Sousa was not simply intrigued. She was invested. She deciphered the entries, sleuthed the cemetery records and censuses, and extensively researched nineteenth century women’s diaries, as evidenced in her luminous afterword on the subject. Surpassing the role of transcriber of Small’s logbook, Sousa became conservator and steward of the archive of her daily life.
Because the text is minimal and the pictures large, it’s easy to follow along, especially if you’ve done yoga before. It might be a little trickier for absolute beginners, although none of the poses are particularly complex. The book can also be used as inspiration, as a way of adding to an existing practice with a few new poses, meditations or visualisations. All in all, Kilted Yoga is a bonny wee resource to help anyone get the most out of a regular yoga practice.
Not only do Freese and I concur on how a psychotherapist best engages with a client, but our approach to writing books also bisects. I too write to try to understand myself, indeed without outlines or a rigid plot structure. I daresay he would nod eagerly in understanding that your characters, given the chance, tell the story for you if you’ll listen to them, and in a more honest, exciting way.
Whitford effortlessly interacts her characters along with their assorted baggage across many oceans and towards the inevitable discovery of their mother’s past. Along the way a realistic account is set within these families’ boundaries and excellently detailing every aspect of domestic interaction. But what about this secret? I’m not impatient, just tantalised and compelled to find out. Chapter 13 draws me into Whitford’s net and from now on my curiosity holds no limits as now the story darkens.
Hirst enjoys the liaison aspect of her role, assisting to demystify much of what can be an opaque industry for authors while also finding burgeoning talent. ‘I think that it’s helpful and part of the reason I do go to events and chat to people, is to try and help people get an idea of who the publishing houses are here and how the system works and try to make that a bit clearer.’
Discourse between the characters is credible, believable and plausible as the girls wrangle among themselves, tussle with Aunt Tallulah and seemingly snag setups, circumstances and explanations out of the air to describe what is happening. Heusler’s capability for portrayal, scene setting and elucidation serves her well, The reader is drawn right into settings: we see the frightening, feel the cold, and taste the bitterness. The storyline is well plotted, moves along from first pages to final paragraphs without problem, and culminates with a satisfying conclusion.
The author of In Hubble’s Shadow talks about her latest poetry book, the relationship between form and content, the value of poetry, her influences, advice for new writers, her work-in-progress, and lots more.
Perhaps the cover says it all? Yes, you can begin to judge this particular book by its cover because inside and throughout all those white pages a hurricane is at work endeavouring to yank everything of life’s rationalizations into shards of disbelief.
The author of The Bitches of Suburbia talks about the real life suburb behind her book, her inspiration, her favourite humorous books, tips for aspiring writers, reveals a few secrets including her next book, and lots more.
Now, we are witnessing perhaps the most substantial change to the horror formula to date and the rise of a new sub-genre. These modern films focus far less on gratuitous violence and concern themselves more with a journey that leads us to tragic ends. This new crop of horror is more cerebral, less conventional—films which have been called “art house horror”—even “post-horror.”