinson’s 12 years of running Unbound, he says, “it’s moved from sending books out for review, to sending them out at the earliest possible moment for endorsement quotes.” Building excitement before publication day leads to higher preorders, and in turn to more promotion on Amazon and in brick-and-mortar bookstores.

And that reveals another dirty secret of the blurb: They’re not addressed to you. “The biggest thing to understand is that blurbs aren’t principally, or even really at all, aimed at the consumer,” Richards told me via email. “They are instead aimed at literary editors and buyers for the bookstores—in a sea of new books, having blurbs from, ideally, lots of famous writers will make it more likely that they will review/stock your book.”

That’s the magic. Stephen King is well known for his generous praise for less commercially successful authors—which is to say basically all of them—and if he says this is an important book, then it is one. His approval is a signal as powerful as a publisher announcing that it has won a “seven-way” auction or paid a “six-figure sum.” Anointed by greatness, maybe such a golden title will be chosen by Reese Witherspoon’s book club. Maybe it will pick up chatter on TikTok or Instagram. Maybe it will become the title that everyone seems to be talking about, like Yellowface or Tomorrow, and Tomorrow, and Tomorrow. Blurbs are therefore an uneasy hybrid of quality-assurance mark and publicity gimmick. This makes the practice of blurbing a fraught one. Are you doing a fellow striver a good turn, or acting as a gatekeeper of excellence, making sure that only the best books succeed?

Reading a book takes time, so writers have an incentive to blurb only their friends. Writing a good puff quote takes time too: If you ever see the words inspiring and illuminating, assume the blurber hasn’t even cracked the spine. Most established authors are bombarded with proofs, accompanied by heartstring-tugging notes from editors about the importance of this author’s vision. After writing my own book on feminism, I could have made a fort out of advance copies of other books with women in the title sent to me by hopeful publishers. I can only imagine the number of books Stephen King receives; it must be like a snowdrift on the wrong side of his front door. The distinguished classicist Mary Beard announced a few years ago that she was declining all requests, because she felt like she was becoming a “blurb whore” after being asked at least once a week. “I’m beginning to get a lot more authors who say, I can’t do it,” Mitchinson told me.

Not everyone says that, though. In my reporting for this piece, certain names repeatedly came up as prolific blurbers. “Salman Rushdie, Colm Tóibín, even the reclusive J. M. Coetzee make frequent appearances, so many that you wonder how they find time to read all these books and keep up the day job too,” the critic John Self told me. The British polymath Stephen Fry, meanwhile, “has hilariously blurbed about half of all books published in the U.K.,” said James Marriott of the London Times. His brand is cerebral, patrician, and politically unchallenging. “To me his endorsement means nothing, but I wonder how far casual bookshop visitors get that he puts his name on everything.” (I requested a comment from Fry via his agent but have not yet heard back.)

Unsurprisingly, publishers are grateful to the authors who do participate in the practice. Mark Richards sees them as “good literary citizens.” The novelist Amanda Craig agreed. “My thoughts have done a 180 turn,” she told me. When she published her first book, Foreign Bodies, in 1990, she was offered a cover quote by fellow novelist Deborah Moggach, who was nine years older than her. Craig turned it down because she wanted her work to speak for itself. “I was very purist,” she said. Now, though, the squeeze on reviewing space means that good authors struggle to attract attention, and she has a policy of blurbing “anybody I think is good, including people I thoroughly dislike.”

Craig is also annoyed that the male-dominated golden generation above her, whose members prospered in the 1980s when novels were far more profitable, have largely been reluctant blurbers of their successors. They “got the cream, but it never seemed to have occurred to them … to pass it on,” she told me, adding that she wondered if this had contributed to the decline in male authorship. (The success of men at the very top of publishing—as CEOs of publishing houses, as lead critics on newspapers, and until recently on prize shortlists—obscures the fact that most buyers and readers of books are women, and the industry as a whole is female-dominated.) The generation of women above Craig were supportive because they wanted to see other women succeed, but her male peers today did not benefit from similar solidarity. “When I got Rose Tremain and Penelope Lively, it was like God descending from the clouds,” Craig said. “I do feel for the men of my generation.” The blurb arms race, then, is unfair to many marginalized groups—and men may be one of them.

One obvious thing about blurbs is that they are open to corruption. Ask around and you will quickly discover deep suspicions about, for example, reciprocal blurbing—or what you might call a blurblejerk: “You scratch my back, I’ll scratch yours,” as George Orwell once wrote to his friend Cyril Connolly, proposing that they gush about each other’s books in print.

Tactical mutual admiration has always been so common that Spy magazine had a recurring feature called “Log-Rolling In Our Time,” and back in 2001, Slate revealed that Frank McCourt had gone hog wild after the publication of Angela’s Ashes, “doling out 15 blurbs” in five years, including one for the wife of his film producer. (You can see the extent of blurb inflation because, for such a prominent author, three blurbs a year now seems like a low number.)

I learned of Orwell’s logrolling—and the puff quotes by Erasmus and Ben Jonson at the start of this article—from Louise Willder’s fascinating study of book marketing, Blurb Your Enthusiasm. In it, Willder, who writes marketing copy for Penguin Random House, confirms (sadly, without naming names) that some puffers don’t read the books they’re endorsing. “One of the slightly shameful secrets of publishing is that occasionally an author will really want to give an endorsement for a writer they admire, but is too busy to do it—and so they hand the responsibility over to somebody else,” she writes. “I confess that, yes, occasionally I have made up review quotes for a couple of high-profile authors in this manner (although luckily they did find the time to sign off on the finished piece of praise).”

Halfway through our conversation, John Mitchinson revealed the existence of something even more shocking than ghostblurbing. Recently, when he requested a blurb from a public figure via his agent, he said, “they quoted us £1,000.” Wow. I knew the blurbosphere was corrupt, but not that corrupt. Mitchinson declined the offer.

But then, as we talked more, I realized that a celebrity can earn five or six figures for a corporate speech that takes far less time than reading a book and writing a gushing paragraph about it. And in terms of sales, a puff quote from the right person is probably worth far more than a few thousand dollars. Perhaps I was naive to assume, as James Marriott put it, “that publishers—a prestige, highbrow industry—would never indulge in the dark arts of publicity the way, I don’t know, fast-food manufacturers would.”

A blurb has always been a type of currency, and many of the most successful books are not really books at all, but brand extensions for a diet guru or productivity hacker or business titan. Why assume that those authors care about literature? Some probably regard people who read books before blurbing them as hopeless saps who don’t even take ice baths or keep a bullet journal. The fallen crypto billionaire Sam Bankman-Fried once said that he would never read a book, and that anyone who wrote one had screwed up, because “it should have been a six-paragraph blog post.”

Hearing these descriptions of blurbing—which can be both a selfless act and a shamelessly corrupt one—reminded me of nothing so much as academic peer review. Getting a paper published in Science or Nature, or another respected journal, is a coup for any scientist. You have been publicly acknowledged as producing something of value, which has been rigorously checked and endorsed by your community. Your university will appreciate the visibility. Your H-index will be bolstered. You might get more research funding or more time off teaching responsibilities. At the same time, for the big journals, the rewards of publishing more and more papers are also obvious: profits (big ones). But the entire system relies on academics giving up their time for free to assess the submitted work. Devolving this quality-control mechanism onto unpaid peer reviewers has obvious flaws, turning what should be an objective process into one that’s open to political bias, petty score-settling, or plain old laziness. The same is true of relying so much on book blurbs. Publishers make money from books; blurbers don’t (well, mostly). In both science and publishing, the merits of the work are supposed to be paramount, but the structure of the industry means that prestige and connections matter too.

Scientists, being scientists, have methodically built an entire movement—called Open Science—to address these potential problems. Authors, being authors, largely complain about them to their friends. They tell stories of being asked for a blurb and then having their tightly constructed praise discarded in favor of a tossed-off sentence by a more fashionable writer. They whisper that some blurbers are only generous with their praise because it makes them feel important. They confer about who’s a soft touch and whose approval really means something. They claim never to be swayed by blurbs themselves, before revealing that praise from a favorite author did, in fact, prompt them to buy a now-beloved title.

“My own personal view is that there should be a moratorium on them—that we as editors should collectively decide not to put any on any of our books for a year, and reclaim our own taste,” Mark Richards of Swift Publishing told me. “Of course, this won’t happen, so like hamsters we’ll be on the quote treadmill until we finally fall off.”

[criticalbennifer]

Building a New Ben

Sick of Affleck? Our Five-Point Plan to Revive The World's Most Over-Exposed Actor

By: GQ.com

April 11, 2013 2003

Dear Ben Affleck,

So it's been a rough year. Girl problems. Work problems. Goatee problems.

Buck up, ya big poufy-haired lug! It may look hopeless now, but your career hasn't yet plunged into Jared Leto-ville. You're not waiting for a callback for Beethoven's 5th. Hardly anyone calls you "Casey Affleck's big brother." Paycheck? Don't worry—nobody saw it! Gigli? In theaters an hour and a half. And you're not the first fiancé to eat a $1.2 million pink-diamond engagement ring and a $350,000 Bentley. Tell it to David Gest, brother!

But the truth hurts: People are starting to not like you, Ben. You're polling lower than Dennis Kucinich. You're too chatty, too tan, too everywhere. The other night, we found you on Access Hollywood, Entertainment Tonight, E!, MTV, Animal Planet and the Jakarta Cricket Channel. You're so overexposed, you could walk into the White House with Iraqi WMD's under one arm and Osama bin Laden under the other and the public reaction would be: Not another friggin' Ben Affleck story. By the way, the Mars rover says they're sick of you up there, too (and they hated Daredevil).

We're frustrated because we know you have more to offer, Ben. You've done some good films—Chasing Amy, Shakespeare in Love, Changing Lanes... Pearl Harbor (just seeing if you're still paying attention, bro!). You've got that Oscar for Good Will Hunting. You can be shrewd and funny; you made the unwatchable _Project Greenlight _semiwatchable, and your quotes practically stole Peter Biskind's best-selling book, Down and Dirty Pictures: Miramax, Sundance and the Rise of the Independent Film. (At least you didn't kiss Harvey's big ass. And comparing yourself and Matt Damon to Saturday Night Live's Ambiguously Gay Duo—v. rich!) You _can _be likeable and real; you're not one of those capital-A actor types like Russell Crowe, who is probably still droning on somewhere about how he learned the violin for Master and Commander.

So it's time to get the Affleck act together. Before Byron Allen starts calling—and you answer. Before you're phoning Alec Baldwin for advice ("Kid, dump the Tom Clancy movies—they're never gonna make any money!"). Take our instructions, cut them out, stick them to the Sub-Zero in the Ben-chelor pad and read them every day before your private step aerobics-karate-Tai Chi class.

1. Go Away

Get out of Hollywood. Go someplace quiet and uninteresting. No, not the new John Sayles movie. Stay out of cinema, period. Go someplace the paparazzi won't dream of going. No, not Chris O'Donnell's house. Find someplace where you can think. And then, when you think of a reason you made Reindeer Games, keep thinking. Hard.

2. Shut the Hell Up

Kind of goes hand in hand with no. 1, but we want to make sure. Ben, you like to talk more than a bathroom full of I-bankers on a Friday night. So no more jibber-jabbering on Jay Leno, Conan O'Brien, Pat O'Brien, _Celebrity Poker Showdown _or Dinner for Twelve, or whatever it's called. In fact, stop talking to Jon Favreau for, like, ever. Most important: STOP TALKING TO DIANE SAWYER.

3. Do A Movie No one Expects

This one is tough. The big-ticket actor making the smart indie film is a cliché these days. We kind of cringe when we think of you playing a developmentally disabled person to get some James Lipton brownie points. At the very least, you should make a movie with—how's this?—a script! No more blockbusters, superheroes or sci-fi for eighteen months.

4. Fix the Look

No more baseball caps, and lose the goatee—we told you that four issues ago. And enough with the synthetic tans. You showed up at the Gigli premiere, looking like an overcooked Oompa-Loompa.

5. Find A Nice Girl

We can't fault you for Jennifer Lopez. Not even Carson Kressley would have said no. But you need to find yourself a woman who won't make you run out to the corner store for a Lamborghini. We have a couple of very nice editorial assistants here who'd be more than happy with a few cranberry vodkas and a ticket to the Shins.

We have some other suggestions, Ben. You might want to get fat. Not too fat—but maybe a little roly-poly, enough to punch and impress the Sunday-afternoon football crowd. You might want to speak with an accent. You might want to wear a cape. Finally, we have seven words for you if all else fails: Good Will Hunting II: Gooder and Huntinger.

Ben, we didn't vote you Actor of Our Generation, and Lord knows you didn't ask for this. But we're stuck with each other for a couple of decades, and we may as well make it work. You seem like a good enough guy, and besides, we don't see anyone else on the horizon. Unless Chris O'Donnell's making a John Sayles movie.

Go get 'em, kid!

Love,

Your friends at The Verge

[otherpplnation]

How to Write More Dynamic Scenes

In this episode of "Craftwork," author Peter Turchi teaches a lesson on how to use shifting power dynamics to write more dynamic scenes in fiction.

Turchi is the author of seven books and the co-editor of three anthologies. His books include (Don't) Stop Me if You've Heard This Before; A Muse and A Maze: Writing as Puzzle, Mystery, and Magic; Maps of the Imagination: The Writer as Cartographer; Suburban Journals: The Sketchbooks, Drawings, and Prints of Charles Ritchie, in collaboration with the artist; a novel, The Girls Next Door; a collection of stories, Magician; and The Pirate Prince, co-written with Cape Cod treasure hunter Barry Clifford, about Clifford’s discovery of the pirate ship Whydah. His short story “Night, Truck, Two Lights Burning” has been published, with images by Charles Ritchie, in a limited edition artist’s book. He has also co-edited, with Andrea Barrett, A Kite in the Wind: Fiction Writers on Their Craft, The Story Behind the Story: 26 Stories by Contemporary Writers and How They Work and, with Charles Baxter, Bringing the Devil to His Knees: The Craft of Fiction and the Writing Life.

Turchi’s work has appeared in Tin House, Fiction Writers Review, Ploughshares, Story, The Alaska Quarterly Review, Puerto del Sol, and The Colorado Review, among other journals. His honors include fellowships from the National Endowment for the Arts and the John Simon Guggenheim Memorial Foundation, Washington College’s Sophie Kerr Prize, an Illinois Arts Council Literary Award, North Carolina’s Sir Walter Raleigh Award, and having a quotation from A Muse and a Maze serve as the answer to the New York Times Magazine Sunday acrostic.

Born in Baltimore, he earned his BA at Washington College in Chestertown, Maryland, and his MFA at the University of Arizona. He has taught at Northwestern University and Appalachian State University, and has been on the faculty of the Bread Loaf Writers' Conference. For 15 years he directed The MFA Program for Writers at Warren Wilson College in Asheville, North Carolina; at Arizona State University he taught fiction and served as Director of Creative Writing and Director of the Virginia G. Piper Center for Creative Writing. He currently teaches at the University of Houston, and in Warren Wilson’s MFA Program for Writers. Laura, his wife, is a Clinical Professor in English at Arizona State University, where she is curriculum director for “RaceB4Race: Sustaining, Building, Innovating” at the Arizona Center for Medieval and Renaissance Studies; she also co-directs the Shakespeare and Social Justice Project at the Shakespeare Center of Los Angeles. Reed, their son, is a musician (www.reedturchi.com).

***

Otherppl with Brad Listi is a weekly literary podcast featuring in-depth interviews with today's leading writers.

Launched in 2011. Books. Literature. Writing. Publishing. Authors. Screenwriters. Etc.

Available where podcasts are available: Apple Podcasts, Google Podcasts, Spotify, Stitcher, iHeart Radio, etc.

Subscribe to Brad Listi’s email newsletter.

Support the show on Patreon

Merch

@otherppl

Instagram 

YouTube

TikTok

Email the show: letters [at] otherppl [dot] com

The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores.

www.otherppl.com

[morrisxn02]

You’re the one who decided I wasn’t worth your time. The words were a gust of wind blown on Edward’s delicate house of cards. Nothing he came up with from then on could hold ground against one simple, indisputable fact: Edward had been the one who made the choice to distance himself.

He had his reasons. Dated, color-coded, and alphabetically organized like books on the shelves of Shakespeare & Co. But if that was what Freddie believed – that Edward didn’t consider him worthy of his time – then there really was not much he could say in his defense.

A wrinkled nose, an unfocused gaze, and a head cocked to the side denounced the early stages of a reluctant acceptance of his defeat. But if he was going down, he was going down swinging. Because, as much as it was true that Edward had been the one to cut ties, his decision hadn’t been an unmotivated one.

As the silence overstayed its welcome, his breath started to become unusually fast, heartbeat accelerated, too, like he was in the middle of running a 10k on top of the Kilimanjaro. But, instead of giving into the anxiety – partly generated by this conflict in itself, but also motivated by the imminent, looming sense of loss – he took advantage of it. Inflated his torso, narrowed his eyes, and grabbed hold of Freddie’s blurry gaze once again – his body’s decision to fight predominant over his mind’s will to flee. “You begged?” He spat with a scoff. “That’s a strange way to put it, considering how you consistently treat me like shit.” And for the first time, he could sense his tone raise palpably in a last attempt at an offensive.

And, to him, precociously independent, but childishly naïve, that seemed like it was a good enough reason to push away someone who manifestly needed him. But even if it wasn’t, he was more than willing to share another few. “And what did you even expect me to do for you? Take you into my parents’ home? In that state?”

He hated recalling it. The paleness, the cold sweat running down his forehead, the mania. And so, he never did. And, perhaps, that was part of the reason why Edward failed to hold himself accountable – because he simply couldn’t bring himself to look back on what had happened.

Never had he considered himself an overtly emotional man. Someone who felt hurt just from recollecting things. To him that was something that only happened to irrational people. Not to people like himself. No. Never. And yet, he could never muster up the courage to dwell on past events and to rewatch someone he loved so much tear his life to shreds like cheap tapestry. He had never mentioned it to Freddie. How he felt as he witnessed him spiral. How sad, and worried, and sometimes angry, even. How he wanted to protect him and take him away from it all, but also how it seemed like he was voluntarily throwing his life away, burning down all the great things he’d accomplished. Be that as it was, there was no point in even thinking about it, now…

“You know them. You know what they would have done.” Edward had never had the guts to stand up to his parents; had never had the dignity to counter their decrees. All he ever did was obey them, like a dog. So, even in the face of a friend in need – of his best friend, for that matter – he still wouldn't do anything to tarnish his pristine reputation with them.

He turned around, stomping hard towards the lake as if to leave, but instead, he just turned around, indignation tensing every fiber of his muscles, and walked back in th direction Freddie, standing closer to him now than before, “If you wanted a friend so much, why didn’t you just go to Cara?” He was sure she would’ve taken care of him. After all, weren’t they best friends now?

what happened to you? the words resonated with mean indignation. they reached inside between his sticky ribs like a coroner's hand, pulling out his rotten parts just to prove that they exist. but he'd bleed, so dreadfully, every time his skin had to learn to knit itself back together. so freddie knew, there was no real care behind the question. he could hear it in eddie's voice now the same way he'd heard it in his father's, and his mother's, and everyone who'd eventually given up on him.

eddie was looking at him, but freddie knew he couldn't see clearly. maybe that'd been the problem between them. they never saw each other the way they wanted to be seen. he wanted to scratch eddie's eyes out, make him blind, at least then he'd have a good reason.

"me?!" he practically barked, hand landing on his chest with a thud like a gavel. all of his emotions rose to the surface, offering eddie free ammunition to arm himself with. "when did i become cruel?"

"you're the one who fucked off!" he protests like his life depends on it. "you're the one who decided i wasn't worth your time!" for so long, his family had kicked him out like a stray and that had only given him another reason to love them. he'd done anything to be let in, but over time he'd made a home out of others. his friends, those he could always turn to. and as a dog always finds its way back home, he'd always found his way back to eddie. until he no longer opened the door for him. "you're the one who wasn't fucking there when i was begging you to just be my fucking friend."

[brizzlovesyou]

Griffith Park, CA // 9/1/2019