#literary agere | Explore Tumblr posts and blogs

natsuki-bakery · 6 months ago

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⁎˚ ఎ Bungo Stray Dog Agere ໒ ˚⁎

Hiya!! If requested are open can you make cg!Poe headcanons from bsd? (Bungou stray dogs) /nf

•Poe is deeply empathetic and always ready to listen to others’ troubles. He often finds solace in comforting others, drawing from his own experiences to provide genuine support and understanding

•Poe’s approach to caregiving can be unconventional. He might use his knowledge of literature and poetry to craft personalized advice, blending his caregiving with elements of his literary passions

•Despite his often melancholic demeanor, Poe is highly protective of those he cares for. He’s known to go to great lengths to ensure their well-being, even if it means putting himself in danger

•Rituals and Routines : Edgar has developed certain rituals and routines that help him manage his caregiving responsibilities. These might include daily reading sessions or quiet walks to reflect and center himself before tackling the challenges of helping others

•Healing Through Art : Poe believes in the healing power of art and literature. He often encourages those he cares for to engage with creative outlets, whether through writing, painting, or other forms of artistic expression, as a means of processing their feelings

•Poe’s caregiving style is marked by a quiet strength and resilience. He may not always be overtly assertive, but his unwavering support and calm demeanor provide a steadying presence for those around him

•Poe's own personal struggles and vulnerabilities play a significant role in his caregiving. He channels his own experiences of grief and loss into a deep well of empathy, using his past to connect with and help others navigate their own difficulties

•When caring for a sick age regressor, Poe’s approach is both tender and meticulous. He creates a calming environment with soft lighting and soothing literature. He might read comforting stories aloud or offer gentle, reassuring words to make the regressor feel safe and cared for

•Poe is attentive to their needs, making sure they are physically comfortable while also providing emotional support through his compassionate presence

•With a non-verbal age regressor, Allan relies heavily on non-verbal cues and body language to understand their needs. He uses gentle gestures and expressive facial expressions to communicate, and he is very patient in his interactions.

•Poe also incorporates visual aids, like picture cards or simple sign language, to help bridge the communication gap, ensuring that the regressor feels understood and supported

•On rainy days, Poe creates a cozy atmosphere by drawing the curtains and lighting soft candles. The sound of rain becomes a soothing background, and Poe might use it as an opportunity to engage in quiet, comforting activities like reading or storytelling

•The rain's gentle patter serves as a calming influence, helping to ease any anxiety or discomfort the regressor might be feeling

•He finds the rain’s melancholy ambiance aligns perfectly with his poetic nature. He might use the soothing sound of rain as inspiration for writing or storytelling, creating a calm and reflective atmosphere that helps both him and the little one feel more at ease

•If the age regressor is throwing a tantrum, Poe remains calm and composed, understanding that the behavior often stems from frustration or distress. He approaches the situation with patience, giving the age regressor space to express their emotions while offering a comforting presence

•Poe might gently guide them to a quieter space and use soft, reassuring words or comforting gestures to help them calm down. He avoids any forceful or confrontational tactics, focusing instead on soothing and de-escalating the situation with empathy and care

•When the regressor is feeling overwhelmed, Poe’s approach is to guide them to calmer activities without pressure. He might suggest coloring, flipping through picture books, or quietly watching Karl explore the room

•He uses subtle cues to steer them towards more soothing tasks, avoiding direct confrontation or forceful intervention

•Poe’s intelligence often leads him to overthink every aspect of caregiving. He meticulously prepares, researching what activities might soothe the regressor or which books are appropriate for their current mood. This over-preparation is his way of showing care, even if he doubts himself along the way

If you're in the basic criteria , are DSMP fans, vivziep0p fans , h0tel/h3lluva b0ss fans, Owl h0use fans, St4r butterfly fans, Ghibli fans, ddlg/abdl blogs, nsfw/k!nk blogs, anti-agere blogs, or anti Christians/Christianity blogs : just dont interact !

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alittleplaytime · 6 months ago

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Caregiver Gilbert Blythe Stimboard!!

🩹 💼 🌱 | 🩹 💼 🌱 | 🩹 💼 🌱

🌼 media: anne with an e

🐝 age appropriate? depends. in most places this show is rated 13+ due to themes of abuse, violence and sexual harrassment but it also has heavy themes of feminism and uplifting messages. i recommend checking any warnings before watching and remember, it's always okay to turn anything off if it isn't for you!!

🍯 rqd by: no one <3

🌻 note: this is specifically of the anne with an e gilbert as i have yet to read my copies of the books nor have i watched any of the older film/show renditions. i think he'd be the sweetest caregiver ever and it coincides with my anne agere headcanon so well!!

he'd be the sweetest caregiver ever but he'd also be such a pushover!! despite teasing and competing with anne while she's big, he has a hard time saying no to her once she's regressed. he has plenty of rules and ideas for punishments but half the time he ends up just scolding her and then consoling her when it upsets her

he reads books to anne but they have to be big kid books without any gore or anything because despite being small she is still too advanced literary wise for kids books but hateeeess anything overly sad or violent when regressed. sometimes she even insist on being the one to read and he adores it

he's obsessed with getting anything that reminds him of anne. fox plush in one of the shops in town? bought. one of the nice ladies had an extra roll of a deep orange wool? he's politely asking for it.

even when regressed anne insists on helping him out in the fields but the tasks he gives her are vastly different to when she's big.

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reddetur · 1 month ago

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RANDOM LESBIAN TICCIJACK HEADCANONS!!!

because I love lesbian ticcijack more than you no one can prove me wrong I think about them 24/7 they are literally my ocs atp I LOVE THEM SO MUCH THEY'RE MY HYPERFIXATION ahem anyways

grab some popcorn and take a seat because OH BOY we're in for a RIIIIDEE

Also disclaimer this is just appearances hcs and maybe a little bit of mental disorders hcs

ALSO!! my lesbian ass prefers an au where literally every single pasta is a woman (well it has some exceptions obviously cuz them being all female sounds a little sexist of me idk)

OKAY LET'S BEGIN!!!

Jane (jack's fem name) has long ass hair and sometimes wears them in dreads cuz she's poc 💪🏼💪🏼 BLACK OCS (except she's not my oc but let a man dream)!!!! SCREAMS!!!!!!!!!! She has BEAUTIFUL long lashes 💋💋 is a masc lesbian 👅👅👅😍😍 works out like any other masc lesbian. She wears like baggy shit but most of the time she wears her lab/dr coat cuz she gotta tend to all the hurt patients coming in all the time SKIBIDI!!! She has elf ears, devil horns and a tail and I HC her as like Zalgo's daughter, like princess of hell type shit (BLEEGHHH 🤮🤮) and she has a sister Lazari (you know her already) I hate Lazari's original design and literary everything about her so I changed her aha I CAN DO WHATEVA I WANT SHHH ❤️

Tory (Toby's fem name, full name is Toriel. Notice how both 'y' in toby and tory change when their full name is said. Example: Tor*y* Tor*i*el, Tob*y* Tob*i*as. It's a nice little detail heh) she's like pansexual and has short hair and the thing is I can't choose between wavy short hair or curls... What do you think??? Anyways I've hc-ed her to have like 2-3 personalities? One of them is actually just age regression so it doesn't really count as a personality, but she does have a different clothing style while she's regressing. Also I think you already know why I hc her to have age regression, she wants to make up for her non existent childhood and stuff. She has a personality which is the one she uses the most, it's like a "mask" yk? The thing is; whenever she puts on her goggles and mouth guard she turns into a whole different person, almost like fanon Tory or should I say Toby, ykwim? Her other personality is her true personality and it's lowkey like, depressed af, it's giving angsty teenager type shit. Also she has two clothing styles, one is like giving nana from nana and hachi, all pink and cutecore and shit (this is mostly because of her age regression, but I think she secretly likes it outside of agere) and the other one is grunge. she wears like jorts most of the time and baggy t-shirts

ALSO FORGOT TO MENTION she has ANOTHER style!! Hippie.. which is mostly self insert because I see myself in her so yeah

Most of this is like self insert but at the same time it kinda fits her, get my drift?? OH YEAH SHE'S PALE BTW! Their dynamic is like chocolate and vanilla tbh

Honestly if this is just half of it imagine it all together.. I should write a book

Guys erm.. this is so cringe.. 🙏🏼

Live footage of reddetur finding out free will (they end up making up fem!versions of two fictional characters from practically a dead fandom and can't find lesbian art of them anywhere except for bimbvx we love bimbvx for feeding me also I'm not tagging them because I'm too shy shahjashhajaha)

I wrote this while building my Fugue in hsr ❤️

Let me know if y'all want more of my hcs I'm dying to make ticcijack fan friends (asks open btw)

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whileiamdying · 3 months ago

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Great Books Don’t Make Great Films, but “Nickel Boys” Is a Glorious Exception

RaMell Ross’s first dramatic feature, an adaptation of Colson Whitehead’s novel, gives the bearing of witness an arresting cinematic form.

By Richard Brody December 6, 2024

It’s harder to adapt a great book than an average one. Literary greatness often inhibits directors, who end up paying prudent homage to the source rather than engaging in the bold revisions that successful adaptations require. And even uninhibited directors may lack the stylistic originality of their literary heroes. It’s all the more remarkable, then, that the director RaMell Ross, in his first dramatic feature, “Nickel Boys”—adapted from Colson Whitehead’s Pulitzer-winning 2019 novel, “The Nickel Boys”—avoids both obstacles with a rare blend of daring and ingenuity. Few films have ever rendered a major work of fiction so innovatively yet so faithfully. In a year of audaciously accomplished movies, “Nickel Boys” stands out as different in kind. Ross, who co-wrote the script with Joslyn Barnes, achieves an advance in narrative form, one that singularly befits the movie’s subject—not just dramatically but historically and morally, too.

The movie’s title refers to Black youths (teens and younger) who are inmates of the Nickel Academy, a segregated and abusive “reform school” in rural northern Florida—particularly to two teen-agers, Elwood (Ethan Herisse) and Turner (Brandon Wilson), who become friends while incarcerated there, in the mid-nineteen-sixties. (The institution in Whitehead’s novel is inspired by the notorious Dozier School for Boys, but his characters are fictional.) Elwood, who is sixteen years old when he enters the facility, is being raised by his grandmother Hattie (Aunjanue Ellis-Taylor), who works on the cleaning staff of a hotel. He’s a star student, literary and politically passionate, in a segregated school. One of his teachers, Mr. Hill (Jimmie Fails), is a civil-rights activist, and he plays a Martin Luther King, Jr., speech on a record for his students. Elwood gets his picture in a local newspaper for participating in a civil-rights demonstration, but he’s only holding a sign; he longs to join in civil disobedience, but Hattie seems skeptical about the idea. Hitchhiking to a nearby college for advanced classes, he gets a ride from a flashily dressed, fast-talking Black man (Taraja Ramsess) whose car, unbeknownst to Elwood, is stolen. When the police pull the driver over, the innocent Elwood, too, is punished, resulting in his internment in Nickel.

From the start, Ross throws down a stylistic gauntlet: up until Elwood’s imprisonment, the action is seen entirely from his point of view—literally so, as if the camera were in the place occupied by his head, pivoting and tilting to show his shifting gaze, while his voice is heard offscreen. This device was famously used by Robert Montgomery in his 1947 adaptation of Raymond Chandler’s “The Lady in the Lake,” but it was no more than a gimmick. In Ross’s hands, the device becomes something overwhelmingly expressive: the images, rather than merely recording Elwood’s emotions, register the cause of those emotions and allow the viewer to partake in his inner world.

The results can be puckish, as when Elwood’s reflection appears in the chrome side of the iron that Hattie is sliding across an ironing board. But Ross’s technique is exquisitely responsive to the story’s depth and range of experience. The viewer shares Elwood’s naïve bewilderment when the driver of the stolen car, hearing a police siren, tells him not to turn around; similarly, one feels the anguished anticipation when Elwood awaits transport to Nickel. At this point, an extraordinary scene tears a hole in time, bringing the history of Black American life rushing in to overtake Elwood’s own: Hattie, with an air of unusual formality and seething indignation, recalls in excruciating detail her father’s death in police custody and her husband’s death at the hands of white assailants. But she expects better for Elwood.

Once the police have deposited Elwood in Nickel’s run-down barracks for Black inmates, Ross extends the dramatic force of his method while expanding its intellectual scope. At breakfast, Elwood meets Turner, who’s from Houston and much more streetwise. The impact of this moment is heralded in a coup de cinéma that is a vast amplification of the story: a repetition of the breakfast-table encounter, seen, the second time around, from Turner’s point of view. Once the pair become friends, both of their perspectives share the film, to mighty effect.

Elwood’s wrongful detention is only the first of the Job-like litany of injustices heaped upon him. In Nickel, sucker-punched and knocked out by a bigger kid, Elwood receives the same standard and brutal punishment as his assailant. Nickel’s sadistic supervisor, Mr. Spencer (Hamish Linklater), who is white, administers beatings with a strap in the so-called white house, far from the barracks. An industrial fan is used to drown out the victims’ screams, but it doesn’t quite do so, and Elwood, with his view of the horrors obstructed, hears them in terror while awaiting his turn.

Hospitalized as a result of the beating, Elwood gets a surprise visit from Turner, who’s also a patient (having skillfully feigned illness). Turner warns him that there are still worse punishments menacing the Nickel inmates, ranging from the sweat box—a brutally hot crawl space under a tar roof—to actual murder. (Such deaths were covered up by burial in unmarked graves and an official lie that the child ran away without a trace.) Elwood, inspired by the civil-rights movement and knowing that his grandmother has hired a lawyer, is confident that justice will prevail. He even keeps a notebook in which he records unpaid labor and which he thinks will help get Nickel shut down. Turner has no such confidence, insisting that no one gets out of Nickel alive except by getting himself out. The two teens’ visual perspectives, alternating through the hospital scene, embody their diametrically opposed views of American society, of their prospects, and of the destinies that await them.

Through Elwood’s and Turner’s eyes, in scenes that unfold in long and complex takes, the movie offers a formidable fullness of incident, intimately physical detail, and finely nuanced observations. The corruption of Nickel’s administrators and the legitimized absurdities of their cruel regime come to light as they’re experienced by the two teens, as do Hattie’s struggles to stay connected with Elwood and to seek legal relief. Lyrical snatches of daily life—passing moments of grace on a job outside Nickel’s grounds or during free moments in a rec room—are haunted by traces of past brutality and flickers of menace. Ross stages the action with a choreographic virtuosity that’s all the more astonishing given that this is his first dramatic film. (His previous feature, from 2018, is the documentary “Hale County This Morning, This Evening.”) His teeming visual imagination is matched by the agile physicality of Jomo Fray’s cinematography. As a first dramatic feature, “Nickel Boys” is in the exalted company of such films as Terrence Malick’s “Badlands” and Julie Dash’s “Daughters of the Dust.” Like them, it comprehensively creates a new way of capturing immediate experience cinematically, a new aesthetic for dramatizing history and memory.

Early on, the action is set in historical perspective by means of flash-forwards. Eventually, there are revelations about the atrocities at Nickel; the grounds are excavated, and human remains discovered. One of the friends (played as an adult by Daveed Diggs) gets wind of these investigations, having in the intervening years made his way to New York, found employment as a mover, and started his own business. In this later time frame, Ross continues to rely on point-of-view images, but with a piercing difference. The camera now floats just behind the character’s head, depicting work and home, love stories and painful reunions, fleeting observations and a reckoning with the past, as if from two points of view simultaneously—one visual and one spectral, bringing absence to life along with presence.

The onscreen incarnation of Elwood’s and Turner’s perceptions isn’t only intellectual or theoretical. The moral essence of Ross’s technique is to give cinematic form to the bearing of witness. Where Whitehead’s novel describes his characters’ physical torments in the third person, with psychological discernment and declarative precision, Ross’s movie fuses observation and sensation with its audiovisual style. It suggests a form of testimony beyond language, outside the reach of law and outside the historical record. It is a revelation of inner experience that starts with the body and all too often remains sealed off there and lost to time—except to the extent that the piece of art can conjure it into existence.

The movie’s twin aspects of witness and of point of view have a significance that extends beyond the drama and into cinematic history. There were no Black directors in Hollywood until the late sixties, and no Hollywood films that conveyed then what “Nickel Boys” shows in retrospect: the monstrous abuses of the Jim Crow era and its vestiges. In bringing the historical reckonings of Whitehead’s novel to the screen, Ross hints at an entire history of cinema that doesn’t exist—a bearing of witness that didn’t happen and the lives that were lost in that invisible silence. ♦

Published in the print edition of the December 16, 2024, issue, with the headline “Each Other’s Back.”

Directed by: RaMell Ross Screenplay by RaMell Ross and Joslyn Barnes Based onThe Nickel Boys by Colson Whitehead Produced by Dede Gardner, Jeremy Kleiner, David Levine, Joslyn Barnes Starring: Ethan Herisse, Brandon Wilson, Hamish Linklater, Fred Hechinger, Daveed Diggs, Aunjanue Ellis-Taylor Cinematography: Jomo Fray Edited by Nicholas Monsour Music by Alex Somers and Scott Alario Production: Orion Pictures, Plan B Entertainment, Louverture Films, Anonymous Content Distributed by Amazon MGM Studios Release Dates: August 30, 2024 (Telluride) December 13, 2024 (United States) Running time140 minutes Country: United States Language: English

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8-rae-rae-8 · 8 months ago

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If I may,,Kiwi and peach for the writer ask game! 🫶

"🥝 What’s your favorite trope/AO3 tag to write?"

Some may say torture

Actually. No that's. That's accurate. I like writing torture most. Agere/Petre comes in a close second

"🍑 If you could make a connection between your favorite character and another work you care about (whether a crossover/fusion or a wonderfully “pretentious” literary reference) what would it be? How would it work?"

It hasn't been done before... CoD x TEW.

I don't know how it would work yet, there's a few theories on it in my au section. I want to put Ghost through More Horrors™

#CoD x TEW #ask game #call of duty #asks

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paper--moons · 2 years ago

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Hi Moon!

You really got me with that Giran post (I reread it regularly!) and I was gonna ask for headcanons for him again, but I just saw your notes about Gentle Criminal, so I’m gonna give you the choice between the two!

Have fun with it!

Hello hello!

I'm quite tickled to know that you reread my Giran post regularly—that is honestly such a huge compliment to know you have enjoyed it more than once—but it's dangerous to validate my old man posting haha. But really, I just think he's neat and it makes me happy to hear that you liked my silly little post. So how could I possibly say no to doing another for him? Especially given the lack of content (agere or otherwise) out there for our dearest broker. He is very fun to write for imo, and so I tried to pull a few of my favorite ideas I have had for him to incorporate into this post.

For that reason this one may be a little bit messy, but I think he's a little bit messy too, so. It works out, I suppose. He is just such a little creature to me. The amount of pointless headcanons I have for him would perhaps be troubling if my penchant for adopting minor characters wasn't taken into consideration. Oh how I love to read between the lines and play literary analysis haha. (Also, this one is somewhat of a follow-up to the first one for those that may have missed it, in that it references a few things from that post, but since this one is mostly just sillies it should be fine.)

Also also! You are so nice to peek at my ramblings in the tags of my other post! So I think perhaps a two for one special is in order. You did say to have fun with it, after all! Now, his post had me flip-flopping on the direction a bit, but overall I tried to keep it lighthearted. Gentle feels like the type to overcompensate for that underlying sadness he has even when he's small by burying it underneath high energy silliness, and while I felt I could have explored that more I decided to only touch on it a little bit.

Really, there were about three different iterations of his post and I started over a few times and revised my notes. Though I did pull elements from each of the different iterations to whip up what I am presenting here. One was more of a reflective character piece, another was looking at his and La Brava's relationship, and then the third was just a lot of him arguing with his teddy bears. Hopefully I reached a happy blend that makes for a satisfying read.

So! Two posts for our dearest friend Clump. The Giran post can be found over here, and the Gentle Criminal post can be found here. Thanks so much for sending in your request! 🌙

#moon answers #truly clump is too kind and panders to my interests

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buttercupagere · 1 year ago

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henry winter as a caregiver <3

requested by anon!

#agere moodboard #agere #moodboard #agere board #age regression #fandom agere #fandom regression #literary agere #classic lit agere #the secret history agere #the secret history #cg henry winter #caregiver henry winter #fictional caregiver #fictional cg #dark academia

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outlandish-dreamer · 1 year ago

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Agere "Loser's Club" Moodboard! I'm reading the book rn and as disturbing as it is, it reminded me of how much I feel bad for these kids. they've been through so much, oh my lord 😭

#horror agere #literary agere #horror literature agere #It agere #the losers club #my moodboards #agere moodboard #fandom agere #halloween agere #novel/literature agere #dark/darker fandom agere

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m-iarvivisectio-n · 8 months ago

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“To Whom I Pray When My Own Hands Seem Misshapen?”

Haiiiiii, It’s Me — The Only Nurse of the Entire Equanimity, Miar Vivisection Gourd ! =3

Hugest Fan About : Angels , Anatomy , Body // Extraterrestrial Horror , Decor , Mogai , and Other Things I’d Love to Learn More About That I Can’t Recall This Moment !!

Talk to Me Talk to Me Talk to Me !! About Anything !! IHNMaIMS’s Hate Speech Despite Me Not Having Read It Yet ! Literary Criticisms or Studies On Poetry , I’m So Into That ! Old Web Stuff ! Ascension to a Higher Plane ! Meat ! I’d Love To Learn More About Vocaloid Or Funger ! I Prommy I’m Fun to Talk to ~ ^^

With Boundaries , of Course , but Still, You’re So So So Interesting and I Am Too !! Wow !!

I Think About This Video A lot ! (Link)

I Follow From Ike’s Blog :: @lousylemonseminar

Iven’s In Construction Agere Blog =3 :: @ivenchirpivoru-agere

Guppy’s Blog ^^ :: @guppy3

˗ˏˋ ꒰ ♡ Directory ꒱ ꒰ ꩜ Request Info ꒱ ꒰ ♡ Inbox ꒱ ꒰ ꩜ Warnings + ꒱ ꒰ ♡ My Bits and Doodads ꒱ ˎˊ˗

#Still in Construction ! 🪽#cw syringe #pinned post #~ ୨୧ // ɪɴᴏʀɢᴀɴɪᴄ ᴘʀᴏᴘʜᴇᴄʏ #~ (:̲̅:̲̅:̲̅[̲̅:♡:]̲̅:̲̅:̲̅:̲̅)

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justforbooks · 4 years ago

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The New Yorker is an American weekly magazine featuring journalism, commentary, criticism, essays, fiction, satire, cartoons, and poetry. Started as a weekly in 1925, the magazine is now published 47 times annually, with five of these issues covering two-week spans. Although its reviews and events listings often focus on the cultural life of New York City, The New Yorker has a wide audience outside New York and is read internationally. It is well known for its illustrated and often topical covers, its commentaries on popular culture and eccentric Americana, its attention to modern fiction by the inclusion of short stories and literary reviews, its rigorous fact checking and copy editing, its journalism on politics and social issues, and its single-panel cartoons sprinkled throughout each issue.

The New Yorker was founded by Harold Ross and his wife Jane Grant, a New York Times reporter, and debuted on February 21, 1925. Ross wanted to create a sophisticated humor magazine that would be different from perceivably "corny" humor publications such as Judge, where he had worked, or the old Life. Ross partnered with entrepreneur Raoul H. Fleischmann (who founded the General Baking Company) to establish the F-R Publishing Company. The magazine's first offices were at 25 West 45th Street in Manhattan. Ross edited the magazine until his death in 1951. During the early, occasionally precarious years of its existence, the magazine prided itself on its cosmopolitan sophistication. Ross famously declared in a 1925 prospectus for the magazine: "It has announced that it is not edited for the old lady in Dubuque."

Although the magazine never lost its touches of humor, it soon established itself as a pre-eminent forum for serious fiction, essays and journalism. Shortly after the end of World War II, John Hersey's essay Hiroshima filled an entire issue. In subsequent decades the magazine published short stories by many of the most respected writers of the twentieth and twenty-first centuries, including Ann Beattie, Sally Benson, Truman Capote, John Cheever, Roald Dahl, Mavis Gallant, Geoffrey Hellman, Ruth McKenney, John McNulty, Joseph Mitchell, Alice Munro, Haruki Murakami, Vladimir Nabokov, John O'Hara, Dorothy Parker, S.J. Perelman, Philip Roth, George Saunders, J. D. Salinger, Irwin Shaw, James Thurber, John Updike, Eudora Welty, Stephen King, and E. B. White. Publication of Shirley Jackson's "The Lottery" drew more mail than any other story in the magazine's history.

The New Yorker's signature display typeface, used for its nameplate and headlines and the masthead above The Talk of the Town section, is Irvin, named after its creator, the designer-illustrator Rea Irvin. The body text of all articles in The New Yorker is set in Adobe Caslon.

One uncommonly formal feature of the magazine's in-house style is the placement of diaeresis marks in words with repeating vowels—such as reëlected, preëminent, and coöperate—in which the two vowel letters indicate separate vowel sounds. The magazine also continues to use a few spellings that are otherwise little used in American English, such as fuelled, focussed, venders, teen-ager, traveller, marvellous, carrousel, and cannister.

The magazine also spells out the names of numerical amounts, such as "two million three hundred thousand dollars" instead of "$2.3 million", even for very large figures.

Despite its title, The New Yorker is read nationwide, with 53 percent of its circulation in the top 10 U.S. metropolitan areas. According to Mediamark Research Inc., the average age of The New Yorker reader in 2009 was 47 (compared to 43 in 1980 and 46 in 1990). The average household income of The New Yorker readers in 2009 was $109,877 (the average income in 1980 was $62,788 and the average income in 1990 was $70,233).

According to Pew Research, 77 percent of The New Yorker's audience hold left-of-center political values, while 52 percent of those readers hold "consistently liberal" political values.

The magazine's first cover illustration, a dandy peering at a butterfly through a monocle, was drawn by Rea Irvin, the magazine's first art editor, based on an 1834 caricature of the then Count d'Orsay which appeared as an illustration in the 11th edition of the Encyclopædia Britannica. The gentleman on the original cover, now referred to as "Eustace Tilley", is a character created by Corey Ford (1902–1969) for The New Yorker. The hero of a series entitled "The Making of a Magazine", which began on the inside front cover of the August 8 issue that first summer, Tilley was a younger man than the figure on the original cover. His top hat was of a newer style, without the curved brim. He wore a morning coat and striped formal trousers. Ford borrowed Eustace Tilley's last name from an aunt—he had always found it vaguely humorous. "Eustace" was selected by Ford for euphony.

The character has become a kind of mascot for The New Yorker, frequently appearing in its pages and on promotional materials. Traditionally, Rea Irvin's original Tilley cover illustration is used every year on the issue closest to the anniversary date of February 21, though on several occasions a newly drawn variation has been substituted.

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

#JUST FOR BOOKS #The New Yorker #portrait

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book-exchange-easy · 5 years ago

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8 Best Graphic Books for Teenager in 2020

Books are man's best friends. For anyone who are suffering from the habit of reading from a really young age, notice a slow shift in their preference for various genres of novels. However, no matter what age, your love for the finest picture novels does not seem to fathom.

Every book enthusiast must be using a run of comic books they have followed since these were teenagers. With progressing years, there was seen a wonderful flourish in various sorts of graphic books for almost all ages. Therefore, the genre of graphic novels isn't any more restricted for kids and teenagers. It's something one can continue to enjoy and unwind on a nice rainy day with a cup of coffee from the side or some thing to learn at the close of your afternoon to day maintain your head off the day's stress.

So, here's the record of some of the finest graphic books You Have to definitely lay your hands on:

Best Graphic Novels That You Need to Not Miss!

1. Nimona Written and illustrated by Noelle Stevenson

Dragons are a hot favorite among most people. Combine it with an equally magnificent and indulging narrative, and exactly what you get is that well-presented novel Nimona. There's a central personality with heroism you are going to fall for that's forces and just a supervillain with a side kick. The illustrations are quite captivating and the storyline keeps you in for a treat. Here is a definite story to read on your own list of the very best graphic books.

2. A Contract With God and Other Tenement Stories (The Contract With God Trilogy #1) by Will Eisner

If you're looking for a book that will energize you and take you back over time, somewhere in 1930s America, then it doesn't receive any perfect than the graphic book. This master illustrator has been pumped his growing years in New York in this publication. It is based on a literary tenement situated in 55 Dropsie Avenue, the Bronx, ny. There's so much reality inside paints a brilliant picture of how the life span there was in the article World War 1 spectacle.

3. We3 by Grant Morrison (Writer), Frank Quitely (Artist)

Do you love Cyborgs? Or cats, rabbits, dogs? All themor either of these? Well, this wonderful publication has everything. The gripping story is all about the 3 lovely and innocent pets learning to be a part of a covert military program. The struggle for these to come back home is so real that you will continue anticipating what awaits you as you turn pages of the well-illustrated image book.

4. The Rabbi's Cat by Joann Sfar, Alexis Siegel (Translator), Anjali Singh (Translator)

The three phenomenal characters, a kitty, its own master - a rabbi, along with his daughter Zlabya, have been woven together in a gorgeous narrative. The much from the real, a talking cat that claims to be Jewish will probably lead you to a lot of entertainment because they travel to France to meet the kid's new family. The depiction in this publication paints a vibrant picture of the Arabs and Jewish coexisted and is a great read.

5. The Prince and the Dress-maker From Jen Wang

This is a romantic narrative of Prince Sebastian who's trying hard to cover up his secret life as fabulous Lady Crystallia who is a fashion star in Paris with the help of this out standing dress maker Frances. The beauty of this tale lies to keep the trick and also how important it's to be somebody's closest confidante. Will this trick live. Grab the publication to learn its fate and indulge in the gorgeous illustrations of the publication.

6. Archie: The New Riverdale From Mark Waid, Fiona Staples, Annie Wu, & Veronica Fish

America's favourite teen ager is in a better and revamped version of their modern era. The first volume can be found in 6 problems. It is the the finest graphic novel for teenagers because it's extremely relatable. The guy is leading the same life. He's got friendships, a love triangle, ample humor, and overall lots of fun.

7. This one Summer with Mariko Tamaki and Jillian Tamaki

Growing up is hard, well is being a grownup. Changing is a part of life and so do both of these girls who are now growing into young women undergo. Our likes/dislikes, ambitions, desires, nature, everything brings a drastic change whilst at the teenage. Both of these girls have spent since youth and this one summer they detect a few unexpressed long-simmering jealousy, fear, and anger eventually bubble over. This is a certain possess in your own best graphic novels collection.

8. The Encyclopedia of Ancient Earth from Isabel Greenberg

The ground has seen many many civilizations that have emerged and forgotten to get long. This really is among the better picture books that holds the story of a child who embarks on a journey from the North pole to the South pole and meets a unique old culture. He meets his true love but the gap in these brings in new challenges in order for them to face. Does their love defeat all of it? Read on the novel to learn!

I hope you enjoy this wonderful collection of the greatest graphic novels and discuss with friends and family too. It is also possible to take to the BEEapp which is a novel exchange easy online program for sharing novels. You can easily purchase, donate, and sell your books and books safely on this platform.

#Best Graphic Books #Graphic Book #beeapp #bookexchange #bookexchangeeasy

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thebaronmunchausen · 5 years ago

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Like most of you writers, I got my start as a writer in the campus press, first in high school, then in college. And, like most of my contemporaries I dreamed of a career in journalism—writing for the national newspapers and magazines, since, in those days, there was only print journalism. Creative writing programs, and even creative writing courses didn’t exist.

UST, my alma mater, offered a degree in Journalism (with course offerings which included the new fields of Advertising and Public Relations). In the same faculty (the Faculty of Philosophy & Letters, or Philets), which taught Journalism, it also offered a Bachelor of Philosophy (with course offerings which included many Literature subjects). I chose Philosophy even if I had no idea what profession a degree in Philosophy prepared one for, mainly because I wanted to take all those Literature courses.

In high school, while writing for and eventually editing The Paulinian, I began to contribute feature articles to several national magazines (all unfortunately short-lived). As a sophomore in college, while writing for and eventually editing The Varsitarian, I wrote a weekly column in the youth section of the “Manila Chronicle”; and as a senior, I became Editor of the youth section of the “Weekly Graphic”. So, when I graduated from college, I considered myself a professional journalist.

But what I really wanted to be was a writer of short stories, and, of course, to win a Palanca. This didn’t come easily to me. It was essays that I wrote, and the Palanca Awards then did not yet include the essay category. My best friend had already won a Palanca for her poetry while still an undergraduate. But I hadn’t even published a story! And when she was invited to be part of the first Writers’ Workshop in Silliman, and I wasn’t, I was devastated.

When my first short story was published, I was 25, married and a mother. When I won my first Palanca, my husband had accepted a job with UNICEF, and we were living in Beirut. The news got to me in a letter from my mother, sent via diplomatic pouch by UNICEF in Manila. Tony was out of the country, and my oldest daughter was in school. So the only one I could share my big news with was my second daughter, Anna, who was around 4 years old. I said to her: “Anna, guess what, I won a prize for my story—I got 3rd prize.” She thought about that for a moment, and then, she said, “Gee, Ma, you have to try harder next time.”

I have another favorite Palanca memory. It happened in this very room on Palanca Night. I was here with my husband, Tony. Either he or I had served as judge for one of the categories. A young man came up to greet us—it was the late Luis Katigbak, still an undergraduate in the UP’s Creative Writing Program then. He looked rather self -conscious in his dark suit. I had only ever seen him in t-shirts and jeans, so I almost didn’t recognize him. We congratulated him for his prize, and he shook our hands, gave us a wide smile, and a little bow. After he had left us, Tony said to me, “That’s the look and the swagger of a writer who has just won his first Palanca. Recognize it?”

And every Palanca night since, I have seen that look and that swagger in some of the young writers in attendance. But now and again, I wonder: how long will this last? The question I’m asking is not long will the Palanca Awards last, but how long will writers keep on wanting and trying to produce the kind of writing that wins a Palanca award?

Why am I asking this question? We all know that in the different branches of the country’s biggest bookstore chain, what few shelves are devoted to books are not occupied by literary titles written by Filipino writers. Of course, these days, the question that follows naturally on that one is: but what do we mean by that term “literary title”?

A few months ago, at a meeting of the Board of Trustees of the Book Development Association of the Philippines (BDAP), I heard another term used for the first time: “hard literature.” I learned that, in the publishing world, the term has replaced the earlier term, “serious literature.” As a writer, and a reader, my own definition of “serious literature” is literature that is carefully crafted, literature that seeks to explore ideas which the writer feels strongly about, literature that is written, not just to share experiences, but to offer insights about its subject. In other words, literature which has a chance of winning a Palanca award.

But at that meeting I am referring to, the speaker (himself a very successful local publisher, who happens to be here tonight, and who has given me permission to mention his name—Mr. Jun Matias of Precious Pages and Lampara) made a pitch for Filipino publishers to be more open—not just to “hard literature”—but to all forms writing. There is so much of it being produced now, he said, so many young people wanting to share their stories, and so many people wanting to read them, that publishers who choose to continue to ignore it, or “judge” it—by which he meant, look down on it—run the risk of being left behind. This made me sit up.

Jun then showed us a brief video of one of his authors—a Wattpad writer—arriving for a “meetup.” This writer’s fans were so numerous that they had to open another room to accommodate them. When she arrived, she was received like a rock star—with screams and shrieks and wild applause. And she looked the part too—young and slim with straight long hair, her face partly hidden by huge shades.

Another publisher later told me that her company has been in an arrangement with Wattpad since 2014, to turn selected Wattpad novels into print novels. One of these, “She’s Dating a Gangster” by Bianca Bernardino became, not just an National Bookstore bestseller, but the first Wattpad novel to be turned into a movie (by Star Cinema, with Kathryn Bernardo and Daniel Padilla in the lead roles).

This publisher also informed me that their most popular writer, Jonaxx, is so big that the company has created an imprint just for her. Her real name is Jonah Mae Panen Pacala; she’s 28 years old and a pre-school teacher from Cagayan de Oro. According to her fan page she is the first Filipina Wattpad author to gain 1 million followers. Last year, that figure went up to 2.7M+. And her fans are so fiercely devoted to her that they object to her novels’ being changed in any way, including correcting grammar and syntax. “Mapapansin Kaya?” the first of her books to be published, had a print run of 40,000. Seven of her books have been published so far. Since she joined Wattpad in 2012, she has published 32 novels. (That was a year ago. Perhaps she has since produced more.)

Actually, my initial reaction to the Wattpad phenomenon when I first heard of it was astonishment. I had no idea that so many people wanted to write fiction. But why not? Looking back on my own teen years… didn’t I, too, want to write stories?

I began writing stories because I loved reading them. I’m talking about novels like “Little Women” and “Anne of Green Gables” and “Daddy Long Legs;” and later, the Nancy Drew series and the Beverly Gray series��what today are called “YA novels.” My world was a small one. My parents were conservative and kept me at home most of the time. To use a hoary cliché, reading books opened doors for me, doors into other, larger, worlds.

When I first tried to write stories, I was a pre-teen. I simply wanted to imitate the stories I had read. The heroines in those stories had adventures; they fell in love. And they wanted to be writers! They became my role models. My writing—like my reading—was not so much for self-expression or sharing with others. It was a form of escape, an escape from a life I considered boring and humdrum.

But I outgrew those stories. There was something predictable in their plots, and in their characters, principally, the little orphan girl, neglected and deprived of love, but gifted with a vivid imagination. After various mishaps, some painful, sone hilarious, she transforms into a strong-minded, large-hearted, confident, accomplished, and lovely young woman; and of course finds a young man worthy of her.

So, I moved on to Jane Austen and the Bronte sisters, to Mark Twain and Harper Lee and Charles Dickens. I discovered Nick Joaquin and Kerima Polotan and Carmen Guerrero Nakpil. I realized I was no longer reading just for escape. Without fully realizing what I was looking for, I just knew I was looking for something else, for something more.

My writing began to change as well. I showed my new essays and stories to my English teachers and the school paper adviser. When they edited these, or wrote comments on the margins, I did not take this as an infringement on my freedom. Neither did any of my classmates, by the way. We took it as an effort to help us become better writers. And we were grateful. (Which is I find it difficult to understand why, today, some beginning writers are averse to being edited.)

Anyway, this whole process simply meant that I was growing up as a person. And that I was developing as a writer.

Today, I ask myself: if the Net had existed when I was a teen-ager, and had it been possible to post my scribblings on an app like Wattpad, without the benefit of comments or suggestions from teachers or more experienced writers; had I acquired a huge following, and my stories been turned into printed books, which would sell copies in the hundreds of thousands… if these things had happened to me, would I have chosen to stop writing girlish romances, and moved on to other subjects, and other ways of writing? What would have been the reason for doing so?

It has occurred to me that this may well be the situation some of the Wattpad writers find themselves in. They’re already successful. What else do they need to do? In particular, why do they need to go to college and study writing?

Actually, I know people—some of them, writers—who believe that one does not have to get a degree in creative writing to become a writer. And that is certainly true. National Artists Nick Joaquin, NVM Gonzalez, Francisco Arcellana didn’t have degrees in Creative Writing. National Artists Bienvnido Lumbera, Virgilio Almario, and Frankie Sionil Jose don’t have degrees in creative writing. And, as I said earlier, neither do I.

The establishment of Creative Writing as an academic discipline is relatively new (unlike the B.A. in Fine Arts and the B.A. in Music, which have been around for more than a century). But I’m not quite sure why anyone would discourage young writers from wanting to get degrees in creative writing.

The myth seems to be that a formal education in writing will “destroy” your natural, instinctive talent. And, perhaps, there ARE some teachers out there whose methods may, in fact, have a negative effect on their students. But doesn’t this happen in all fields, be they the arts, the natural sciences, or the social sciences? There are good teachers and bad teachers; there are teachers whom some students find inspiring while others find them boring.

I tell my students that, at some point, they should become pro-active and choose the mentor they feel is the best suited to their own temperaments, someone they admire and trust and feel they can work with. Such a mentor cannot harm them; in fact, he or she, is more likely to be a great help to them.

I’ve said this often before: writing is a profession like any other. One trains to become a professional. It is accepted as natural that people in the other arts, like painting or sculpture should wish to enroll in a College of Fine Arts, and musicians should wish to enter a Conservatory of Music. And, certainly in the visual arts and in music, the more highly skilled you are, the bigger your chances of selling your works via the great international auction houses or doing solo performances to the accompaniment of great symphony orchestras. Why should it be any different for literature?

Of course writers who don’t want to get a university education don’t have to get it. But if they’re serious about making writing their career—if they wish to be professional writers—they need some form of training, even if it be self-training. All training requires hard work, but this kind of training—self-training—even more so.

One learns any skill, first, by imitating those who know how to do it. Even child prodigies—like Tiger Woods, who was playing golf when he was two years old—took golf lessons, from his father, first of all. Even gifted musicians—like the band Queen and its brilliant front man Freddie Mercury—have acknowledged the influence on their work of other rock stars, whom they respected, and whose music they spent time studying: Elvis Presley, David Bowie, Jimi Hendrix.

When the UST Center for Creative Writing invited Ely Buendia to speak at a forum on song writing, I asked him what he thought had led to the Eraser Heads’ great success. He said he didn’t know, but he also told me that he had admired many other musicians, had studied them, and tried to incorporate those influences into his music. He mentioned, in particular, Elvis Presley (who, in turn, had been influenced by African American blues, southern country music, and gospel music). And he mentioned our own folk songs, which he said he had also studied.

To return to what I was saying earlier: what would be the incentive of the phenomenally popular and commercially successful Wattpad writer to raise the level of her writing skills, and take on concerns larger than first love or first heartbreak?

Actually, I know someone who has done just that. Perhaps some of you will recognize the name Charmaine M. Lasar. She’s a 20-year-old Wattpad writer, who won the Carlos Palanca award for the novel in Filipino in 2015. She has been quoted to the effect that she joined the Palanca literary contest because she “wanted to refute the idea that only garbage comes out of Wattpad.” But she also added that, in writing her 35,000-word novel, Toto-O, which she claims to have written in just one month, she “consciously deviated from her Wattpad writing style, which is looser and more carefree,” and opted to write something that was “medyo malalim” in terms of language.” Also, its plot has nothing to do with young love or heartbreak.

The novel was published in 2016 by JumpMedia. And last year, Maine was accepted by the UP Institute of Creative Writing as a writing fellow for its National Writers Workshop. I met her there, and she told me she was considering saving up to enroll for a Creative Writing degree. I salute her, and I salute the Palanca Awards for giving her the recognition she earned.

Her crossover is proof that the two worlds—the world of pop fiction and the world of hard literature—are not mutually exclusive.

Back in 1999, after retiring from government service, my husband (who, in one of his earlier incarnations, had also been a poet, an essayist , and a journalist), set up a small publishing company that he ran pretty much by himself. He had in mind two lines: information books, and literature. But when he found out how small the print run of most literary titles was, he was shocked. Why, he asked me, would I go to all that trouble and use up all that time to write a novel or a collection of short stories or essays, if only a thousand people were going to read me?

He was determined to publish books that would appeal to larger audiences, and he decided that the way to do that was to produce short, light, nonfiction books, targetting readers in their 20s and 30s; books which would be accessible, without losing their literary quality. Many of the writers he published were first-time authors, like Vlad Gonzalez, Carljoe Javier, Rica Bolipata Santos; but he also published writers who already had something of a name, like Marivi Soliven Blanco, and Luis Katigbak; and award-winning writers like Butch Dalisay, Vince Groyon, and Chris Martinez. The award winners were not averse to trying their hand at writing that would have a more popular appeal.

Milflores books did well in terms of sales. A few did exceptionally well. And some of the Miflores books also won awards, like Rica Bolipata Santos’ “Love, Desire, Children, Etc.,” which won the Madrigal Gonzalez Best First Book Award.

Today, we have Visprint Publishing, which is doing something similar, but on a much larger scale. Some of the writers whom Nida Ramirez publishes are actually academics, like Chuckberry Pascual, Joselito Delos Reyes, and John Jack Wigley. All three have written “hard literature.” All have won awards for their writing. But Nida has chosen to publish their lighter work. Visprint books are small, inexpensive, light, humorous. Nida has also published the speculative fiction of Eliza Victoria and the graphic fiction of Manix Abrera. Actually, none of Visprint’s titles are sleepers. And some have won literary awards too. In fact, in 2015, Visprint received a National Book Award as Publisher of the Year, a prize which goes to the publisher with the biggest number of winning titles for that year.

So Visprint would seem to represent the happy bridge between the commercially successful book and the artistically lauded book, proving, yet again, that these are not incompatible.

In that sense, this is actually a very exciting time for writers. There have never been so many choices available, including what would have been mind-boggling for me and my contemporaries: self-publishing online.

Before making those choices, though, writers need to figure out a few things. First, what kind of books do they want to write? Second, what kind of writers do they want to be, or think they can be? Third, do they mainly want to entertain readers, or to challenge them intellectually, or to influence them politically? Do they want to make as much money as they can? Or do they want to write in the best way they know how? Or do they want to try and do both? And, finally, how do they want their books distributed—by commercial publishers? by academic publishing houses? by themselves, on line and in small expos?

These choices will be determined by what they believe the function of literature is in a country like ours, at the time in which we live, and what role they want to play in it as writers.

Because I am a writer who is also a publisher, I understand the need to be commercially viable. But, as an educator, I also believe that public service is an important responsibility of the publishing industry. And this means recognizing that expanding the market for books is important, not just for bigger profits, but because more educated citizens make more mature citizens—an indispensable element for any experiment in democracy, like ours.

In concrete terms, this means: on the one hand, accepting the level at which most of our reading public is—what it’s willing to read, what it enjoys reading—and, on the other hand, committing at least a part of the resources available to producing books which will upgrade standards and tastes.

Personally, I remain committed to writing in the best way I know how, no matter how small the audience for this kind of writing might be. Because I feel that literature of this sort—“hard literature,” if you will --serves its own purpose.

In another essay, I wrote about this, and perhaps you will allow me to quote from it: “Writers of all generations have tried to define that purpose. But there are periods in our history when it becomes startlingly clear. The period we live in today, in this country, is one of them—one of those periods when events, both natural and man-made, conspire to drain one of all hope that better times lie ahead."

I mentioned the book, "Sonoran Desert Summer," by John Alcock, professor of Zoology at Arizona State University, where he describes June in the desert as "the month of almost no hope for all living creatures, with the temperature at 102 degrees, rainfall at two-tenths of an inch, and a wind that has removed almost every hint of moisture from the desert world."

He calls it "a time for hanging on, enduring, letting the days pass."

And then, he describes how, suddenly… "from the boulders on the still shaded lower slope of Usery Mountain comes a song, the clear, descending trill of a canyon wren. Loud, defiant, and encouraging, it announces a survivor... (The bird) bounds from rock to rock, at perfect ease in its home in the desert.’’

Sometimes I think that this might be the reason we do it, the reason we keep on writing. This is our song, “defiant and encouraging.”

As writers, we all know that we must stay the course, most particularly in bleak times such as those that confront us now. We will not necessarily agree on what we are called upon to do, but we will do it according to our best lights. We will observe, we will record, we will protest. Above all, we will remember. And we will endure.

Cristina Pantoja Hidalgo

*Speech delivered during the Carlos Palanca Memorial Awards, November 8, 2019, at the Manila Peninsula, where the author was Guest of Honor and received the Dangal ng Lahi Award

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