![]() ![]() But when she describes Teishi’s court being moved to a house of lower status, Shonagon does so with amusement. ![]() This is the world that Shonagon writes from and about: privileged, precarious, on the way down. But by the time Shonagon arrived, in 993, Teishi’s power was already in decline, along with her father’s in 995 the regent died and two of Teishi’s brothers were exiled. ![]() Teishi became an empress in 990, at the age of 14, when her father was appointed regent to the young emperor. During the Heian period (794-1186), ‘empress’ was a flexible term: Teishi was merely the first among a number of consorts with that title, each with her own entourage, each competing to find favour with the emperor and bear a future sovereign. In 993, when she was in her late twenties, she joined the court of Empress Teishi. Little is known about its author, Sei Shonagon, save for what can be deduced from the text itself. T he Pillow Book was written in Japan more than a thousand years ago. ![]()
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![]() ![]() Her curiosity gives way to fixation, not just with this newly discovered side of McCullers’s life, but with how we tell queer love stories. Though Shapland recognizes herself in the letters, which are intimate and unabashed in their feelings, she does not see McCullers as history has portrayed her. Shapland is a graduate student when she first uncovers letters written to Carson McCullers by a woman named Annemarie. ![]() How do you tell the real story of someone misremembered-an icon and idol-alongside your own? Jenn Shapland’s celebrated debut is both question and answer: an immersive, surprising exploration of one of America’s most beloved writers, alongside a genre-defying examination of identity, queerness, memory, obsession, and love. Longlisted for the Andrew Carnegie Medal for Excellence in Nonfiction Winner of the Publishing Triangle Judy Grahn Award for Lesbian Nonfiction, Phi Beta Kappa Christian Gauss Award, and a Lambda Literary Award ![]() ![]() The impact of his absence has a ripple effect not just on mankind, but the Dreaming itself. ![]() That is until one day in a ritual gone wrong, he is captured and held captive for decades. ![]() He shapes our very dreams and nightmares, guiding us through whatever it is our minds are working through. When we close our eyes, where do our minds go? In the world of Netflix’s SANDMAN, human beings go to the realm of the Dreaming, the realm where the Master of Dreams, known aptly as Dream or Morpheus (Tom Sturridge), rules. THE SANDMAN stars Tom Sturridge, Boyd Holbrook, Patton Oswalt, Vivienne Acheampong, Gwendoline Christie, Charles Dance, Jenna Coleman, David Thewlis, Stephen Fry, Kirby Howell-Baptiste, Mason Alexander Park, Donna Preston, Vanesu Samunyai (formerly known as “Kyo Ra”), John Cameron Mitchell, Asim Chaudhry, Sanjeev Bhaskar, Joely Richardson, Niamh Walsh, Sandra James-Young, Razane Jammal and Mark Hamill. And while there may still be some technical effects work in need of a little smoothing out and a couple of bumps along the way, Netflix’s THE SANDMAN fares well here. Morpheus’ world is vast, blending different mythologies, universes, and the like that would not have been possible before now. ![]() Spanning over thirty years, Gaiman’s fear has been letting someone adapt this property poorly. THE SANDMAN l NetflixThe road to adapting Neil Gaiman’s ‘The Sandman’ has been a long one. ![]() ![]() ![]() Among these were George Sand's novels Consuelo and The Countess von Rudolstadt. I'd set aside many books and essays while writing the dissertation. I had time in my hands, because - thanks to COVID - there were no jobs available. Author(s): Gerard Holmes (see profile) Date: 2022 Subject(s): Improvisation (Music), Composition (Music), American literature, Nineteenth century, French literature, Academic writing Item Type: Essay Tag(s): covid-19, Compositional improvisation, 19th-century American literature, 19th-century French literature, Precarity Permanent URL: Abstract: In spring 2020, I finished my dissertation, on nineteenth-century American literature and improvisation, and decided to read for pleasure for a while. ![]() ![]() ![]() ![]() The authors interview people from Brussels to Nairobi who are planning on having just one or two kids, below the replacement rate. They point to two main causes of the coming cull: urbanization, which makes children’s labor less valuable, and above all feminism, which encourages women to pursue education and careers instead of early childbearing. Bricker, CEO of the research firm Ipsos Public Affairs, and journalist Ibbitson, authors of The Big Shift, critique the United Nations model that predicts world population will grow from 7.6 billion today to 11.2 billion by 2100 they instead cite demographers who foresee global population peaking at 9 billion by 2060, then shrinking to 7 billion (and falling) by 2100. The world faces not an overpopulation crisis but a birth dearth that will reshape civilization, according to this arresting and contrarian look at the planet’s demographic future. ![]() |