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1. The real world of Jonathan Strange and Mr Norrell

Some reviewers of the first episodes of the current BBC1 adaptation have dismissed it is over-blown fantasy, even childish, yet Clarke’s characters are only once removed from the very real magical world of early nineteenth-century England. What few readers or viewers realise is that there were magicians similar to Strange and Norrell at the time: there really were 'Friends of English Magic', to whom the novel’s Mr Segundus appealed in a letter to The Times.

The post The real world of Jonathan Strange and Mr Norrell appeared first on OUPblog.

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2. Moving Beyond Despair in The Lucifer and the Biscuit Hammer

Over the past couple months I’ve looked at both of Satoshi Mizukami’s works that are available in English, Spirit Circle and Hoshi no Samidare: The Lucifer and the Biscuit Hammer, and my feelings on Biscuit Hammer were rather lukewarm. I felt like Spirit Circle improved on all of the problems I had with the story but that was expected, ... Read more

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3. The School for Scandal on the Georgian stage

Richard Brinsley Sheridan’s comic masterpiece 'The School for Scandal' premiered at the Theatre Royal, Drury Lane in May 1777. The play was an immediate success earning Drury Lane, which Sheridan owned and managed an enormous amount of money. 'The School for Scandal' explores a fashionable society at once addicted to gossip and yet fearful of exposure. Jokes are had at the expense of aging husbands, the socially inexpert, and, most of all, the falsely sentimental.

The post The School for Scandal on the Georgian stage appeared first on OUPblog.

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4. Is Broadchurch a classic crime drama?

January saw the critically acclaimed and award winning Broadchurch return to our TV screens for a second series. There was a publicity blackout in an attempt to prevent spoilers or leaks; TV critics were not sent the usual preview DVDs. The opening episode sees Joe Miller plead not guilty to the murder of Danny Latimer, a shock as the previous season’s finale ended with his admission of guilt. The change of plea means that the programme shifts from police procedural to courtroom drama – both staples of the TV schedules. Witnesses have to give evidence, new information is revealed through cross-examination, and old scores settled by witnesses and barristers.

The post Is Broadchurch a classic crime drama? appeared first on OUPblog.

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5. Wolf Hall: count up the bodies

Historians should be banned from watching movies or TV set in their area of expertise. We usually bore and irritate friends and family with pedantic interjections about minor factual errors and chronological mix-ups. With Hilary Mantel’s novels Wolf Hall and Bring Up the Bodies, and the sumptuous BBC series based on them, this pleasure is denied us. The series is as ferociously well researched as it is superbly acted and directed. Cranmer probably didn’t have a beard in 1533, but, honestly, that’s about the best I can do.

The post Wolf Hall: count up the bodies appeared first on OUPblog.

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6. Book Review: Spring Awakening by Frank Wedekind

 Title:  Spring Awakening (Original German title: Frühlings Erwache)
Author:  Frank Wedekind, translated by Francis J. Ziegler
Series:   N/A
Published:    Feb 2012 by Methuen Drama. Written 1890-1. First performed 1906.
Length:  192 pages
Warnings: rape, suicide, child abuse, and abortion
Source: Project Gutenberg
Summary from Student edition:  Wedekind's notorious play Spring Awakening influenced a whole trend of modern drama and remains relevant to today's society, exploring the oppression and rebellion of adolescents among draconian parents and morals. This seminal work looks at the conflict between repressive adulthood and teenage sexual longings in a provincial German town. Highly controversial and with themes of sexuality, social attitudes and adolescence, the play is a popular and provocative text for study, especially at undergraduate level. 

Review: Late 1800s Germany.  Schoolboys and girls discover sexuality. It really does not go well. Among other things, Wedla Bergmann does not understand how babies are made, Moritz Stiefl is tormented by erotic dreams, and Melchior Gabor, having read about sex, now believes in nothing. In a series of scenes, we follow the teens as they try to navigate growing up.
You may have heard of the rock musical that got adapted from this play. It’s the controversial one that deals with rape, suicide, child abuse, and abortion.  When the play first came out in 1906, it was criticised for sexuality, puberty, and homosexuality as well, but to be honest, that’s the least of everyone’s problems. As someone who quite enjoyed the musical and enjoys reading/seeing source material, I knew I’d have to read it someday.
I felt that some characters were quite underdeveloped. Martha’s story is only mentioned in passing, most girls don’t get any characterisation beyond fancying Melchior, and I didn’t really care for what happened to the boys other than Melchior and Moritz. We do get good characterisation for the three main characters, and we did get to know what some people were thinking in detail (see next paragraph). It could have been better though.
Giant monologues. Ugh.  I know monologues are a standard part of drama, and I don’t mind a couple. But they seem to drag on and on and on, Hanschen’s “have you prayed tonight, Desdemona” one in particular, and if I were seeing this live, I would probably want the actors to just be quiet.
The plot is mostly driven by subtle indications of what’s happening. There are not that many stage directions, and if I didn’t know the story from the musical, I’d have had to reread quite a few scenes to make sure I understood what was going on.
What I really like about this play is that while it was written to criticise the repression of the 1800s, despite 120 years passing, it’s still relevant today:  the young people are unprepared for life due to the inadequacy of adults. There’s a scene after Moritz dies in which the teachers are going to start discussing what to do about his death, but then they spend ages arguing over what window should be opened, which is the clearest example of adults failing to care for young people, a theme also seen when Wedla’s mother does not tell her about conception until it’s too late.  The young people are victims of the society that forces academic knowledge on them (if they’re boys), does not tell them about life (for almost everyone) and leaves them to discover it on their own, which leads to tragedy.

Overall:  Strength 3 tea to a tragedy that showcases perfectly what happens when sex-ed fails.
Links: Amazon Goodreads 


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7. Spirit Circle Manga Review

Title: Spirit Circle Genre: Adventure, Fantasy, Publisher: Shonen Gahosha (JP), Viz Media (US) Story/Artist: Satoshi Mizukami Serialized in: Young King Comics (33 out of 33 chapters reviewed) Fuuta Okeya lives a normal life and has gotten to his second year of middle school without incident, although he can see some spirits including the one following his new classmate, ... Read more

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8. Who are the forgotten Shakespearean actors?

Stanley Wells’ latest book, Great Shakespeare Actors, offers a series of beautifully written, illuminating, and entertaining accounts of many of the most famous stage performers of Shakespeare from his time to ours. In a video interview, Wells revealed some of the ‘lesser’ remembered actors of the past he would have loved to have seen perform live on stage. The edited transcript below offers an insight into three of these great Shakespeare actors.

The post Who are the forgotten Shakespearean actors? appeared first on OUPblog.

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9. Review: Written in the Stars by Aisha Saeed

May Contain Spoilers

Review:

Written in the Stars is an emotionally compelling story, and man, did it make me angry!  To think that there are still cultures that value the lives and dreams of girls so little that they would sell them into marriage when they are still basically children makes me so frustrated for the future of all of us.  The protagonist Naila is a hard-working honor student with one goal in life – going to med school and becoming a doctor.  When she lies to her parents and sneaks off to prom, she’s punished in the most demeaning way.  She’s taken to Pakistan, lied to by her parents, and married off against her will.  Good-bye, intelligent, science-minded young woman. You are going to be a cloistered housewife for the rest of your life, and all of those endless possibilities that were once open to you?  Gone.  All of those people your medical skills could have saved?  Nope, your parents thought being barefoot and pregnant at seventeen was a more worthy pursuit for your keen mind.  Sigh.

Naila’s always been an obedient child, but when she enters her senior year in high school, she and Saif, also of Pakistani descent, can no longer deny their feelings for each other.  Saif’s sister, however, brought shame on their family by marrying an American, and Naila’s parents and their friends won’t have anything to do with the family anymore.  They gossip mercilessly about them, and no longer invite them for parties or gatherings.  Saif’s parents, they whisper to each other, did a terrible job raising them, and both Saif and his sister are disgraceful.  Naila must keep her feelings for Saif a secret.  She knows her parents would never understand or approve of her feelings for him, so their relationship is confined within the school walls.  Naila is just waiting to graduate, so that she can get out of her parents house, move into the dorm on campus, and have a little bit of freedom with she studies to be a doctor.

Her world shatters when she’s caught with Saif at senior prom.  Her parents promptly book the next plane to Pakistan, not even allowing her to attend her graduation.  Once at her uncle’s home, she starts to think that things will be okay.  Her parents are happy being back home with their families, and Naila is enjoying getting to know her cousins and her aunts and uncles.  She’s annoyed with all of the gatherings her mother keeps dragging her to, expecting her to dress up and answer bewildering questions about herself. After a month, it  all gets very tiring, and she just wants to get back to Florida so she can attend orientation.

Then she learns, to her horror, that her parents are searching for a husband for her.  She’s basically trapped, and has no one to turn to.  Her parents have taken her visa, her passport, and her spending money.  She’s in a rural village, and has no way to get to the airport.  Her parents are suddenly strangers to her, and she despairs at ever going back home to Florida.

Written in the Stars is hard to put down.  Naila’s narrative is so engaging that you don’t want to leave her world, as hopeless as it is at times.  She’s an intelligent young woman, though, and she doesn’t give up hope of getting the future she dreams of.  Just when she thinks she’s out of options, a new door opens, if only she has the courage to step through it. 

The details of life in rural Pakistan are colorful and vivid. The reader explores Naila’s  fascinating new world with her, and her daily activities come to life.  Most compelling, I think, is how powerless and how inconsequential she was to her family.  Her parents really thought they were doing what was best for her, but I had a very hard time understanding them, especially her father, who had to give up his own dreams of becoming a doctor to run the family dry cleaning business.  Family honor is of utmost importance, but being an American, the concept of doing everything your parents tell you, even into adulthood, is incomprehensible to me.   Though Written in the Stars ends on an upbeat note, it’s sobering to think of all of the girls in situations where there is no happily ever after.

Grade:  B+/A-

Review copy borrowed from my local library

From Amazon:

This heart-wrenching novel explores what it is like to be thrust into an unwanted marriage. Has Naila’s fate been written in the stars? Or can she still make her own destiny?

Naila’s conservative immigrant parents have always said the same thing: She may choose what to study, how to wear her hair, and what to be when she grows up—but they will choose her husband. Following their cultural tradition, they will plan an arranged marriage for her. And until then, dating—even friendship with a boy—is forbidden. When Naila breaks their rule by falling in love with Saif, her parents are livid. Convinced she has forgotten who she truly is, they travel to Pakistan to visit relatives and explore their roots. But Naila’s vacation turns into a nightmare when she learns that plans have changed—her parents have found her a husband and they want her to marry him, now! Despite her greatest efforts, Naila is aghast to find herself cut off from everything and everyone she once knew. Her only hope of escape is Saif . . . if he can find her before it’s too late.

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10. Win Rumble by Ellen Hopkins!

This morning I have a giveaway for Ellen Hopkins’ latest release RUMBLE.  Check out the blurb and enter to win a copy!

 

Can an atheist be saved? The New York Times bestselling author of Crank and Tricks explores the highly charged landscapes of faith and forgiveness with brilliant sensitivity and emotional resonance.

“There is no God, no benevolent ruler of the earth, no omnipotent grand poobah of countless universes. Because if there was…my little brother would still be fishing or playing basketball instead of fertilizing cemetery vegetation.”
Matthew Turner doesn’t have faith in anything.

Not in family—his is a shambles after his younger brother was bullied into suicide. Not in so-called friends who turn their backs when things get tough. Not in some all-powerful creator who lets too much bad stuff happen. And certainly not in some “It Gets Better” psychobabble.

No matter what his girlfriend Hayden says about faith and forgiveness, there’s no way Matt’s letting go of blame. He’s decided to “live large and go out with a huge bang,” and whatever happens happens. But when a horrific event plunges Matt into a dark, silent place, he hears a rumble…a rumble that wakes him up, calling everything he’s ever disbelieved into question.

About Ellen Hopkins:

Ellen Hopkins is the #1 New York Times bestselling author of Crank, Burned, Impulse, Glass, Identical, Tricks, Fallout, Perfect, Tilt, and Smoke, as well as the adult novels Triangles and Collateral. She has helped to shape the literary landscape with more than 4.5 million copies in print. Successfully combining her two passions—writing poetry and writing fiction—her compelling novels told in free verse expose and examine the struggles facing today’s youth. Ellen lives with her family in Carson City, Nevada, where she founded Ventana Sierra, a nonprofit youth housing and resource initiative designed to help highly motivated young people build solid career paths toward a more positive future. Rumble is her latest book. Visit her at www.EllenHopkins.com or go to www.VentanaSierra.org.

US addresses only, please.

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The post Win Rumble by Ellen Hopkins! appeared first on Manga Maniac Cafe.

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11. Calll for Submissions: Weave Magazine


Weave Magazine is now open for submissions through May 31, 2015. We are a print publication dedicated to promoting cultural diversity, accepting the best works of literary fiction, creative nonfiction, poetry, drama, and visual art that transfix, transport, and inspire. Currently, we are seeking more submissions for the genres listed below. More information about how to submit can be found on our submissions page.  
 
Deadline: May 31, 2015  
 
Poetry: 3-5 poems
Flash Fiction: 1-3 stories, each 1000 words or less
Fiction: 3,000 words or less
Nonfiction: 3,000 words or less
Drama: less than 4,000 words
Reviews: 500-800 words
Comics/Illustrations/Visual Essays/Stories/Poems: Black and white only
 
 
More about Weave at our website.

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12. Writing Competition: The Great Plains Emerging Writer Prize

The Great Plains Emerging Writer Prize, sponsored the Great Plains Writers’ Conference at South Dakota State University, is given annually to a writer of the Great Plains region who has not yet published a book, but whose work and career shows exceptional promise. The winner will receive a $1000 honorarium and a featured reading at the conference in Brookings, SD in March, 2015, as well as land travel and lodging.

Submissions open October 1, 2014. Postmark deadline December 1, 2014. All genres open; include a maximum of 15 pages of poetry or hybrid-genre work, or a maximum of 20 pages of fiction, nonfiction, drama, or screenplay. Work submitted may be previously published, but must be stripped of all information identifying the author or the venue. Judging will be blind. Entry fee $15. 

The Great Plains region is broadly defined as reaching from western Minnesota to eastern Montana and from the Canadian border to central Oklahoma. We consider writers to be “of” this region if they have resided here more than three years or have a demonstrable historical link to the region (e.g., you grew up here and moved away). Please state your relationship to the region in your cover letter.

For full guidelines visit our website.

Submit electronically here.

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13. The Collective Experiences That Become a Drama

What would I do if I did not tell my stories? I might be “asleep” in life.  But even in sleep my stories dance in my mind. They wait. They hear my “voice.” That “voice” is a part of them. Where soul and chance meet, in their midst are cinematic images. They must be given an account in […]

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14. Call for Submissions: A Common Thread

A Common Thread, an online literary journal run by undergraduate students at Valparaiso University (Indiana) is currently seeking submissions for its 2nd issue on the theme of "scars." 

Genres include poetry, fiction/ flash fiction, artwork/photography/comics, drama/screenplay, and creative nonfiction/flash creative nonfiction. 

Please see our website for more information and guidelines. Submissions deadline is December 1.

 Submissions portal.

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15. Illuminating the drama of DNA: creating a stage for inquiry

Many bioethical challenges surround the promise of genomic technology and the power of genomic information — providing a rich context for critically exploring underlying bioethical traditions and foundations, as well as the practice of multidisciplinary advisory committees and collaborations. Controversial issues abound that call into question the core values and assumptions inherent in bioethics analysis and thus necessitates interprofessional inquiry. Consequently, the teaching of genomics and contemporary bioethics provides an opportunity to re-examine our disciplines’ underpinnings by casting light on the implications of genomics with novel approaches to address thorny issues — such as determining whether, what, to whom, when, and how genomic information, including “incidental” findings, should be discovered and disclosed to individuals and their families, and whose voice matters in making these determinations particularly when children are involved.

One creative approach we developed is narrative genomics using drama with provocative characters and dialogue as an interdisciplinary pedagogical approach to bring to life the diverse voices, varied contexts, and complex processes that encompass the nascent field of genomics as it evolves from research to clinical practice. This creative educational technique focuses on inherent challenges currently posed by the comprehensive interrogation and analysis of DNA through sequencing the human genome with next generation technologies and illuminates bioethical issues, providing a stage to reflect on the controversies together, and temper the sometimes contentious debates that ensue.

As a bioethics teaching method, narrative genomics highlights the breadth of individuals affected by next-gen technologies — the conversations among professionals and families — bringing to life the spectrum of emotions and challenges that envelope genomics. Recent controversies over genomic sequencing in children and consent issues have brought fundamental ethical theses to the stage to be re-examined, further fueling our belief in drama as an interdisciplinary pedagogical approach to explore how society evaluates, processes, and shares genomic information that may implicate future generations. With a mutual interest in enhancing dialogue and understanding about the multi-faceted implications raised by generating and sharing vast amounts of genomic information, and with diverse backgrounds in bioethics, policy, psychology, genetics, law, health humanities, and neuroscience, we have been collaboratively weaving dramatic narratives to enhance the bioethics educational experience within varied professional contexts and a wide range of academic levels to foster interprofessionalism.

1024px-A-DNA,_B-DNA_and_Z-DNA
From left to right, the structures of A-, B-, and Z-DNA by Zephyris (Richard Wheeler). CC-BY-SA-3.0 from Wikimedia Commons.

Dramatizations of fictionalized individual, familial, and professional relationships that surround the ethical landscape of genomics create the potential to stimulate bioethical reflection and new perceptions amongst “actors” and the audience, sparking the moral imagination through the lens of others. By casting light on all “the storytellers” and the complexity of implications inherent with this powerful technology, dramatic narratives create vivid scenarios through which to imagine the challenges faced on the genomic path ahead, critique the application of bioethical traditions in context, and re-imagine alternative paradigms.

Building upon the legacy of using case vignettes as a clinical teaching modality, and inspired by “readers’ theater”, “narrative medicine,” and “narrative ethics” as approaches that helped us expand the analyses to implications of genomic technologies, our experience suggests similar value for bioethics education within the translational research and public policy domain. While drama has often been utilized in academic and medical settings to facilitate empathy and spotlight ethical and legal controversies such as end-of-life issues and health law, to date there appears to be few dramatizations focusing on next-generation sequencing (NGS) in genomic research and medicine.

We initially collaborated on the creation of a short vignette play in the context of genomic research and the informed consent process that was performed at the NHGRI-ELSI Congress by a geneticist, genetic counselor, bioethicists, and other conference attendees. The response by “actors” and audience fueled us to write many more plays of varying lengths on different ethical and genomic issues, as well as to explore the dialogues of existing theater with genetic and genomic themes — all to be presented and reflected upon by interdisciplinary professionals in the bioethics and genomics community at professional society meetings and academic medical institutions nationally and internationally.

Because narrative genomics is a pedagogical approach intended to facilitate discourse, as well as provide reflection on the interrelatedness of the cross-disciplinary issues posed, we ground our genomic plays in current scholarship and ensure that it is accurate scientifically as well as provide extensive references and pose focused bioethics questions which can complement and enhance the classroom experience.

In a similar vein, bioethical controversies can also be brought to life with this approach where bioethics reaching incorporates dramatizations and excerpts from existing theatrical narratives, whether to highlight bioethics issues thematically, or to illuminate the historical path to the genomics revolution and other medical innovations from an ethical perspective.

Varying iterations of these dramatic narratives have been experienced (read, enacted, witnessed) by bioethicists, policy makers, geneticists, genetic counselors, other healthcare professionals, basic scientists, bioethicists, lawyers, patient advocates, and students to enhance insight and facilitate interdisciplinary and interprofessional dialogue.

Dramatizations embedded in genomic narratives illuminate the human dimensions and complexity of interactions among family members, medical professionals, and others in the scientific community. By facilitating discourse and raising more questions than answers on difficult issues, narrative genomics links the promise and concerns of next-gen technologies with a creative bioethics pedagogical approach for learning from one another.

Heading image: Andrzej Joachimiak and colleagues at Argonne’s Midwest Center for Structural Genomics deposited the consortium’s 1,000th protein structure into the Protein Data Bank. CC-BY-SA-2.0 via Wikimedia Commons.

The post Illuminating the drama of DNA: creating a stage for inquiry appeared first on OUPblog.

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16. Guest Post and Giveaway: Jenny Colgan, Author of Christmas at the Cupcake Cafe

This morning, Jenny Colgan shares Issy’s must haves for the kitchen.  Be sure to enter the giveaway for a chance to win a digital copy of Christmas at the Cupcake Café!

Issy’s Top 5 must haves:

*A good mixer. Kenwood, the British brand is the best: they also come in gorgeous colours!

*a cooling rack. You need to get air under your cakes to finish baking them properly when they’re out the oven!

*a measuring jug. Sometimes you don’t even need to get the scales out if you can approximate from the jug and it’s an easy cake!

* a skewer to poke in and see if your cake is done

* springform cake tins. These are the ones with the bottoms that come out. If you’re clumsy like me, they’re a godsend!

 

Christmas at the Cupcake Café

Cupcake Café # 2

By: Jenny Colgan

Releasing October 14th, 2014

William Morrow

Issy Randall, proud owner of The Cupcake Cafe, is in love and couldn’t be happier. Her new business is thriving and she is surrounded by close friends, even if her cupcake colleagues Pearl and Caroline don’t seem quite as upbeat about the upcoming season of snow and merriment. But when her boyfriend Austin is scouted for a possible move to New York, Issy is forced to face up to the prospect of a long-distance romance. And when the Christmas rush at the cafe – with its increased demand for her delectable creations – begins to take its toll, Issy has to decide what she holds most dear.

This December, Issy will have to rely on all her reserves of courage, good nature and cinnamon, to make sure everyone has a merry Christmas, one way or another. . .

Indulge yourself and your sweet-toothed friends with Jenny Colgan’s new novel, simply bursting with Christmas cupcake recipes and seasonal sugar-fuelled fun.

Link to Follow Tour: http://www.tastybooktours.com/2014/09/christmas-at-cupcake-cafe-cupcake-cafe.html

Goodreads Link: https://www.goodreads.com/book/show/13596423-christmas-at-the-cupcake-caf?ac=1

Buy Links

Amazon: http://www.amazon.com/Christmas-at-Cupcake-Cafe-Novel-ebook/dp/B00K53EH56/ref=tmm_kin_swatch_0?_encoding=UTF8&sr=8-1&qid=1410452461

B&N: http://www.barnesandnoble.com/w/christmas-at-the-cupcake-cafe-jenny-colgan/1113460040?ean=9780062371188

iTunes: https://itunes.apple.com/gb/book/christmas-at-the-cupcake-cafe/id524415333?mt=11

Kobo: http://store.kobobooks.com/en-US/ebook/christmas-at-the-cupcake-cafe-1/zhaR2ygNd0ie4dITpEBkPA

Author Info

Jenny Colgan is the author of numerous bestselling novels, including Christmas at the Cupcake Café and The Loveliest Chocolate Shop in Paris, which are also published by Sphere. Meet Me at the Cupcake Café won the 2012 Melissa Nathan Award for Comedy Romance and was a Sunday Times Top Ten bestseller, as was Welcome to Rosie Hopkins’ Sweetshop of Dreams, which won the RNA Romantic Novel of the Year Award 2013. Jenny is married with three children and lives in London and France.

Author Links

Website: http://www.jennycolgan.com/
Facebook: http://www.facebook.com/jennycolganbooks
Twitter: http://www.twitter.com/JennyColgan
Goodreads: https://www.goodreads.com/author/show/39272.Jenny_Colgan

Rafflecopter Giveaway (2 e-copies of CHRISTMAS AT THE CUPCAKE CAFE)

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The post Guest Post and Giveaway: Jenny Colgan, Author of Christmas at the Cupcake Cafe appeared first on Manga Maniac Cafe.

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17. Guest Post and Giveaway: Robin Talley, Author of Lies We Tell Ourselves

 

Robin Talley hijacked the virtual dashboard this morning to chat about her research for Lies We Tell Ourselves.

Top 5 most surprising facts I learned while conducting research for Lies We Tell Ourselves:

I had to do a lot of research to write Lies We Tell Ourselves.

Since the story follows the relationship between a black girl and a white girl during the Virginia school integration crisis in 1959, I read memoirs, oral histories, and news articles about the desegregation process, trying to learn everything I could about what life was like for the students on the front lines of the battle.

But I also needed to know more run-of-the-mill facts about life for high school students in the late 1950s. So I spent a lot of time pouring over vintage yearbooks and reading up on day-to-day life at the time.

Here are a few eyebrow-raising tidbits about life in the 1950s:

1. You didn’t wash your hair every day.

Today’s routine of showering and shampooing daily would’ve sounded crazy in 1959. How often teenage girls actually washed their hair varied, but this vintage hair-care video suggests washing “with a mild soap” every two weeks:

By the way, in 1959, you basically had one hairstyle option if you were a teenage girl. Long hair and straight hair were both unthinkable. Your hair didn’t fall past your chin, and it was curly, and that was that. If your hair wasn’t naturally curly, you got a perm or you set it up in rollers every night. Presumably using the time you saved by only washing it every two weeks.

2. School dress codes were no joke.

No one ever wore jeans to school. Boys would wear khakis with belts and solid-colored Oxford shirts with socks to match. Girls, meanwhile, would never think of wearing pants to school at all. Everyone wore loafers, saddle shoes, or flats, since high heels were forbidden, except for dances. Skirts were long ? well below the knee ? and tights hadn’t been invented yet, so to stay warm in the winter, you either wore knee socks or you just shivered. This yearbook photo shows girls wearing thick coats over bare legs ? and somehow smiling in spite of it.

3. Relationships were no joke, either.

The rules for dating and romance were formal for high school students in the fifties. Boys asked girls on dates ? never the other way around, except for Sadie Hawkins dances ? and, after a sufficient number of outings to movies or football games, a boy might ask a girl to go steady. To do this, he’d give her something of his to wear ? an identity bracelet, a class ring, a football pin, a letter sweater ? and whatever it was, she’d wear that thing every day of her life until they broke up. Going-steady couples walked down the school hallways together with the boys carrying the girls’ books. My mother told me about a trend she remembered where girls would wear blouses that had loops of fabric at the back of the collar. She remembered one going-steady couple at her school who walked down the hall together with the boy’s finger looped through the fabric at the back of her blouse collar. It sounds like nothing short of a leash.

4. Double standards for girls were the norm.

As I mentioned up in #3, the decision of who dated whom and who went steady with whom was almost entirely up to boys ? they were the only ones who could suggest a date or a relationship. After that, though, it was up to girls to keep the boys in check. It was considered normal for boys to want to hook up, but girls were supposed to stop them, or else. Even if you were going steady, girls were still supposed to rein their boyfriends in when they got “carried away.” A girl who kissed on a first date was “easy.” So was a girl who wore a skirt that was deemed too tight. My aunt told me about one classmate she remembered who was known for routinely too far with boys ? meaning she and the boys she dated would engage in extended kissing sessions. The other girls at their school referred to this girl in whispered voices as a “make out.”

5. Air raid drills were part of life.

The 1950s were near the height of the Cold War. During classes, it was routine for a practice air-raid siren to go off. Students were expected to duck down under their desks or go out into the hallway and kneel against the wall with their arms over their heads. These tactics wouldn’t have helped in the slightest if there had been an actual nuclear attack, of course ? nuclear weapons do far too much damage for it to make a difference what position you’re in ? but they did a great job of freaking out the students who went through the drills, and of reminding them of the Communist threat that loomed over everyone’s heads.

About the book:

In 1959 Virginia, the lives of two girls on opposite sides of the battle for civil rights will be changed forever. 

Sarah Dunbar is one of the first black students to attend the previously all-white Jefferson High School. An honors student at her old school, she is put into remedial classes, spit on and tormented daily. 

Linda Hairston is the daughter of one of the town’s most vocal opponents of school integration. She has been taught all her life that the races should be kept “separate but equal.” 

Forced to work together on a school project, Sarah and Linda must confront harsh truths about race, power and how they really feel about one another. 

Boldly realistic and emotionally compelling, Lies We Tell Ourselves is a brave and stunning novel about finding truth amid the lies, and finding your voice even when others are determined to silence it.

US addresses only, please

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The post Guest Post and Giveaway: Robin Talley, Author of Lies We Tell Ourselves appeared first on Manga Maniac Cafe.

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18. Our Favorite Books: Drama by Raina Telgemeier

     December 1.  The year is winding down.  While to some December means end-of-the-year holidays and cold weather, to me it means the arrival of  "Best of the Year" booklists.  I pore over them the way I used to study the old Sears Christmas catalogs, agreeing with some selections, shaking my head over others and marking those still to be read. The Teaching Authors don't think the reviewers at Publisher's Weekly and School Library Journal should have all the fun.  In the next couple of weeks we will be discussing our own favorites reads of 2014, whether they were published this year or not.

     In fact, my favorite read of the year, the graphic novel Drama by Raina Telgemeier, was published in 2012. Telgemeier also published this year, Sisters, which is every bit as good as Drama.  However, Drama first caught my eye because it is about a subject close to my heart...a middle school drama club.  Having been a middle school (and high school) drama club director for many years, I wanted to see how close the book came to my own experience.

     Telegemeier not only nailed the excitement of producing drama on stage, but all the little "dramas" that go on every day in middle school.  Callie, the main character, can't sing or act well enough to perform on stage in the school musical, but she loves theater so much she is thrilled to design and build the sets. The characters are not the school "cool" kids but the "stage rats," kids besotted by the world of theater.  One detail that the author captured perfectly is the ability of these junior actors to accept each other unconditionally.  Nothing really mattered except whether or not a person could perform their assigned task, onstage or off.

     Telgemeier is also the author of Smile, a graphic novel of living though orthodontia. Smile is geared for an elementary audience getting their first braces. Drama is most definitely for an older reader, sixth grade and up.  My review for Drama?  Standing ovation, all the way!

posted by Mary Ann Rodman

0 Comments on Our Favorite Books: Drama by Raina Telgemeier as of 12/1/2014 11:29:00 AM
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19. Call for Submissions: Fairy Tale Review

Submissions are now being accepted for the twelfth annual issue, The Ochre Issue, of Fairy Tale Review. The Ochre Issue has no particular theme—simply send your best fairy-tale work along the spectrum of mainstream to experimental, fabulist to realist. 

We accept fiction, nonfiction, drama, and poetry, in English or in translation to English, along with scholarly, hybrid, and illustrated works (comics, black-line drawings, etc.).

The reading period will remain open until the issue is full—we predict closing it sometime in late spring or early summer. 

For full guidelines, visit our website.

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20. Call for Plays and Screenplays: JustA Theater & Production Company

JustA Theater & Production Company is a new Los Angeles-based company dedicated to fostering and employing diverse and emerging writers and actors.

We are seeking original work for our inaugural 2015 season: three staged play productions and two short films.

We would like to reach out to students in your prestigious program for play and short screenplay submissions. Our starting stipend for writers is $150.

Here are our submission guidelines:

Characters should primarily range between the ages of 15 and 30.

At least two characters must be women.

Diverse themes and characters are encouraged.

We welcome scripts of varied genres. Feel free to submit plays with elements of absurdism or magic-realism, as well as plays rooted in realism.

Staged plays should not exceed 115 pages total.

Screenplays should not exceed 15 pages.

Please submit the first 15 pages of your piece to:

infoATjustatheaterDOTcom (Change AT to @ and DOT to . )
.
For more information, visit our website.

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21. Writing Competition: riverSedge

riverSedge is a journal of art and literature with an understanding of its place in the nation in south Texas on the border . Its name reflects our specific river edge with an openness to publish writers who use English, Tex-Mex, and Spanish and also the edges shared by all the best contemporary writing and art. 

Submit here.

General Submissions/Contest Guidelines


Deadline to Submit is 3/1/15

$5 submission fee in all genres (except book reviews)

3 prizes of $300 will be awarded in poetry, prose, and art. All entries are eligible for contest prizes. Dramatic scripts and graphic literature will be judged as prose.


Multiple submissions are welcome in all genres. Each submission should be submitted as a separate entry. In other words, do not send two or more entries as one document.


Previously unpublished work only. Self-published work (in print and/or on the web) is not eligible.


Simultaneous submissions are welcome, but please notify us of acceptance elsewhere as soon as possible.


Submissions in English, Spanish and anything in between are welcome.


Current staff, faculty, and students affiliated with UT-Pan American, UT-Brownsville, or South Texas College are not eligible to submit original work to riverSedge.

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22. Review: We Were Liars by E Lockhart

 

May Contain Spoilers

Review:

Wow! This is a hard book to review, because it’s so important for the reader to go in blind, or it won’t work.  The slow unfolding of Cady’s forgotten memory, like a languid summer day, is suspenseful and engrossing.  I started reading They Were Liars without even reading the blurb, and I’m glad I didn’t.  Knowing too much going in spoils the mystery of Cady’s lost summer, so I hadn’t even read any reviews for the book.  I hate spoilers!

I’ll give you a general overview of the story, with no spoilers, and try to tell you how I felt about it without ruining the read for you.  Deep breath – here we go!

Cady spends her summers on Beechwood, the family island.  Her grandparents, and each of their three daughters, have a house there, and Cady’s summer days are spent swimming, hanging out with her cousins, and enjoying the closeness of her extended family.  Everything seems so idyllic to her, until she turns fifteen.  Then her life slowly starts to unravel; her father leaves her and her mother, moving to Colorado with another woman.  Because her family doesn’t believe in actually expressing your feelings, her mother works out her hurt and grief by erasing every trace of Cady’s father from their life.  Their old furniture is given away, the house in Vermont is redecorated, and only then can they begin their summer vacation.

While Cady is hurt and confused, and hadn’t found the process of rearranging the house therapeutic, her mother continues on as though nothing has happens, and she expects Cady to do the same.  Stiff upper lip, steady square jaw, no emotional outbursts allowed.   It’s during this pivotal summer that Cady realizes how imperfect her family is.  Petty jealousies tear away at her aunts.  Her grandfather takes pleasure in fueling the discord between his children.  And Gat, her cousin Johnny’s friend, a boy she’s known forever, has suddenly stolen her heart, despite her family’s disapproval, because Gat doesn’t fit into their wealthy, white world view.

Cady is an unreliable narrator, and I was never sure when she was telling the truth, or what she thought was the truth.  When she forgets most of summer fifteen after suffering a traumatic brain injury, she frantically attempts to discover what happened.  Why was she swimming by herself?  Why won’t her mom or the rest of her family tell her what happened that warm summer night?

While I loved Cady’s voice, I’m not so sure that I liked this over-indulged, spoiled young woman.  Even though I was at odds about how I felt about her and her equally privileged cousins,  I could not put the book down.  Now that it’s a day after I finished We Were Liars, I can’t even tell you if I liked the book.  All I know is that it held me mesmerized, and all I wanted was to find out the truth behind Cady and her whacked family.  If you are looking for a quick, hard to put down read, We Were Liars has your name written all over it. 

Grade:  B/B+

Review copy provided by publisher

From Amazon:

A beautiful and distinguished family.
A private island.
A brilliant, damaged girl; a passionate, political boy.
A group of four friends—the Liars—whose friendship turns destructive.
A revolution. An accident. A secret.
Lies upon lies.
True love.
The truth.
We Were Liars is a modern, sophisticated suspense novel from New York Times bestselling author, National Book Award finalist, and Printz Award honoree E. Lockhart.
Read it.
And if anyone asks you how it ends, just LIE.

The post Review: We Were Liars by E Lockhart appeared first on Manga Maniac Cafe.

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23. Giveaway: We Were Liars by E Lockhart

This morning I have a giveaway for you to enter.  I have an ARC of We Were Liars by E Lockhart up for grabs.  This is a compelling read that draws you in and refuses to let go.  I am still trying to decide whether or not I actually liked it, but I know that I could not put it down.

About the book:

A beautiful and distinguished family.
A private island.
A brilliant, damaged girl; a passionate, political boy.
A group of four friends—the Liars—whose friendship turns destructive.
A revolution. An accident. A secret.
Lies upon lies.
True love.
The truth.
We Were Liars is a modern, sophisticated suspense novel from New York Times bestselling author, National Book Award finalist, and Printz Award honoree E. Lockhart.
Read it.
And if anyone asks you how it ends, just LIE.

US addresses only, please

a Rafflecopter giveaway

The post Giveaway: We Were Liars by E Lockhart appeared first on Manga Maniac Cafe.

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24. "Retribution" - the play was read with positive feedback

As a playwright, the overall goal when crafting a play, is to create a scenario that will carry the story to an engaging conclusion. Once the story is completed, it is the hope of the playwright that the story will have legs so to speak and find the right home, in order to share the playwright's vision with the public. It's always gratifying when one's aspirations are rewarded with the opportunity to realize this goal with actors reading the words of the play. On Thursday, August 7, "Retribution" had its first date with the public via Sundog Theatre's, "Summer Reading Series" and by all accounts having not been in attendance, it was well received.

In the way of background information, the one-act play was born in a writing forum as part of a playwriting challenge a number of years ago. The only stipulation was that the subject matter had to focus on revenge. Before embarking on all writing projects, I always start with two words, "what if..." Initially, "Retribution" began as a short 10-minute play called, "A Close Shave" focusing on a barber and a man receiving a shave. Over time and during the editing process, it took on a life of its own with an adaption of the story and taking a different angle. The play itself can best be described in the quotation, "revenge is a dish best served cold."

In as far as reaction to the play is concerned, Sundog Theatre's Eric Petillo, Curator of New Works and Administrative Assistant, wrote of the actors reaction when reading the play that "they all raved about your play. They told me that it had taken them all by surprise when the script suddenly took a left turn. One of the audience members said that it was a cross between "Steel Magnolias" and a Quentin Tarantino revenge fantasy."

Ask me if I'm happy. My story being compared to a Quentin Tarantino revenge fantasy AND Steel Magnolias, which is a favorite film, is some compliment! The only complaint was that it was difficult to visualize the graphic imagery accompanying the dialogue with the  reading of my stage directions, The overall conclusion was that the whole play would benefit more from a full-scale production. Agree whole-heartedly.

For the record and in case anyone reading this is interested, the play is ready for its debut and if Mr. Tarrantino is interested, my people can speak to your people...or something.


0 Comments on "Retribution" - the play was read with positive feedback as of 8/16/2014 10:35:00 PM
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25. Call for Submissions: Mason's Road: A Literary & Arts Journal

Call for Submissions - Mason's Road: A Literary & Arts Journal

We are pleased to announce the opening of our next submissions period! We are now accepting your best Fiction, Creative Nonfiction, Poetry, Drama, and Craft Essays. The theme for Issue #10 is “Memory,” and we are looking for unique and arresting takes on this topic.

Our submissions period runs for three months: August 15 – November 15, 2014. There are two ways to submit to Mason’s Road. You can submit for free any time during our submissions period, and your work will be given thorough consideration for publication. Or, you can submit with a $10 fee, and your work will also be considered for our Mason’s Road Literary Prize, which includes publication and a $500 prize to the best entry we receive. Please visit our website for submission guidelines.

In our just-published issue, we feature work by prize-winning authors, including Jay Kidd, Nicola Waldron, and Stephanie Dickinson .We also have interviews on craft with poet Cynthia Atkins, screenwriter Tom Grey, and novelist Therese Anne Fowler. We are proud of the excellent array of work we selected from over 500 submissions, including the short story, “Formication,” by Patricia Canright Smith, winner of the Mason’s Road Literary Prize. Visit our website to check out all of the current issue’s works.

Sponsored by Fairfield University’s MFA in Creative Writing, Mason’s Road is an online literary journal with a focus on the lifetime learning of the writing craft. It is run by the program’s graduate students, and its goal is to be both educational and inspiring. Anyone in the literary community is welcome to submit, comment on the current selections, and engage in a dialogue about our craft.

Thank you in advance for helping us spread the word among your creative writing students, faculty, and contacts!

The Mason’s Road Editorial Team


MEMORY
Marcel Proust once said, "Remembrance of things past is not necessarily the remembrance of things as they were." Such is the mystery and miracle of memory. Virginia Woolf believed that emotions cannot be fully developed in the moment, rather, only by remembering them in the past. Perhaps that is why, while we exist in the present, we have a tendency to live in the past, feeding on memory and experience to inform our future. Literature, especially, has all to do with memory. It is no coincidence that the majority of prose is written in the past tense as if being recalled from somewhere, and we even have a whole genre of nonfiction dedicated to memoir--a word derived from the French and Latin words for memory. Poetry is very often reflective, and even futuristic drama has an organic way of telling a story of the past. Why are we so tied to memory, and perhaps more curiously, why do we feel compelled to share memories with others? Mark Twain said, "A clear conscience is the sure sign of a bad memory." The implication is that alongside our memories of happiness and joy, there must surely be memories of sadness and regret. What value does this add to the human experience? How can literature help us to answer these questions? The editors of Mason's Road look forward to reading the creative ways in which our contributors delve into the eerie abyss of Memory. As Aldous Huxley puts it, "Every man's memory is his private literature." We are excited for this opportunity to read so many chapters of so many different stories.

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