Short Story Press Presents Salvaged Quietude
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This raw, no-holds-barred account discloses new information about the unsolved murder of Tupac: the failed investigation, the rap wars, the killing of Biggie Smalls, the Bloods-Crips connection, and the many possible motives leading to the murder that rocked the music world. Most Polish Jews who survived the Second World War did not go to concentration camps, but were banished by Stalin to the remote prison settlements and Gulags of the Soviet Union. Less than ten percent of Polish Jews came out of the war alive-the largest population of Jews who endured-for whom Soviet exile was the main chance for survival.
Ellen G. With the real estate industry rebounding, there is a renewed interest in investing with a new wave of people entering the market. However, investing in a rental property does not end at finding a good deal. Investing in Rental Properties: Buy, Rent, Sell, Repeat is here to help you with a practical, real-world approach to being a landlord. Get an understanding of how to buy the right properties, maintain your property, and manage your finances. We will give you countless practical ideas for how to implement mindfulness into your daily life - no matter how busy you are.
You will also learn the long-standing Danish tradition of Hygge, which consists of living a cozy, happy life of hospitality, joy, and comfort.
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In this complete pocket guide to a hygge life, make your home a cozy oasis; learn to cook, decorate, and host Danishly; unlock the powers of relaxation and comfort; and make comforting meals using the included hygge recipes. The ultimate bundle for health and fitness.
Combine the power of intermittent fasting and bodyweight training! Two audiobooks in one! Lose weight and supercharge your mental and physical health while getting in the best shape of your life from the comfort of your own home! Reaching a state of ketosis is easy. All you need to do is to limit your net carbohydrate intake to no more than 15 grams per day. While this might sound extreme, the inclusion of a slow cooker into your daily routine will dramatically simplify the process which is why this book includes a wide variety of recipes,.
Three suburban friends had normal and routine lives. The one thing they had to look forward to each week was their wine night. This all changed when one of the women decided to shake things up and brought a mysterious book of spells and magic to their wine night. She had a terrible, wonderful confession.
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She had been using magic to improve her life and it was working. Along the way, the dead are revived, and they fight to return from the prison with them. They bring with them a restlessness, anger, and desperation—depicted with visceral emotion in the figure of Beloved, decades ago. While ghosts of the past trouble the present, magic and ancestral mythology eludes Leonie, a loss that stings deeply. On the Star of the Sea […] she was holding me like the goddess, her arms all the life-giving waters of the world. But, unlike The Odyssey , in which the gods and the supernatural often intervene to help the hero along his journey, Leonie and her children face their journey alone.
Ghosts and supernatural creatures are restricted to imagination and memory in this novel, they cannot intervene. The characters are left to their own devices without hope of supernatural intervention. The ghost story fits into a realistic framework, because Ward places limits around ghostly intervention. These limits allow the reader to question the position of ghosts in relation to the characters.
Are they truly present? Does it even matter when the deeper, larger grief is prevalent in both the living and the dead? In her memoir Men We Reaped , published in , she wrote about the tragic and violent deaths of men in her life, including her own brother. In Sing, Unburied, Sing, Parchman Farm represents collective grief and trauma, as a space where slavery is still alive and well. Like Faulkner resetting time in The Sound and the Fury , Ward blurs time, inserting memories into the present. The past in Parchman Farm is the main catalyst for the story.
Pop relates his experiences there to Jojo in the beginning of the novel, and Jojo is fascinated by this history. But for Pop, a man bearing the burden of imprisonment, saving his grandchildren from similar fates is a primary concern. By invoking Morrison and Faulkner for new readers, Ward excavates not only the suffering of her characters, but also the long tradition of fiction about slavery, fiction that grapples with racial injustice that extends into the present. Often the book relies too much on old symbols. Suffering is a continuous process of engagement with trauma, facing, fighting, and sometimes succumbing to it.
The act of writing and reading such stories also demands that oppressor and oppressed address their positions in an unjust society. Literature and history occupy the same role, as record-keepers of injustice, and of experiences. These records allow us to understand why past and present trauma are ultimately spokes in the same wheel. Nur Nasreen Ibrahim is a television producer by day and writer by night.
Originally from Pakistan, she is based in the United States. Her work has appeared in Specter Magazine, and is forthcoming in Salmagundi Magazine. She graduated from Johns Hopkins University with a masters degree in Writing. The best way to kill a debate is to avoid acknowledging it and comics artists are as guilty as anyone else of prolonging the argument. In , I attended a talk by Art Spiegelman on his September 11 book. He explained his layout methods in detail. It was a good discussion. That was irritating. In , Houghton Mifflin added comics to its Best American series list.
Younger comics writers and artists tend not to defend the seriousness of their vocation. Scott McCloud , the guest editor of the edition of Best American Comics, — the series editor is now Bill Kartalopoulos — is famous for improving the debate. Reinventing Comics , which was published in , was a prescient analysis of how the Internet and the digital world would affect comics readers and creators.
Like the earliest political philosophers, McCloud points out the obvious and makes it sound profound only because no one before him wrote the obvious down. Previous guest editors instructed readers to thumb through the anthologies and choose work that interests them most just as they would browse the shelves in a comics shop. McCloud asks that you read his anthology in order, cover-to-cover, and that you treat it as a critical narrative.
He divides his book into discrete sections, presenting a taxonomy of genres. The book is an argument on the state of comics in the second decade of the 21th century. What makes a great comic great? McCloud summarizes the criteria: Is the story built around quiet everyday events or autobiography? Does it have a dark satiric undercurrent? Is there a complete absence of anything that might remotely remind you of a superhero comic?
Many of the comics McCloud selected from an enormous pile Kartalopoulos gave him follow at least one of the first three and pretty much all of them follow the fourth. A great comic does not have to be sentimental nor simple, but sentimentality and simplicity are not problems for comics.
Originally appeared in Viewotron 2. Copyright c All rights reserved. Crumb portrays himself as a happily married aging pervert and not as a raging Mickey Sabbath.
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Call it dark sentimentality. Originally appeared in Drama. The excerpt from Drama ends with a full-page panel of an empty playground. Ware and Raina Telgemeier understand the eerie power of bold block colors and negative space. They make small emotions huge. Originally appeared in Hip Hop Family Tree.
You may not have to adjust your mood from one comic to the next or one section to the next, but you do have to adjust your eye. Both books are infused with melancholic nostalgia in as much as modern country and hip hop no longer express the joy of emerging subcultures.
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They are staid institutions. And Lasky and Piskor explore that nostalgia by employing the grammar of vintage comics. Lasky borrows from early 20th-century comics strips. His stars achieve iconic status thanks to his careful, simple lines. The panels follow a clear linear trajectory, like the steady beat of a country song. Hip Hop Family Tree is a campy re-rendering of a s de-saturated comic. The motive for each comic is the same, but like the subjects they depict, they belong to separate realms. McCloud asks his readers to notice the ways the comics in his anthology talk to each other.
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They do talk to each other, but they spend more time talking to themselves. With the exception of the work of Gilbert and Jaime Hernandez , not a single character from one comic here could find a home in another. Everyone owns the particularities of their sadness. Her crudely-drawn webcomic describes the wreckage of mental illness, outwardly describing exactly how a depressive feels herself and the world around her. And that should be enough. Why do we accept dark sentimentality from our comics but not from our novels? The modern novel is made up of words printed in a uniform font, but the comic is made up of drawings, clearly the work of another human being, the closest thing our culture still has to handwritten letters.
Even a computer drawing that you read on a laptop is connected to an organic body, in the sense that you can acknowledge the presence of a human hand on a mouse or a digital pen. When you read a comic, you are accepting a direct message from one singular honest soul. Your hand touches theirs.
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That soul can be strange. That soul can be sick. And it can also be oh-so earnest…. Born in in Srinagar, Sajad spent his formative years in Kashmir at the time of curfews and crackdowns, an experience documented in Munnu.
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This tumult was the result of the continuing political and cultural crisis that followed Partition, with both Pakistan and India claiming the Kashmir valley and thus dividing its citizens — some claim that Kashmir belongs to one of the two nations, while others demand its independence. And she said, What do you mean? There must be some eggs — what do you mean nothing? About an hour later we saw this procession of a half-dozen people coming up from the village, bringing food.
But, he said, when we heard it was a Muslim family we had to bring food. In Munnu , Sajad negotiates the private identity with the public crisis that has gripped the valley. In the monochromatic tiles and anthropomorphism of Munnu , Sajad is unsettlingly blunt about the brutality of army personnel in Srinagar, doing away with the idealism that mars debates in suburban Indian homes, often shaped by news channels, where sensationalists run amok, and Bollywood, which would rather engage in melodrama and merrymaking, and delegate the realism to its estranged cousin, the Parallel Cinema.
Both these media are ridiculed in a single speech balloon. Spiegelman assigns an anthropomorphic quality to every nationality: the canine Americans, the porcine Poles. The sentimentality in such a choice is difficult to overlook. Sajad remains steadfast in his Hangul identity, never flitting between species. It is not as much of an afterthought as an addendum. The prosperity of the valley as it thrived upon the Silk Route is on full display on the left supplemented by words from Abhinavagupta and Sheikh Noor-ud-din Noorani. On the right, the famous declaration of love by Amir Khusrau is cruelly borrowed first by the Mughals, then the Afghans, and then the Sikhs.
However it would be elementary to homogenize their experiences, just as it is elementary to conflate together the experiences of the North-East Indian states, Kashmir with Assam or Nagaland the Naga experience, specifically, documented by Temsula Ao in These Hills Called Home and Laburnum for My Head. The tools Sajad uses to contain his experiences into tiles is inspired partly by observing his father who etched patterns into wood and metal. Whilst Spiegelman conforms with an inky aesthetic with a consistent cross-hatching, and Satrapi a monolithic chiaroscuro, it seems that individual lines never crossing paths might as well have been a recreation of the texture of un-veneered wood.
The Hanguls are as angular as matchsticks or the faces Munnu carves into pieces of chalk and fashions out of nibs of pencils to impress his schoolmates. Although the Laxman jab might have been a little foolhardy, Sajad has produced a probing visual memoir that translates anger and shame, perhaps incites it, too. More importantly, it delights with its recklessness; the strokes, sometimes practiced like an established language system as rich as Urdu, sometimes unshackled, flip the bird to censors. There was the fatwa against Salman Rushdie.
Arundhati Roy too is a guest at the party. It is noteworthy that all this subjugation is for pieces of what we call fiction. Munnu is a revelatory testimony, resplendent with observation and direct, uninhibited interrogation of a state that makes Munnu a citizen of war who cannot meekly submit and cannot wildly revolt and must therefore compromise for a state somewhere in-between, a state that has characterized his own nation. Thou are the thing itself; unaccommodated man is no more but such a poor, bare, forked animal as thou art.
The dilemma of the likable character. We are taught as fledgling writers that our characters need to be complex but also sympathetic. But have we as a reading public become too soft, too politically correct, insisting that the character be accessible, understandable — gasp, a nice guy?
Do we make the same demands with the classics as we do contemporary works? Or that his obsession with the whale be something that can be fixed in a twelve-step program? First, an anecdote. Many years ago I attended a weekend workshop taught by Robert Stone. Over half the class was male, and many of them had traveled the country with a heavy stack of his novels in order to have them signed.