How to use this Page

The inspiration for the Joker is said to be this story by Victor Hugo about a mutilated man who aims to become the voice of a generation. It’s not really a “horror” story per se but often real life and social commentary can be just as scary as Michael Myers. Available on Sequential.

From the moment the news of the victory was announced in London, Waterloo was hailed as a victory of special significance, all the more precious for being won on land against England’s oldest rival, France. Press and politicians alike built Waterloo into something exceptional. Castlereagh in Parliament would claim, for instance, that Waterloo was Wellington’s victory over Napoleon and that ‘it was an achievement of such high merit, of such pre-eminent importance, as had never perhaps graced the annals of this or any other country till now’.

The post How do we remember the Battle of Waterloo? appeared first on OUPblog.

Looking for some way to overcome writer’s block? Take some inspiration from the author of  Les Misérables.

Journl, an app startup company, has created an infographic called “The Life and Habits of Victor Hugo,” which explores the exciting life of the madman. Check it out:

Victor Hugo was a creative genius. He could lay claim to being the most famous living writer in the world in the mid-19th century and his works, such as Les Misérables and The Hunchback of Notre-Dame, continue to be hugely popular to this day. Hugo was also a man of many unusual habits, including using nudity as a way of combating procrastination.

We’ve got the full graphic for you after the jump.

At the beginning of a new year, many people often make resolutions to follow a healthy diet. mental_floss compiled a list of the “favorite workday snacks” of nine different authors. Jurassic Park novelist Michael Crichton enjoyed ham sandwiches while We Are Pirates author Daniel Handler enjoys raw carrots.

The other seven writers include Agatha Christie, Victor Hugo, Honoré de Balzac, John Steinbeck, Stephen King, Emily Dickinson, and H.P. Lovecraft. What do you think? Which snacks help you to stay focused while you’re writing?

New Career Opportunities Daily: The best jobs in media.

Cartoonists doing thing, blabbing about it.

§ Reminder — we’re doing our 31 Days of Halloween countdown of spooky art, comics and animation. Send us your links!

§ Congratulations to Noelle Stevenson on finishing Nimona, her webcomic which will be published by Harper Collins in May of 2015. Reminder: the link is a spoiler so beware!

§ Simon Hanselmann continues his press tour with a revealing interview in The A.V. Club.

§ I wanted to do a more in depth analysis of this piece enumerating the Top 100 Events in the United States 2014; Comic-Con in San Diego is listed as the top entertainment event, beating out Sundance. The Academy Awards are the #1 awards event and SXSW is the #1 music festival. (Does CMJ even exist any more?) But then I ran out of time.

§ Steve Morris reprints an excellent list of how to submit writing samples to comics publishers—in many cases you can’t. Breaking in as a writer is still an uphill battle.

§ David Hine writes for the Huffington Post on his comics adaptation of Victor Hugo’s The Man Who Laughs.:

The Man Who Laughs is not an easy read. It was written late in Victor Hugo’s career when he was living in exile on Guernsey, and his contemporaries dismissed it as an inferior work. It’s certainly a pretty turgid read, crammed with long-winded exposition and with a non-linear timeline that annoyingly gives away all the best plot twists too soon. I felt like scrawling “Spoiler Alert!” in the margins when I wasn’t skipping the endless inventories of titles, ranks and possessions of the English aristocracy. But while I was often infuriated by the book’s structure I found myself gripped by the underlying story. Here was a truly enthralling tale of love and humanity, of ordinary people struggling to survive in an unjust and unequal society. At it’s core is the story of a young man who is kidnapped, mutilated and sold to travelling entertainers, yet who retains his integrity and his dignity through the love of his adoptive ‘family’, the eccentric philosopher Ursus, his pet wolf Homo and the beautiful blind girl, Dea.

§ The Boston Globe reviews Michael Cho’s Shoplifter:

In order for a graphic novel to be memorable, it must fulfill both parts of its genre label: The graphics must be arresting enough to justify their presence on the page, and the words must be well-composed. Michael Cho’s “Shoplifter’’ is that rare thing, a graphic novel debut in which text and illustrations fit together like two halves of the same mind; as a result, the taut story told here makes an impact and manages to show distinctiveness while doing so.

§ Also in Boston, a cartoonist claimed making a watermelon joke in a comic strip about President Obama wasn’t racist; many disagreed.  Eyeroll. SMH.

§ Gilbert Hernandez has a wide ranging chat with CBR about his two graphic novels out this fall, Bumperhead and Loverboys.

This year you’ve made “Bumperhead” and “Loverboys” plus a new “Love and Rockets” plus a reprint of “Fatima.” Is this your new normal pace?

It’s something that I can do. It’s work and it’s tiring. I don’t plan on doing so many graphic novels at once, let’s put it that way. It’s just the way that things are scheduled with the publishers. After I finish a book, I can’t just go back to the same publisher and do another one. I jump to another and start a new project. I have to be ahead all the time, producing material. That’s why it ended up coming out at the same time. “Loverboys” might be the quickest long story that I’ve ever done. The time that I put into it was pretty brief, just a couple months. None of it’s rushed. I put the same care into it that I put into everything. But I can imagine a day when I go, “Hey, I can’t put out two new graphic novels a year anymore.” [Laughs]

Disclosure: Gilbert Hernandez is tied as my favorite cartoonist ever, so I’m just gonna keep plugging his stuff until they make me stop. Bumperhead is easily one of his best works ever and serves as a perfect entre to his work without having to plunge into the deep end of Palomar’s tangled generations. I have no idea what Loverboys is about but the cover looks like primo Beto, and what more would you ask for?

§ Is Stan Lee The Watcher?

§ And NOW a Beat VIDEO FILM FESTIVAL!

Cartoonist Cat Staggs and her partner are featured in the Target video about building a nursery for a new baby.

This ad for a bankish thing features a woman who hangs out in a comics shop. The Mary Sue was excited by this example of normalization.

Ed Piskor (Hip Hop Family tree) returns to his family home, which is in tatters, after 19 years in this video for Pittsburgh Magazine. Sorry about the game last night, Pittsburghers. You can’t go home again and here’s more proof.

Beat Pal Christopher Moonlight made this half hour film at the San Diego Comic Con in 2012 about Hollywood encroachment. Among those seen, David Mack, Camilla d’Errico and Batton Lash. Learn more about this film at the FB page.

Professor X';s habit of grasping his temples in pain could give the impression of being a whiny wimp, as this supercut displays.

Did you like our film festival? Send more video links and we’ll do it again! 

SelfMadeHero, an imprint at ABRAMS, has released The Man Who Laughs. Writer David Hine and artist Mark Stafford teamed up for this graphic novel adaptation of Victor Hugo’s L’Homme qui rit.

The original book was first published in France back in 1869. Follow this link to access a free digital copy of Hugo’s novel (English language edition).

Since its publication, Hugo’s story has been well regarded within the comics community. It has sparked other graphic novel adaptations and also served as the inspiration for Batman’s infamous nemesis, The Joker.

New Career Opportunities Daily: The best jobs in media.

Have you ever wondered how much time Les Miserables author Victor Hugo spent sleeping? Or how many hours 1Q84 author Haruki Murakami devotes to writing?

Podio has created an infographic called, “The Daily Routines of Famous Creative People.” The image (embedded below) shows the day-to-day schedules of 26 famous creative professionals including Lolita author Vladimir Nabokov, Slaughterhouse-Five author Kurt Vonnegut, and I Know Why the Caged Bird Sings author Maya Angelou.

Here’s more from The Huffington Post: “Whether we’re working on our latest novels, paintings or compositions and stuck in ruts, or we’re novices to the creative workspace entirely, we can all benefit from seeing how Charles Dickens, Pablo Picasso, and Mozart spent their days — even if it is just for fun.”

Want to develop a better work routine? Discover how some of the world’s greatest minds organized their days.
Click image to see the interactive version (via Podio).

New Career Opportunities Daily: The best jobs in media.

Ever wonder what your favorite novel would look like as an infographic? Programmer Jeff Clark took Les Misérables by Victor Hugo, exploring the book in a set of visualizations exploring the relationships between words, themes and the shape of the classic novel (click to enlarge).

With digital books and graphic-making tools, we can now see how words interact inside massive novels. Here’s an excerpt:

A word used in multiple places in a text can be interpreted as a connection between those locations. Depending on the word itself the connection could be in terms of character, setting, activity, mood, or other aspects of the text. This graphic shows a number of these word connections. The 365 chapters of the text are shown with small segments on the inner ring of the circle with the first chapter appearing at the top and proceeding clockwise from there. The outer ring shows how the chapters are grouped into books of the novel and the book titles are shown as well. The words in the middle are connected using lines of the same color to the chapters where they are used. (link via)

New Career Opportunities Daily: The best jobs in media.

By Stacy Wolf

On Christmas Day, the eagerly-awaited movie musical Les Misérables — “A Musical Phenomenon” the advertisement promises — opens across the United States. If it makes half the splash that its Broadway source did in 1987, we’re in for a long ride. The musical ran for 6680 performances, and won Tony awards for Best Musical, Best Book, and Best Score. It closed and then re-opened for another 463-performance run in 2006. It continues to tour the US.

Extensive production gossip on the movie has focused on Anne Hathaway’s brave hair-shaving, braver weight loss of twenty-five pounds, and bravest willingness to sing live during filming. Director Tom Hooper has repeatedly noted the incomparable intimacy achieved by actors singing live on film. Barbra Streisand, at age 25, knew the same thing when she insisted on singing live for the film of Funny Girl in 1968 (she shared the Best Actress Oscar with Katharine Hepburn in The Lion in Winter).

The 60 million people who have seen the stage version of the Claude-Michel Schönberg and Alain Boublil musical will no doubt compare the movie to their memories of a dark and shadowy stage, the crowd of actors marching in step during the thrilling Act One finale of “One Day More,” the huge rotating barricade littered with fifty bloody bodies of the revolutionary students, and a breathtaking theatrical moment when the evil Javert jumps to his death off the upstage catwalk bridge.

Given Hathaway’s stardom, movie goers might also compare the film’s portrayal of the tragic Fantine with her stage character, played by Patti LuPone, Ruthie Henshall, Lea Salonga, and Daphne Rubin-Vega. Film critic A.O. Scott recently commented on the number of strong women in 2012’s movies. What will Les Miz bring us?

If it’s anything like the stage musical, don’t get excited, fellow feminists. For all of its theatrical heft, musical power, and romantic reputation, Les Miz leaves women in the lurch.

Women in the musical play small and insignificant roles. First, they appear late: Fantine’s first song halfway through Act One is a woman’s first solo, well after the male characters have been introduced and have sung and the story is well on its way.

Second, the three featured female characters — Fantine, Cosette, and Eponine — are delineated from the other minor female characters and ensemble players by their spiritual purity, a narrow female stereotype. Third, the women only exist to set off the complex decisions, ethical struggles, and brave actions of the men. Finally, the women only sing about men (though, according to the Bechdel test that Scott cites, there are more than two women in the show and they do have names: a hopeful sign, perhaps?).

The central story of Les Miz has nothing whatsoever to do with women, but rather follows the battle between Valjean and Javert. Dramaturgically, the women only function to strengthen the men’s characterizations. Fantine’s sole purpose, for example, is to show Valjean’s extraordinary generosity when he agrees to raise her soon-to-be-orphaned daughter, Cosette, as his own. Cosette serves as Marius’s love interest so that he can choose her over a political career. (Unlike the musicals of the 1950s where the individual lovers each signified political differences that the musical eventually resolved through their union, in Les Miz, the lovers are a mere diversion from the real plot, which is “political” and decidedly homoerotic.) And Eponine exists so that she can pine for Marius and die for his cause. During the stage musical’s production process, in fact, codirectors Trevor Nunn and John Caird worked with the composers to eliminate the women characters’ back stories and reduce their stage time.

Equally important for this stage production was the amazing sceneography, designed by Royal Shakespeare Company veteran John Napier. The musical’s Act Two climax, when two giant towers, weighing three tons and driven by computer, glide, merge, and interlock to form a stage-filling structure on which the bodies of dead rebel students lay signals how Les Miz sceneographically values men and their world. In his review of the Broadway production, Frank Rich in the New York Times described how “in a dazzling transition, the towers tilt to form an enormous barricade.” The male characters interact with the set from this barricade to the tower to the tavern. Valjean carries the wounded Marius through the sewers of Paris, evoked by fog and dim grey lighting, and even the villain Javert kills himself by jumping off a high bridge upstage, a moment that invariably elicits gasps from the audience when the actor disappears below the stage floor.

The musical’s principal women, on the other hand, are excluded from the impressive, visually engaging scenes. Each female character’s song is staged with her alone, almost as if in concert, apart from the story, performing in a single pool of light. Now there’s nothing wrong with an actor being onstage in a single spotlight: that’s what stars are made of. But according to the visual codes that tell an audience what’s important here, the women are shut out. Fantine sings both of her two songs in Act One alone, one before she succumbs to prostitution and the other — her big death song — on a cot; Cosette’s key number is staged in front of the gates of her house.

Eponine does a bit better: her showstopping “On My Own” begins with the actor walking on a slowly revolving platform, but by the second verse, the turntable stops and she stands still for the number’s climax.

Eponine does get one opportunity to interact with the musical’s remarkable scenery — in her death scene. Although her involvement with the students’ rebellion is not because she is political, but because she wants to be on the barricade to be near Marius, she gets caught in the crossfire. Marius takes her into his arms, soothing her and kissing her gently, and they sing, “A Little Fall of Rain,” leaning against by the barricade, and she dies. The message is clear in this touching moment: the women only get to be on Les Miz’s big set when they die.

In front of the barricade in Les Misérables (opened on Broadway in 1987), Eponine (Frances Ruffelle) dies in the arms of Marius (Michael Bell), her love for him still unrequited.  Enjolras (David Burt) stands by. Photograph by Michael Le Poer Trench © Cameron Mackintosh Ltd. Used with permission.

This account of women’s sad situation in Les Miz relies on the languages of the stage. It may be that the film adaptation will give women more to do. Or maybe the tools of film will alter the architecture of this musical. Or maybe Hathaway — thin, bald, and singing “live” — will deliver a performance that will vindicate the women in Les Miz.

Stacy Wolf is Professor in the Program in Theater and the Director of the Princeton Atelier in the Lewis Center for the Arts at Princeton University. She is the author of A Problem Like Maria: Gender and Sexuality in the American Musical, Changed for Good: A Feminist History of the Broadway Musical, and co-editor of the forthcoming paperback release of The Oxford Handbook of The American Musical.

Subscribe to the OUPblog via email or RSS.
Subscribe to only music articles on the OUPblog via email or RSS.

The post The women of Les Miz appeared first on OUPblog.

What’s your favorite kind of book? We’ve created a giant flowchart to help you browse the top 50 free eBooks at Project Gutenberg.

Click the image above to see a larger version of the book map. Your choices range from Charles Dickens to Jane Austen, from Sherlock Holmes to needlework. Below, we’ve linked to all 50 free eBooks so you can start downloading right now. The books are available in all major eBook formats.

Follow this link to see an online version of the flowchart, complete with links to the the individual books.

continued…

New Career Opportunities Daily: The best jobs in media.

This Day in World History

March 13, 1634

The Académie Française forms

Members of the French Academy, the Académie française, after a session, crossing the Pont des Arts from the Institute / A. Castaigne. Source: Library of Congress.

For five years, beginning in 1629, a small group of writers gathered in Paris to discuss literary topics. The group soon came to the attention of Cardinal Richelieu, the power behind the French throne and a wealthy patron of the arts. He suggested that the body become official, an idea the group grudgingly accepted. On March 13, 1634, they formally constituted themselves as the Académie Française. The Academy has been in operation ever since except for a ten-year hiatus during the French Revolution. The following year they received a charter from the king.

The Academy was formed to act as the official authority on the French language, aiming to keep it pure and free of vulgar usage or foreign influence. That task has become increasingly difficult in recent years. The Academy has decried use of the verb “impacter,” Frenchifying the English verb “impact.” It has blanched when French magazine covers proclaim the presence of “le best of” lists inside. It can do nothing to compel the usage it endorses, however.

As part of its task of maintaining language standards, the Academy was charged with creating a French dictionary. The first edition of that dictionary did not appear until 1694. The most recent edition — the ninth — was published in 1992.

The Academy has a maximum membership of forty. Membership is for life, and those chosen for the honor are called “Immortals.” Many of France’s leading writers over the years have served as members, including Pierre Corneille, Jean Racine, Voltaire, and Victor Hugo — though the list of those not selected (which includes Molière, Honoré de Balzac, Marcel Proust, and Jean-Paul Sartre) is equally distinguished. The first woman member was admitted in 1980. The current secretary — one of three officers of the Academy — is a woman.

“This Day in World History” is brought to you by USA Higher Education.
You can subscribe to these posts via RSS or receive them by email.

Marie Lu‘s debut novel, Legend, hits the shelves tomorrow. We caught up with Lu (pictured, via) to learn more about how authors can utilize social networking tools, the writing process for the book and her views on being an Asian-American author. The highlights follow below…

Q: How did you land your book deal?
A: My agent, Kristin Nelson, first took me on for a novel that we ultimately didn’t sell. While we waited for feedback on that one, I began writing Legend. After two intense rounds of edits with Kristin, we submitted Legend to publishers in the summer of 2010, and I recall shrieking in my apartment when Kristin told me it was going to auction with six interested publishers. Legend sold to Penguin a couple of weeks later!

Q: You drew inspiration for Legend from watching a musical production of Les Miserables. During the writing process, did you consult with Victor Hugo‘s Les Miserables?
A: It’s odd–Les Miserables triggered the first flash of inspiration for Legend (a criminal versus a detective-like character), but after that, I never referred to it again. I think the story just started going in a completely different direction. I did consult Ender’s Game and Ender’s Shadow a few times for inspiration on how to write from the point of view of a child prodigy.

continued…

New Career Opportunities Daily: The best jobs in media.

Writers have always had interesting stories beyond the ones they put down to paper. Here’s the naked truth: Neatorama has outed seven well-known authors as nudist writers.

The authors are Victor Hugo, Ernest Hemingway, D.H. Lawrence, James Whitcomb Riley, Edmond Rostand, Benjamin Franklin, and Agatha Christie.

Hemingway’s cousin, Edward actually opened Britain’s oldest nudist colony during the 1930s and called it Metherell Towers. So far, there are no accountings of Ernest having visited the colony. Most of the authors don’t give an explanation for the unclothed state, but French novelist Hugo had a legitimate methodical purpose behind his nudeness.

Neatorama reports: “When Victor Hugo, the famous author of great tomes such as Les Misérables and The Hunchback of Notre-Dame, ran into a writer’s block, he concocted a unique scheme to force himself to write: he had his servant take all of his clothes away for the day and leave his own nude self with only pen and paper, so he’d have nothing to do but sit down and write.”

New Career Opportunities Daily: The best jobs in media.