Posts Tagged ‘ William Shakespeare ’

Prose & Poetry Update

May 1, 2011
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Prose & Poetry Update

Did you ever wonder if you’re on the right path, if your career reflects your true self? While you sip your morning coffee and gaze at that stack of paperwork on your desk, here’s a few literary quotes concerning the “true self” on which to meditate. “No man, for any considerable period, can wear one face to himself and another to the multitude, without finally getting bewildered as to which may be the true.” - Nathanial Hawthorne, The Scarlet Letter “He remembered that she was pretty, and, more, that she had a special grace in the intimacy of life. She had the secret of individuality which excites–and escapes.” - Joseph Conrad, Victory “Sometimes people carry to such perfection the mask they have assumed that in due course they actually become the person they seem.” - W. Somerset Maugham, The Moon and Sixpence “This above all,–to thine own self be true; and it must follow, as the night the day, thou canst not then be false to any man.” - William Shakespeare, Hamlet, Prince of Denmark. Short Fiction The Things by Peter Watts, a Hugo Award Nominee for Best Short Story from Clarkesworld Magazine “I am being Blair. I escape out

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A Defense of the King James Bible

January 15, 2011
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A Defense of the King James Bible

By Mike Gray The late Henry M. Morris (1918-2006), a hydraulic engineer and Christian apologist, is most famous for a controversial book he co-authored in 1961, The Genesis Flood. When it came to a consideration of which translation of the Bible in English was best, he decided that despite a few shortcomings the King James Version (KJV) should be retained, respected, and even cherished. He based his opinion on linguistic, cultural, and historical grounds: The beautifully poetic prose of the King James is a great treasure which should not be lost or forgotten. It has been acclaimed widely as the greatest example of English literature ever written. Apart from a few archaic words or words whose meaning has changed, which can be easily clarified in footnotes, it is as easy to understand today as it was 400 years ago. That is why most laymen today, especially those without higher education, still use and love it. The modern translations commonly tend to use long words and pedantic rhetoric, but the King James uses mostly one- and two-syllable words. Formal studies have always shown its readability index to be 10th-grade or lower. . . . Many sections can easily be read by

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TAC Fiction Review

October 31, 2010
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TAC Fiction Review

On this All Hallow’s Eve, TAC’s Fiction Review brings stories from today as follow up to last week’s issue which presented haunting stories from the Victorian Age. Stories below come from two small press publishers, Subterranean Press and Cemetery Dance, and a website, Fantastic Horror, all three of which should be well known by fans of horror fiction. This week’s issue closes with the Great Man of Letters, W.S., who did not think genre work (granted folks didn’t use that term in the 17th century) was beneath him and was not afraid to give his audiences what they wanted when it comes to things that go bump in the night. Short Fiction: “Road Dogs” by Norman Partridge, originally published at Subterranean Magazine Online. “Pleasing Evil” by Erin Cole “The Uncanny Deaths of Nathan MacLeod” by Edmund Siderius “The Horror in the Traquair Maze” by Jerome Banks Brown The Painted Darkness by Brian James Freeman, a free e-book from Cemetery Dance. Includes interview with Stephen King. Author Interviews and Reflections From John J. Miller’s “Between the Covers”: Otto Penzler on The Vampire Archives Mary Downing Hahn on The Ghost of Crutchfield Hall A Sample of Thomas F. Monteleone’s M.A.F.I.A. (“Mothers and

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A Prose and Poetry Cornucopia

September 25, 2010
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A Prose and Poetry Cornucopia

A plethora of links to stories, excerpts, commentary, criticism, news and knick-knacks that just might  satisfy your hunger for info from around the world of prose and poetry. Short Fiction: Excerpt: Chapters One & Two from Sloane Hall by Libby Sternberg Excerpt: “Il Colore Ritrovato” from The Pacific and Other Stories by Mark Helprin “Napoleon and the Spectre” by Charlotte Bronte “The Whistling Room” by William Hope Hodgson “Can These Bones Live?” by Manley Wade Wellman Commentary and Criticism: Jane Eyre: An Introduction by Joyce Carol Oates Episode, Scene, Speech, and Word: The Madness of Lear by Norman Maclean About Sloane Hall and its Inspiration, Jane Eyre by Libby Sternberg The Literary Tenor of the Times by Mark Helprin Literature and the Realm of Moral Values News, Reviews, and Other Interesting Tidbits: Review: Haunted and Confused – Andrew Klavan reviews The Hilliker Curse by James Ellroy Barnes & Noble has Setback in Struggle over Board Stigma of the Paperback Originals Lost Libraries – The strange afterlife of authors’ book collections Lessons in Manliness from Beowulf Brian Gruley discusses his second novel, The Hanging Tree – video from WSJ.com Will the Real Shakespeare Please Stand Up? – Chapter One from The

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C.S. Lewis and J.R.R. Tolkien Are Not ‘Real’ Artists?

March 10, 2010
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C.S. Lewis and J.R.R. Tolkien Are Not ‘Real’ Artists?

Not according to James Bowman. They and numerous others create what Bowman dismissively refers to as “fantasy art.” And fantasy art isn’t Art. It always surprises me when I run across them, but I have to acknowledge that some folks just don’t like J.R.R. Tolkien. Shocking, I know. The Lord of the Rings. The Hobbit. The Silmarillion’s mythopoeic tales. What’s not to like? Great works of art and creativity, right? Well, they might be creative, but they do not qualify as Art. Mr. Bowman is among that group of curmudgeonly scolds that just can’t seem to abide anything that smacks of fantasy. According Bowman, fantasy is not art, at least not in the sense that the term has been understood within the Western mimetic tradition going back to Homer. … Indeed, Western culture is so intimately bound up with the tradition of imitation in art … that the now more than century-long vogue for fantasy art, beginning with George MacDonald, J.M. Barrie, and Kenneth Grahame and continuing through Lewis and Tolkien to the more unrestrained science-fiction and fantasy cinema of our own time, should be seen as a repudiation, conscious or unconscious, of that Western tradition

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