![]() Her writing has been described as ‘gripping romantic sci-fi’ by the Wall Street Journal and ‘a strange, witty, compulsively unpredictable read which blows most of its new YA-suspense brethren out of the water’ by Entertainment Weekly. Her other novels include The Next Together series, the dyslexia-friendly novella series The Watchmaker and the Duke and serialised online novel An Unauthorised Fan Treatise. The Quiet at the End of the World was shortlisted for the YA Book Prize and STEAM Children’s Book Award. Her books have sold over two hundred thousand copies worldwide in seven languages. She works as a consultant on climate storytelling for museums, production companies and publishers, with a focus on optimism and hope. Lauren is the founder of the Climate Fiction Writers League, and member of the Society of Authors’ Sustainability Committee. ![]() ![]() She is a RLF Royal Fellow at Aston University, freelance editor and screenwriter. Lauren James is the thrice Carnegie-nominated British author of many Young Adult novels, including Green Rising, The Reckless Afterlife of Harriet Stoker and The Loneliest Girl in the Universe. **I don't respond to messages on here - email me at laurenjamesauthorgmailcom or send an ask on Tumblr instead*** ![]()
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![]() ![]() Mona’s moods and opinions took up an inordinate amount of space in their house, but lately, there’d been a new energy in Rory, something spirited, maybe even angry, and she’d been letting this new energy make different choices for her. So, when Gus told Rory that June had offered to drive her home from the barn, Rory hesitated, picturing her mother, Mona, at the kitchen table, a cigarette dangling from her lips, her expression souring as they pulled in, as if June’s goddesses of love were entwined on the body of her Mercedes itself. ![]() Despite this tension or maybe because of it, June wore a necklace with a small charm of two entwined Venus figures, a piece of jewelry that Rory had heard she revealed whenever one of the younger boarders at the barn got up the nerve to ask if “it” was true. Everyone knew this-everyone except Gus-and they knew it was the source of a rift in the Fisk family. She lives in Northern California with her family. A graduate of the Bennington College Writing Seminars, she has received fellowships from the Vermont Studio Center and the Tin House Summer Workshop. ![]() Kate Milliken is the author of the 2013 Iowa Short Fiction Award–winning collection of stories, If I’d Known You Were Coming. ![]() ![]() ![]() It also takes into account the style of some characters in Behn’s work, contrasting them with their depiction in the target text, specifically the style of the gentleman from Somertshire. To this end textual binomials are analysed from the source and target texts, which consist of both key sentences, phrases, expressions, and even certain words. This article studies the translation produced by Jesus Serrano-Reyes (published in 2008 by Siruela) in order to draw attention to some of the translation strategies applied, showing (according to the principles of the Manipulation School and Polysystem Theory) the initial norm and type of equivalence. It has historically been attributed to Aphra Behn (1640–1689), but her authorship has been questioned by renowned critics like Janet Todd, Germaine Greer and Leah Orr. ![]() Abstract “The Unhappy Mistake” is a short story published in the late seventeenth century that has received little attention from critics. ![]() ![]() ![]() ![]() Meredith’s ex-husband (Alfred Molina) tries to calm the waters, but during the next several days, Josie and Meredith interact warily as they try to come to terms with Michael’s death.įitch may be best known for an earlier novel about a destructive mother, White Oleander, which was turned into a more conventional narrative movie starring Michelle Pfeiffer, Alison Lohman and Renee Zellweger. But when she tries to attend his funeral, she has a confrontation with Michael’s mother, Meredith (Janet McTeer), an imperious concert pianist. As she tries to make sense of this horrific act, Josie recalls her romance with Michael (Rhys Wakefield), an artist. ![]() The feature, adapted by Tamblyn and Ed Dougherty from Janet Fitch’s 2006 novel, begins with a distraught young woman, Josie (Alia Shawkat), receiving a phone call that announces the suicide of her boyfriend. Although the pic may not ignite the box office, it stays in the memory and promises an intriguing future for Tamblyn. The directorial debut of actress and writer Amber Tamblyn features two strong performances and an expressionistic, non-linear style that can be challenging but ultimately seems appropriate to the subject of the film. Among the dramatic films showcased at this year’s LA Film Festival, Paint It Black certainly stands as one of the most audacious. ![]() |