Where Books and Readers Come Together
“When I got to the sixth veil, I went over to the Shiva statue, simulated an orgasm, and cast myself to the ground while removing the seventh and final veil.”
”The name Beowulf itself, ‘bee-wolf,’ apparently meaning bear, suggests affinities with a widely known folktale figure of prodigious strength, the Bear’s Son, the distribution of whose appearances, in North America as well as Eurasia, points to a background in that primordial cult of reverence for the bear discussed in Primitive Mythology, and which is still observed among the Ainus of Japan.”
Captain Beatty, in Fahrenheit 451, imagines how fire is much like censorship, both eradicated knowledge: “‘It’s perpetual motion…. What is fire? It’s a mystery… Its real beauty is that it destroys responsibility and consequences.’”
Like all writers from the moment they put pen to paper, Anderson desired to be a great writer; however, much of his life was spent as a middle-class businessman in Ohio and Virginia, later becoming the owner of Marion Publishing Company and the owner and editor of two newspapers.
In one of his latest novels, Our Kind of Traitor, Le Carré provides a tale of espionage that makes one cheer and hope for the villain to win, or at least survive. Perry and his girlfriend, Gail, befriend Dima, a Russian money-launderer, in Antigua while on vacation.
Wells writes of this natural tendency of intelligent forms “to carry warfare sunward is, indeed, their only escape from the destruction that, generation after generation, creeps upon them.”
Atwood studied Moodie, wrote about Moodie, and both Atwood and Moodie lived and wrote about the Canadian wild and the female who is transformed by it. However, Moodie is not the only Canadian writer to have influenced Margaret Atwood and the short story “Death by Landscape.”
The Girl With the Dragon Tattoo, the first book in the trilogy and recent film with plans for the others to follow, illustrate how a writer can, on faith alone, understand what is necessary to write a compelling story.
As a writer there is always the temptation to be a cruel god over the imagined characters, typing down conflict after conflict without sympathy; there is also an even greater risk of loving the characters too much, coddling them as babes, and becoming benevolent creators over the fiction.
