Random Short Stories (DailySkew Fiction Book 1)
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The latest lake level information. Address es involution is regulated. The better poems in this collection there are over sixty give that moment of vivid recognition of a new idea, an idea passed to you from the poet as a gift--a thought you would never have on your own. There are virtuoso moments such as the description of a convenience store hot dog in 'My Daily Bread'. The use of poetic devices like rhyme, assonance and repetition tend to have more amateurish results and the poet is at his best in free form pieces like Hell: I would not call 'Seasons Black and Red' the mature work of a fully realized poet, but it is a fascinating looking into a poet's notebook showing that he has an eye for the telling details of real life and a willingness to experiment, with variable success.
At least half of the poems have at their heart a thought of image well worth contemplation. Dawno will be managing the intake and assignment of books for review. Dawno has been an avid reader since she was three years old. Over the years she has acquired a taste for a number of genres, including Military History and Military Fiction, Alternative History, Mysteries and Thrillers, to name a few.
Dawno looks forward to working with the authors and reviewers here. She can be reached through the same email address used for submissions. Bards and Sages provides a very thorough summary of the sites that provide book reviews for self-published authors. Kudos to them for developing this useful resource which includes many different review sites along with an accurate summary of what they offer. I would like to hear from anyone who decided to enter, or has entered in the past. Or even if you looked it over and choose not to enter? What is more appealling, the cash prizes or the potential publicity?
He meets many interesting characters along the way, including a wizard named Stephan and a knight named Willie, and has many adventures roaming around the countryside on his horse, Spot. As Bob's career advances, a romance emerges, and Bob faces many unforeseen challenges, including, but not limited to the slaying of dragons. The book is written in the style of a great-grandfather relating this legend to his family after a thanksgiving day feast.
It's language is simple, straight-forward, and tinged with a healthy dose of sarcasm and wit throughout. Often the language is repetitive and the story stumbles a little because of this, but overall this is a minor drawback to the tale. The characters do come through as real people, and I found myself developing a fondness for each of them.
Throughout the book, the author even manages to occasionally make some limited commentary on human nature. The fact that this commentary is limited is not a bad thing, as it ensures that the other-wise light-hearted story does not get bogged down in the complexities of real life, but still has a good time poking fun at them.
It seems the book is aimed mostly at a young audience, though there are certainly occasional asides that an older reader will enjoy. This book offers a funny and charming jaunt through Bob's life that would make excellent bed-time reading for children up to about ten years old.
The act of writing and relating stories to younger generations is a crucial one, and Harry E. I wouldn't hesitate to recommend this book to anyone looking for something sweet and simple to softly sweep their children to sleep with. This book really shows the usefulness of print on demand in allowing for the sharing of good stories, between friends, family members, or anyone of like mind to their tellers, and that's what this is all about. Upon this Alan Baxter has constructed a sound, logical plot and four main characters with clear motives and identity. The story spends most of its rather slow opening stages with Isiah, a preternatural being whose role in the cosmic 'balance' is only gradually revealed.
Carlos, a brutal mercenary, and Samuel an unwilling pawn also have roles to play and journalist, Katherine, is placed in the middle of their schemes. Deep in the jungle Katherine seeks a mysterious crystal skull but it is dangerous men, whom she does not even know exist, that will ultimately determine her fate. This is a substantial dark fantasy novel written in clear, effective prose. I was impressed with all of the technical aspects from the book which was well edited and seamlessly constructed with a plot that picks up speed slowly but then barrels towards its conclusion.
My greatest complaint is that there are several features that led me to read the story dispassionately, without great involvement with the otherwise convincing characters. The story started slowly with Isiah and only after dozens of pages is the context of his actions properly explained, and the other crucial characters introduced.
Most tellingly there are no strong relationships in the story--each important character bounces off incidental supporting characters, co-operates with others for only the most ruthless reasons and pursues his or her goal essentially as a loner until the last third of the book. Most vivid moments in the story for me were in the few recurring meetings such as between Isiah and the 'balance' and with the informally addressed angel 'Gabe', and Katherine almost saying 'I love you' to the boyfriend the reader is never shown.
The final scene, that pages have led inexorably towards, cannot help but be a little anti-climactic. Alan Baxter shows glimmers of unusual talent in his world building and prose style. While the author does have some thought provoking things to say, they tend to get bogged down within the framing of the story. Time and again, I found myself skipping large blocks of text. Now as a reviewer, I made myself go back and read them, but it was often hard to do so. The Hawk is written in both 3rd and 1st person POV.
While I understand the concept in trying to show how unattached the Narrator sometimes becomes in his own life it made it hard to follow and often destroyed a scene. Further, the 3rd person character of Nervous Man disappears half way through the book and never comes back.
No explanation or epiphany is presented to explain this. I am certain there are people who will find something meaningful within the novel. There are some grabbing scenes.
The Dark Knight Rises *SPOILERS* [Archive] - Page 7 - Sideshow Freaks
Overall, however, it could have done with a little more sorting out. Sunday, March 26, Please recommend POD People is seeking recommendations. We would like to seek out the best self-published books currently available. So please us the comments feature to tell us about any self-published books that truly impressed you--impartial opinions only please. In the introduction to Conviction, Burris openly acknowledges her inability to sufficiently mimic Austen's "unique and superbly subtle wit" and it's to her credit, I think, that she takes the liberty of writing in her own style. Consequently, Conviction straddles an obscure boundary between fan fiction, Regency drama and intertextual exploration.
The result is something closer to a Georgette Heyer novel than an Austen satire—but this is by no means an unworthy fate.
Conviction opens some six months or so after the wedding of Mr Darcy and Elizabeth Bennet, and the reader is immediately confronted with Georgiana Darcy's "creative plots for thwarting unwanted suitors". While Mr Darcy and the former Elizabeth Bennet feature quite frequently as part of an extensive supporting cast, Burris resists the temptation to indulge in the details of their relationship. Instead she chooses to focus on the romantic aspirations of Kitty Bennet and young Georgiana, and introduces an array of original characters that put new expressions on those much-loved faces.
While occasional bursts of cringe-worthy romance threaten to punch holes in the bottom of this gently lilting society drama, it manages to steer clear of anything that looks too much like fan fiction. The proofing errors are trifling; the language has a period feel without being pretentious or incomprehensible and while the characters lose something of their original shape, they aren't necessarily changing for the worse. So how does Conviction stack up against Pride and Prejudice? Well, that depends on why you read Austen in the first place.
Much of the social criticism and satirical edge is blunted here, although marriage and money still remain central to many of the characters' motivations. Similarly, anyone picking up Conviction to indulge their soft spot for Darcy and Lizzy may be expect to be somewhat disappointed. It's a tough call, because any kind of adaptation may be automatically tainted in the view of hard-core Austenites, but if you can hold the original at arm's length, you may just find yourself enjoying the romantic romp that Burris has offered. Graduating into Greatness--Beyond the Books: Nickison makes a stream of good points that any under-performing undergraduate would do well to heed.
The essence of 'Beyond the Books' is presentation--of your work and your person. I might quibble with some of the details students will need to customise the advice to their own institution but the overall thrust is a message the best students learn from experience and many would benefit from hearing early in their university careers. I am quite sure that Mr. Nickison also knows that when a student takes the time to present themselves and their work in a professional, polished fashion--the quality of their work tends to follow suit.
This book would sit well as the first volume of a series that would go on to tackle other crucial and oft-neglected skills such as networking, building a c. It is particularly unfortunate that a message about professional presentation suffers from persistent flaws in its own appearance. The jacket graphics go too close to the edge so that parts of words have been cut off, but the graphics on the CD are too small so that the square template can be seen on the round CD. Nickison's informal delivery style sacrifices coherency and some passages are halting and too ungrammatical even for spoken delivery.
I would recommend further polishing of the script with more focus on repeating only the most important points and sufficient rehearsal to make the delivery smooth and effortless to listen too repeatedly, in order to get maximum benefit from the message and audio-book format. That said, if you are having trouble getting through to a student who simply doesn't understand what is wrong with dressing like a tramp in either sense of the word , addressing the professor in slang and handing in crumpled, tardy work--Mr.
Nickison's informally presented 'insider' advice might be the perfect way to get through to them. Tuesday, March 07, Favorite genre? The initial round of book reviews is close to being finished! I would love to know if there are any specific genres that visitors would be interested in hearing more about? What genres should I add to the site and actively seek?
Upcoming Reviews
Just click 'comment' and let me know. Casualty of Duty is based on this intriguing premise. Captain Gary Hallstead is introduced on the first page as the defendant in a court martial. He stands accused of sedition, treason and conspiracy to overthrow the government. Hallstead is the project manager of a Department of Defense program to create the system that runs the computerized voting for Congressional and Presidential elections. Set in recent years using fictional political characters, Drexler tells the story of how a dedicated military man, committed to his oath to protect and defend the United States is instead accused of crimes against it and finds himself trapped in circumstances from which he has no escape and left with no one who can vindicate his actions.
As the election draws near it becomes apparent that the incumbent, President Anderson stands a very good chance of losing. Unbeknownst to the Senator and Hallstead there are many more layers to this conspiracy and the ultimate desires of the instigators are not as they believed them to be. The idea for this work is a good one that held early promise. The details about the computer programming project, the mindset and attitudes of the military characters and the description of election politics are solid.
Where the book falls short is in the machinations of the antagonists — primarily some members Congress, both Democrat and Republican, who feared having Kline in the White House, and of the CIA who are darkly over-dramatic. It strains ones credulity as to the lengths these characters were willing to go in achieving their goals and that they could actually get away with it.
Lastly, there are several instances in the plot where the author introduces somewhat maladroit plot devices to ensure that every effort to rescue Hallstead goes awry leaving the reader with a book where justice does not prevail in the end. As to the construction of the work, the frequent shifts from the first person to the third person point of view are a bit bewildering. There is also a lot of detailed information written as straight narrative more suited to a freshman political science lecture.
Add to that the numerous typographical and grammatical errors and the final analysis is that this story needed strong editorial oversight before it was published. Friday, February 24, Talking Point: Let us look at two pieces of information. These widely accepted reasons would be: Secondly we have what seems to be the single most common reason for self-publishing—confirmed by our very own handy-dandy POD poll.
So, if this is not a good reason to self-publish, what is a person meant to do when they have made a reasonable effort to secure a publisher and failed. The options seem to be: Yes, well, point taken. Maybe many people give up too soon. And as you move to smaller presses there are diminishing returns for your ever increasing effort.
Yes, well, perhaps there are some self-denying paragons destined for NY Times bester seller list greatness who are doing just this. But I bet there are also a lot of people throwing out the only book they will ever write, or going on to write more and more books—none of which will ever find an audience. As a reasonably impartial observer I would have to say that if you have made a fair effort and not secured a traditional publisher, why not self-publish the damn thing. Even if it ends up making only average sales for a self-published book figures vary but copies seem to be the range then it has, in its own humble way, done what a book is meant to do.
It has communicated with a reader, or two, or fifty. There are worse things. Now, thinking that self-publishing is likely to lead to being picked up by a major publisher, or become a grass roots underground best seller that propels you to stardom—well, maybe it does happen but so does winning the lottery. So sue me I am not a lottery ticket buyer, and even people who are generally keep paying into their pension funds rather than fastening their undying hopes on buying that Caribbean island they always wanted with an over-sized check.
But if you looked at the book manuscript in your hands and consigned it to Lulu or Cafepress rather than the pyre, what is wrong with that? After a messy divorce to an anal-retentive husband, she bundles her two-year-old daughter out of the city and purchases a house in sleepy Jackson Corners. There she meets handsome, brooding Noah Davis, and learns that while her new home may come with neighbourly assistance and friendly faces, it also a lugs around a swathe of emotional baggage.
Jennifer L Hart knows her plot and ought to be commended for her firm handling of it. Jackson Corners is fed to the reader with the utmost care and not a piece of information comes too soon. Every character is suspect; every action has an ulterior motive.
Unfortunately, as all too often happens with mysteries, character and authenticity falter at the hands of the storyline. In particular, the sexual tension between some of the more prominent characters has a tendency to collapse into the realm of the undeniably cheesy. The prose itself is as contemporary as the world the characters inhabit: Word usage and proofing errors are the only real stumbling block in what is otherwise quite lively and well-planned prose.
The extradiagetic narrative helps immensely and multiple points of view stop the story from lingering too long in any one place.
A real solid effort on that count. Monday, February 13, 'Gilleland Poetry: Storoems and Poems' by Harry E. The blurb to 'Storoems and Poems' promises writing that is 'for all readers, both poetry lovers and those who do not usually read poetry', while the author, in his bio, is said to be 'passionate about his poetry'. A quick recky onto Gilleland's Lulu site unearths quite a few fellow enthusiasts albeit mostly friends and family, who in turn salute his 'great poetry'. I do feel, however, that in this case, the word 'poetry' means something like 'genial reflections and thoughts of a respectable and warm-hearted human being, laid out in simple rhyme'.
As a poetry enthusiast i. I buy more books of poetry than I do novels, or CD's, or socks, or pretty much anything else, I did find the book lacking in what I've come to expect from poetry. It is strange to me, for instance, to find Gilleland crediting himself with the creation of the 'storoem' a hybrid between a story and a poem, without any mention of narrative poems or prose poems, which are, in different ways, the same thing. There are very few poetic techniques employed throughout the book.
The Velvet Mask (Dream Seeker Book 1)
There is a great deal of rhyme, though it is sometimes forced, and a grasp of iambic and trochaic rhythms. There are welcome touches of enjambement too, and sometimes personification a continent 'stumbles' in the acrostic 'AFRICA'. But I found original metaphors and similes very scarce, and the dominant form of the book is four line stanzas, rhymed ABAB, which does become tiresome. There is no strictly formal poetry in here by which I mean no sonnets, triolets, villanelles, rondeaus, sestinas or the like, and no real experimentation with language.
Of course, poetry isn't all about technique. But in terms of content too, I did find it hard to be moved. There is condemnation of genocide and despair at war, but it feels strangely second-hand for an author who served as a captain in Vietnam, while many of the interesting stories about animals are, at the poet's own confession, based entirely on wildlife documentaries. I was eager for some expert insights into the natural world Gilleland was Professor of Microbiology at Louisiana State University, but found myself disappointed.
Much of the philosophy too, while sound, is age old common sense rather than visionary. That said, I think we need to take the book on its merits. Gilleland is not, after all, competing for quite the same audience as Carol Ann Duffy. Indeed, it's unlikely his fans are into modern poetry in quite the same way as I understand it. His character comes through strongly in the book, and he is, quite obviously, a gentle and intelligent man with both a sense of humour and a childlike sense of wonder.
His stories are good fun, and the subjects ranging. He is also quite free of malice, pretentiousness and ill-thought out political opinions. Reading his poems is rather like spending some time in his company, and I can certainly think of worse things to do. Saturday, February 11, Upcoming Reviews. Sunday, February 05, 'A River Transformed: The comparisons between each poem are obvious in content as well as stylistically; the poems inherit the disposition toward unadulterated images to communicate, much the disposition Ezra Pound injected into western poetry in the early 20th century. This results in endlessly tangible verse, but often the point of clarity, that climax of comprehension, is grasped at but never quite pinned down.
One wonders, too, how well these poems sustain the Zen orientation of their parents, especially with the introduction of direct narratives. The vers libre is generally well controlled and wholesome, and Blankenship has an understanding of the line that is rare amongst his contemporaries, possibly thanks to his keen interest in ancient Chinese poesy.
In attempting stricter forms, however, such as the later pantun, the poet appears obviously stretched. Blankenship manages to make much of his verse relevant, which is certainly to his credit considering the gap of time, language and context he has to work with. Often, though, this reader is left wondering just what the point is; it seems that much of the time the link is more important than that the poem work under its own steam. For someone interested in examining inspiration, intertextuality or the original poems themselves, this is ideal, but for those simply looking for evocative, intellectually stimulating poetry, on many occasions this collection falls short.
There seems to be little meaningful interplay or commentary on the act of updating beyond the constant reminder that this is what is being done. In and of themselves, it is the final poems of the collection that prove more fulfilling. They are often surprising and a genuinely interesting mix of modern life influenced by their ancient sources. Again, though, no reason is placed behind the mix, no salient factor arises that justifies ancient Chinese influence in the contemporary world, and the question itself is barely touched upon; indeed, when it is examined, it is under the guise of linguistics and translation, rather than anything that could be considered a poetic manifesto.
The value of the book, then, resides in what one demands of it. For someone interested in the process of writing poetry, ancient Chinese poesy, intertextuality and the motions of inspiration, it is difficult to imagine a more suitable collection. Clearly there was no other Rorschach. Rorschach's age in the film is 35, [32] whereas in the graphic novel he is 45 years old although this was most likely an error in production as his certificate marks him as forty-five.
His psychological instability in the film is downplayed, and he appears to be stronger than his graphic novel-self [34] as he manages to ward off some attacking policemen, even after falling from an apartment window. He is also shown to openly disapprove of Nite Owl and Silk Spectre's relationship. In the film, rather than Rorschach, Nite Owl II is the one who warns Ozymandias of the possible mask-killer, although Rorschach was revealed to have visited him earlier.
Rorschach's method of killing Grice differs also. In the film he uses the meat cleaver that killed Blair Roche to continuously hack the kidnapper, [34] uttering after killing Grice, "Men get arrested. Dogs get put down! Rorschach's landlady, and anything concerning his apartment are left out; when obtaining his costume after the prison break, instead of wearing a spare one in his apartment, he regains his previous one in the prison. Malcolm Long is shown, this has been reduced to one meeting; also, Long's dark subplot where Rorschach's story affects his personal life and philosophy are omitted.
Snyder admitted that while he did not film the scene he "would have loved to. Unlike in the novel, Nite Owl is present for Rorschach's death, becoming enraged at Ozymandias after witnessing the spectacle. Snyder felt he "needed a moment at the end" and explained that he changed this scene because he wanted to show a glimpse of the "sweet" relationship between Rorschach and Nite Owl that was established in the film.
Rorschach I appears in the animated short film series Watchmen: Motion Comic where he, along with every other character in the series, is voiced by actor Tom Stechschulte. The video game series Watchmen: Rorschach has been referred to, quoted, and parodied several times in various comic book series and promotional artworks. The character of Rorschach I has been received with critical acclaim by critics, reviewers, and readers; he has also been awarded.
Rorschach I was named the 6th "Greatest Comic Book Character of All Time" by Wizard magazine in May , with the magazine stating that "Rorschach still stands as one of the most compelling and frightening characters in comics' history. In the making of the film adaptation, director Zack Snyder said "no character" was more important than Rorschach. The Los Angeles Times further added on Snyder's statement, claiming "The filmmaker said he [Rorschach] 'is easily one of the greatest comic book characters ever' and that's a view shared by many fans and the press that serves them.
Haley's performance as Rorschach I in the Watchmen film has been acclaimed. Empire magazine remarked that the portrayals of Rorschach, along with Nite Owl, were the most successful and commented that Haley's performance would make the audience "half-wish Snyder might have stuck with Rorschach as [the sole] protagonist rather than spreading the net so wide.
It's not just a career-defining performance, it's one of the best this genre has seen other than Heath Ledger 's Joker. He owns the screen whenever he's on it. From Wikipedia, the free encyclopedia. Rorschach, was perhaps the most disturbing hero ever created for comics. His brutal perception of black-and-white morality reflected writer Alan Moore 's critical deconstruction of the whole notion of heroes — a popular theme recurring in comic books since the s.
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Watchmen 5; January ; p. Zack Snyder On Watchmen ". Archived from the original on October 8, Retrieved November 8, New York Daily News. The masked vigilante Rorschach has been apprehended and identified as Walter Kovacs, a year old white male. The End is Nigh ". Retrieved 10 March Archived from the original on October 7, Retrieved March 11, Rorschach 1 Comic Review".
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