text:
Marvel Dice Masters: Civil War Product Reviews
"Civil War" is a satisfying Dice Masters expansion.
Conveniently timed for release with "Captain America: Civil War," "Civil War" is the latest Marvel Dice Masters expansion set. Much like previous releases, WizKids has released a starter set, playmat, dice bags, gravity feed, booster packs, team box, and a collectors box to accompany this expansion, but what can gamers expect to see in terms of content? Read on to find out!
While I tend to start out by breaking down the starter set, I think it's best to dig into the set as a whole (namely the booster pack and gravity feed releases) as there's quite a bit of material to cover here. First off, you may notice that there are characters that do not appear in either the "Civil War" comic series or the movie such as Rocket Raccoon and Deathlok. I have no complaints about new character additions (I was quite happy to see Jessica Jones and Ms. Marvel), but it's a bit odd from a thematic point of view to include characters that weren't apart of this storyline. Still, there are plenty of characters that were in one or both "Civil War" stories such as Captain America, Iron Man, Winter Soldier, Ant-Man, and so on. Secondly, there are a whopping 7 affiliations in this set including Spider-Friends, Guardians of the Galaxy, S.H.I.E.L.D., Thunderbolts, New Warriors, Villains, and Avengers. Again, it's a strange assortment, but it definitely provides many more themed deck possibilities. Lastly, there are 3 new mechanics here including Intimidate (which allows players to remove an opposing character die from the Field Zone until the end of the turn), Resistance (this ability kicks in when a character die you control was KO'd on a turn), and Enlistment (an ability that basically forces an opponent to KO a character die or suffer the consequences). I'm always a fan of new mechanics and these 3 really open the game up even more (especially when it comes to getting back at the opponent).
In terms of the starter set, it includes 2 paper dice bags (one picturing Captain America and the other Iron Man), 12 action dice, 10 action cards, and 22 character cards (3 for each character except Iron Man and Captain America who only have 2 cards for some reason). Characters included in this set are: Wasp, She-Hulk, Scarlet Spider, Rocket Raccoon, Iron Man, Falcon, Captain America (who has a very cool colored dice), and Black Widow.
Obviously, the characters and their cards will certainly allow gamers more deck/character options as will the new action cards. Speaking of which, there were 2 stand out action cards for me: 1. "Long Live The Resistance"- Gain 4 life. Resistance- If a character die you control was KO'd this turn, gain 5 life instead. Global: Pay mask energy. Prevent all damage to you from one opposing die's "When attacks" ability." 2. "The Front Line"- "Unblocked attacking character dice gain +3A until end of turn. Global: Pay fist energy. Target opposing character die can't block this turn unless your opponent pays 1 life." Both cards provide an intriguing way to get the upper hand on an opponent.
Last, but not least, I got my hands on the new Marvel Dice Masters: Civil War Playmat and it's a cool one to be sure. The pad contains an epic image of Cap and Iron Man clashing plastered over the entire mat. It's the same image that graces the starter set and booster packs. If you are a fan of either character, "Civil War," or are in need of a playmat, you can't go wrong with this one.
Overall Thoughts: While it would have been fun to see a set that was entirely comprised of "Civil War" characters, I still love the new character additions/factions (some of which have been a LONG time coming) as well as the new mechanics. Recommended.
May 16, 2016 - Posted by	nicklyons1 | Game Review	| Captain America, Captain America: Civil War, Civil War Dice Masters Booster Packs, Civil War Dice Masters Playmat, Civil War Dice Masters Review, Iron Man, Jessica Jones, Marvel Dice Masters: Civil War Product Reviews, Marvel Dice Masters: Civil War Review, Marvel Dice Masters: Civil War Starter Set


On the 50th anniversary of the Brown v. Board of Education decision, Teaching Tolerance presents a special classroom section on the subject of school segregation, past and present.
What did Brown v. Board mean for the United States? Has the country relapsed into separate, unequal schooling? Can the anniversary reawaken the spirit that fueled the civil rights movement? This issue explores those questions—and more.
Teaching Tolerance director Kelvin Datcher ponders the legacy of Brown v. Board.


text:
'use strict';
/* @flow */

/*::
import type Loader from './loader';

export interface FileDescriptor {
	path: string;
	extension: string;
	loader: Loader;
}
 */

/**
 * A base class for finding files in different mediums.
 */
export class Finder {
	/*::
	extensions: string[];
	mimes: string[];
	 */

	/**
	 * Construct a new Finder
	 * @param  {string[]} extensions The list of extensions to look for.
	 * @param  {string[]} mimes      The list of MIME types to look for.
	 */
	constructor(extensions/*: string[] */, mimes/*: string[]*/) {
		this.extensions = extensions;
		this.mimes = mimes;
	}

	/**
	 * Get an iterator of unresolved file descriptors.
	 *
	 * @abstract
	 * @param {string[]} initial_items The initial set of items to be searched for.
	 */
	get_files(initial_items/*: string[] */)/*: Promise<Iterable<FileDescriptor>> */ {
		throw new Error('Not Implemented');
	}

	/**
	 * Determine if the provided extension is an image extension (provided in
	 * the constructor).
	 *
	 * @param {string}  ext The extension to check.
	 * @return {boolean}    True if it is an image extension, false otherwise.
	 */
	is_image_extension(ext/*: string */)/*: boolean */ {
		return this.extensions.indexOf(ext) >= 0;
	}

	/**
	 * Determine if the provided MIME type is an image MIME type (provided in
	 * the constructor).
	 *
	 * @param {string}  mime The MIME type to check.
	 * @return {boolean}     True if it is an image MIME type, false otherwise.
	 */
	is_image_mime(mime/*: string */)/*: boolean */ {
		return this.mimes.indexOf(mime) >= 0;
	}
}

redpajama_set_name: RedPajamaGithub


text:
Get The Birchbark House from Amazon.com
Order our The Birchbark House Study Guide
Part 1, The Girl from Spirit Island
Part 2, Neebin (Summer), Chapters 1 and 2
Part 3, Dagwaging (Fall), Chapters 5 and 6
Part 4, Biboon (Winter), Chapters 9 and 10
Part 4, Biboon (Winter), Chapter 11
Part 5, Zeegwun (Spring), Chapters 12 and 13
Part 5, Zeegwun (Spring), Chapter 14
The Plague of Doves
LaRose
Future Home of the Living God
The Night Watchman
The Leap
Four Souls
The Last Report on the Miracles at Little No Horse
The Master Butchers Singing Club
Shadow Tag
Antelope Woman
The Painted Drum
The Birchbark House - Part 3, Dagwaging (Fall), Chapters 7 and 8 Summary & Analysis
This Study Guide consists of approximately 37 pages of chapter summaries, quotes, character analysis, themes, and more - everything you need to sharpen your knowledge of The Birchbark House.
Part 3, Dagwaging (Fall), Chapters 7 and 8 Summary
"The Move" After Deydey departs on another trapping expedition, the rest of the family prepares even more intensely for the move into town for winter. As the food stores come together, Mama buries them carefully in a cache (covered pit) behind the house in town. When the cache is fully stocked, Nokomis prays for the blessing of the spirits on both the cache and the family as they face winter. After a final night in the birchbark house, the family makes the move into town. As Nokomis packs a collection of small bundles and bags, she notices that Omakayas is watching her closely. As the two walk into town together, Nokomis asks whether the bundles "speak" to Omakayas. She says they don't, but then asks whether they speak to Nokomis, who says that they do...
(read more from the Part 3, Dagwaging (Fall), Chapters 7 and 8 Summary)
More summaries and resources for teaching or studying The Birchbark House.
The Birchbark House from BookRags. (c)2023 BookRags, Inc. All rights reserved.

redpajama_set_name: RedPajamaCommonCrawl


Please find below the tryout schedule and process for the 2012 Region 6 Ontario Winter Games Teams.
The Region has been allocated one team for each gender and each team will carry a roster of 12 athletes. Non-roster, developmental athletes may be selected to train with the teams.
• Each club will be asked to provide one representative from their Club and their task is to rank their own Club's athletes.
• The selection committee may use their ranking if there is a tie between athletes and they require a tie breaker. The rationale for this Club representative is to allow for an athlete who has consistently performed well in the past but has not for the particular tryout.


text:
Op-Eds, Hot Takes, or Long-Form Articles From Consequence's Finest
Why It's Finally Time to Get Rid of Music Charts
Modern charts only discourage discovery, conversation, and thoughtful analysis of music
by Steven Ovadia
on June 11, 2019, 12:33am
I discovered record charts in junior high school. Trying, yet again, to be cool, I started listening to Z-100, the local New York City Top 40 station. I was shocked to learn that all of pop music could be reduced to 40 songs. It seemed way too small. At the time, it felt like Madonna must have had 50 top-10 hits all by herself.
I eventually found my way off of Top 40 into the heavy metal parking lot that was suburban Queens in 1988, but I remained fascinated by the idea of record charts and how something as personal and as expansive as music could be distilled to a chart position. It's why I read with interest about Rolling Stone delaying the launch of their own music chart, which was supposed to use an algorithm to figure out and weight what people are actually listening to nowadays.
Music charts used to be simple things. (And they sure as hell didn't get sued by pissed-off DJs.) People either bought a single/album, or they listened to it on the radio. Now, as Rolling Stone has learned, it's gotten more complicated. There's streaming. There are online radio stations. There are podcasts. And while there are rules and laws that govern the use of music, including who collects the royalties, there are so many podcasts and streams that it's impossible to police. And that means usage metrics are hard to track. There's also the issue of bots and how much streamed music is heard by an actual human and how much someone is gaming the system.
(Read: DJ Khaled Threatens to Sue Billboard When Album Doesn't Go No. 1)
Adding to the complexity of all of this, there's just a ton of music released every day across genres. A quick look at the Billboard chart page shows more charts than you might have known existed: The Hot 100, The Billboard 200, Latin, Holiday, Blues, Country. And as segmented as it is, many music fans will look at the list and be upset that their genre isn't represented.
Just to oversimplify the problem, there's way too much music to track and there's no good way to track how many people are listening to it. And not to put this on the kids, who are always doing crazy things we can't account for, but the kids are always doing crazy things we can't account for. We're lucky someone stumbled upon their use of Google Docs as a communication/bullying tool, but for all we know, they're using empty Amazon shopping carts to listen to music or abandoned Blackboard course shells to create playlists. As Rolling Stone has seemingly learned, there are simply too many unknowns to accurately track music-listening patterns.
Music charts are potentially influential because they not only reflect what's popular but drive it as well. Radio stations use various charts to create their own playlists. It was a recurring theme on the classic WKRP in Cincinnati, with the DJs often pushing back against being told what to play. So, like Dr. Johnny Fever eating his own tail, popular songs receive airplay because they're popular. And as Bruce Iglauer, the founder of the Alligator Records blues label, says in Bitten by the Blues, his autobiography, "subtlety is the enemy of commercial radio." Numbered lists are anything but subtle.
But many people believe in music charts. While charts have never been scientific, even in simpler times, there's something about a numbered list that seems official: Of course "Crocodile Rock" is a better song than "We're an American Band". "Crocodile" was No. 7 on the Billboard Hot 100 and "American Band" was 23. "Crocodile" won by 16.
All music fans know music is much more interesting and complex than a number on a list. The record store employees in the 2000 film High Fidelity constantly make lists, not because there's an empiricism behind them but as a form of mental exercise. There's no larger truth in their lists so much as their lists capture a moment. But numbers, even used ironically, create a veneer of science. Music's personal and numbered lists, like record charts, are a way to validate our own views. Some people take great pride in their music not charting. As a college DJ in the 1990s, I instantly suspected anything that appeared on any chart, concerned that the artist was somehow more interested in popularity than their craft. Conversely, some people like to see music they listen to on the charts as proof of their taste-making skills.
Lists and unreliable numbers aren't just a music problem, either. Take, for example, American politics. The media now covers elections by using poll results as a proxy for the underlying campaign issues. It's not about the candidates, their platforms, and their ideas so much as it's about their numbers. So rather than readers, viewers, and listeners becoming educated about candidates and issues, we're constantly bombarded with information about who's winning. Read any coverage of the Democratic primaries and the thrust of the article will be about polling numbers with, if you're reading a good source, just a few sentences dedicated to what the candidates, also known as the poll subjects, are about. Suffice it to say, this process isn't working out for lots of people in this country. Or democracy. Polls and music charts both allow ideas to be discussed without delving into quality; they're reductive.
One of the few things everyone agrees upon is that the music industry is broken. Artists make little to no money from their music (unless you're Taylor Swift). Labels maintain they're not making any money either. The unreliability of charts aren't the disease but rather a symptom of the disease, which, at the risk of sounding like Ted Kaczynski, is technology. Technology made it possible to have almost unlimited access to music without ever having to pay for it, and that killed all the ways we track musical popularity.
Billboard's Hot 100 in 1988.
Which is why it's time to give up on charts. They're not accurate. And more importantly, normal people don't care about them. Sure, back in the day we all listened to "American Top 40," either to mock it, to check in on the decline of pop music, or hoping for a long-distance dedication. I'm sure charts are useful as an industry tool. But as a way to discover music? Or as a way to assign value? It makes no sense. They're poll numbers when we need conversation and thoughtful analysis.
Charts worked when we all listen to the same music in the same way. But music, like the United States, is simply too fractured for that now. There are popular artists who are slipping through the cracks of charts. These are vital, important artists with small niche audiences. By walking away from charts, we can figure out other metrics to gauge artist popularity. One of those metrics might be how much they are written or read about. But maybe it'll be based on NSA surveillance data. Or perhaps someone will convince Siri and Alexa to wear a wire. Right now, we only know what doesn't work and that the algorithms won't rescue us.
However, we can save ourselves by using human judgment to figure out what's good, what's popular, and what's important. It won't have the same ring as "number one with a bullet" (perhaps the most American of all idioms), but maybe that's yet another reason to say goodbye to the old chart system.
John Turturro finishes Big Lebowski spin-off based on Jesus Quintana
Radiohead officially release leaked OK Computer material after turning down $150,000 ransom
Gwyneth Paltrow is selling a candle that "smells like my vagina"
Jason Segel and Paul Rudd pay tribute to Rush drummer Neil Peart


If you know me, you know it's all about the crew. I'm honored to have met so many wonderful crew on the MSC SeaSide. From the incredibly kind and amazing Captain Massa to the truly fantastic Hotel Director Jordon and the phenomenal Vishnu and Wayan our Butler and Room Steward, every crew member went out of their way to make our stay special. Sailing with MSC felt familiar, felt comfortable. That says a lot for a company and ship that I had never heard of six months ago. MSC is rapidly becoming my favorite line of 2018.


text:
Mr. Madison's motion for comme...
Mr. Madison's motion for commercial restrictions in a committee of the whole House on the report of the Secretary of State ...
Madison, James, 1751-1836.
United States. Dept. of State., United States. Congress. House.
City of Washington : A. & G. Way, printers, 1806.
Tariff > United States.
United States > Commerce.
Speech in the House of Representatives of the Congress of the United States, delivered January 14, 1794 by James Madison of Virginia, in support of his propositions for the promotion of the commerce of the United States and in reply to William Smith of South-Carolina
by: Madison, James, 1751-1836.
Mr. Lloyd's motion
by: Lloyd, James, 1769-1831.
The speeches of Mr. Smith, of South Carolina delivered in the House of Representatives of the United States, in January 1794, on the subject of certain commercial regulations, proposed by Mr. Madison, in the Committee of the Whole, on the report of the Secretary of State
by: Smith, William Loughton, 1758-1812.
Mr. Rhea's motion
by: Rhea, John, 1753-1832.
Measuring the restrictiveness of international trade policy /
by: Anderson, James E.
Mr. Pitkin's motion
by: Pitkin, Timothy, 1766-1847.
James Madison : liberty's advocate /
by: Madison, James, 1751-1836,
The speeches of Mr. Smith, of South Carolina, delivered in the House of Representatives of the United States, in January, 1794, on the subject of certain commercial regulations, proposed by Mr. Madison
Mr. Crowninshield's motion. December 19, 1806. : Read, and committed to a committee of the whole House, on Tuesday next.
by: Crowninshield, Jacob, 1770-1808.
James Madison papers.
Extract from "Cursory views of the liberal and restrictive systems of political economy".
by: Carey, Mathew, 1760-1839.
Cursory views of the liberal and restrictive systems of political economy and of their effects in Great Britain, France, Russia, Prussia, Holland and the United States : with an examination of Mr. Huskisson's system of duties on imports /
International commercial policies : with special reference to the United States; a text book.
by: Fisk, George Mygatt, 1864-1910.
The papers of James Madison.
The papers of James Madison /
Commercial tariffs and regulations of the several states of Europe and America together with the commercial treaties between England and foreign countries.
by: Macgregor, John, 1797-1857.
Commercial statistics a digest of the productive resources, commercial legislation, customs tariffs ... of all nations : including all British commercial treaties with foreign states ... /
Managed trade and quantitative restrictions : issues for Congress /
by: Morrison, Wayne M.,, et al.
Letters on the constitutionality of the power in Congress to impose a tariff for the protection of manufactures prefixed by a brief sketch of the life of the author, and the part he took in the formation of the Constitution of the U.S. /
Mr. M'Kim's motion
by: McKim, Alexander, 1748-1832.
Commercial statistics of America a digest of her productive resources, commercial legislation, customs, tariffs, shipping, imports and exports, monies, weights, and measures /
The papers of James Madison : presidential series /
The papers of James Madison : digital edition /
Letters on the constitutionality of the power in Congress to impose a tariff for the protection of manufactures
Cursory views of the liberal and restrictive systems of political economy, and of their effects in Great Britain, France, Russia, Prussia, Holland, and the United States with an examination of Mr. Huskisson's system of duties on imports /
The speeches of Mr. Smith, of South-Carolina, delivered in the House of Representatives of the United States, in January, 1794, on the subject of certain commercial regulations, proposed by Mr. Madison, in the committee of the whole, on the report of the secretary of state.
by: Smith, William, 1758-1812.
Letters on the constitutionality and policy of duties, for the protection and encouragement of domestic manufacturers
Mr. Harper's motion. 31st December 1795. Committed to a committee of the whole House, on Monday next.
by: Harper, Robert Goodloe, 1765-1825.
Letters on the constitutionality of the power in Congress to impose a tariff for the protection of manufactures prefixed by a brief sketch of the author ... /
Remarks on the impolicy of restrictions on commerce with a particular application to the present state of the timber trade.
James Madison, 1751-1836; chronology, documents, bibliographical aids.
Mr. Horsey's motion. January 2, 1815. Printed by order of the Senate of the United States.
by: Horsey, Outerbridge, 1777-1842.
The reply of Mr. Madison, in answer to Mr. Rose, in discussing the affair of the Chesapeake
Letters and other writings of James Madison fourth president of the United States.
Opposition to restrictions upon trade remonstrance of the business men of New-York.
Commercial intercourse with foreign nations -- privileges and restrictions. Message from the President of the United States, transmitting a report from the Secretary of State, on the subject of the commercial intercourse of the United States with foreign nations, &c. February 6, 1854. -- Referred to the Committee of Ways and Means.


Claudia had been approved to work all summer as a volunteer at the main branch of the Boone County library. Her goal was to learn to use the library's resources to do research. By September, she had become proficient with the Dewey Decimal System, the Reader's Guide to Periodical Literature and the microfiche device.
1952, the year Claudia avenged her father's death. Her victim was a corrupt policeman from the Crescent City.
The librarian did not see the article Claudia had been reading from a 1952 New Orleans Times-Picayune. The headline read, "Mid-westerner killed in Garden District drug raid." Claudia had jotted down the name of the officer responsible — it was Emile Duplessis.
Claudia was raised by her grandfather due in part to the loss of her father when he was young.
He died at the hands of a corrupt cop in New Orleans.
the old fashioned way, long before the internet. See this snippet for 8 lines about her revenge.
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text:
SCC, South Warwickshire NHS trust create digital innovation hub
Krishna Chaitanya Karanam 1 month ago
SCC joins forces with Warwick Hospital owner SWFT to launch a new digital innovation hub. (Credit: Snowmanradio/Wikipedia.org)
IT solutions provider SCC has joined forces with South Warwickshire NHS Foundation Trust (SWFT) to launch a new digital innovation hub for accelerating the digital delivery of care.
SWFT is a general acute and community provider in the West Midlands region.
According to SCC, amid the prevailing Covid-19 crisis, the new hub offers clinicians with a real-world, co-creative facility for expediting the identification and development of digital care solutions.
Using the digital innovation hub, clinicians can carry out on-going trials of new technologies along with the existing care regime, for demonstrating the practicality and also improvement.
SCC said that the hub will considerably help in cutting down waiting times at hospitals. The company, which is owned by Rigby Group, said that the hub will also help in automating care management so that more people get appropriate care quickly.
Rigby Group founder and executive chairman Peter Rigby said: "We have been a supplier of technology to the NHS over the years but have built a very special relationship here, where we're working with the clinicians and the administrators of the Trust, along with our own technicians, to examine and develop established software opportunities and to industrialise them for the greater benefit of the wider NHS."
SWFT, which is said to have made significant investments in its digital transformation programme, is now being challenged in reducing the backlog of patients due to the prevailing pandemic.
SCC said that the digital innovation hub will have videoconferencing facilities for facilitating better collaboration between clinicians within and outside of the NHS trust. The hub will also incorporate innovative new artificial intelligence (AI) solutions that can transform care management and decrease backlogs by a significant extent.
SWFT chief executive Glen Burley said: "We wanted to create a facility where our clinicians can sit alongside the very best technology companies to develop solutions to meet the healthcare needs of the population now and for years to come.
"For the first time our clinicians are able to highlight problems that they are facing, and together we will design technology solutions with the very best brains in the business. Rather than looking on the shelves of technology solutions and seeing if they meet the needs of our patients, our clinicians will be co-producing and co-designing solutions."


This Political Insider Says Assange has "Political DYNAMITE" for October!
Political consultant Roger Stone was interviewed by conservative radio host Dana Loesch about what Julian Assange might have planned for the month of October.
"I happen to be one who thinks that Assange is a hero. I think Assange has taken on the ruling elite of both left and right. The left loved Julian Assange when he exposed the dark secrets of the Bushes, and here he is exposing the dark secrets of the Establishment.
"I believe Mr. Assange has all of the emails that Huma Abedin and Cheryl Mills –the two top Clinton aides– believed they had destroyed. So if that is true and he releases them through this election, as he released strategically the DNC documents that showed that Hillary basically had to cheat to screw Bernie out of the Democratic nomination; and the complicity of Debbie Wasserman Schultz who was a mole – never mind her responsibilities as Democratic National Committee Chairwoman – for which she's almost immediately rewarded – like a brazen reward.
So, what does this mean? I know we're all hoping for something explosive come October. But I can't help but recall that Assange also said in a recent interview – the one where he hinted at Seth Rich being one of his sources – that WikiLeaks doesn't "sit on material." How do you reconcile that with the possibility that Assange is waiting to create an October surprise? I guess we'll have to find out.


text:
Story Structure: Elements of Act Two
For those just finding these posts, here's what we've discussed so far:
Story Structure 101 - the Index Card Method
What's Your Premise?
Screenwriting - the Craft
Elements of Act One
Before we move on to Act Two, I want to start with Rob Gregory Browne's excellent comment on character arc. He said:
----The one thing I would argue with -- and this always gets me into trouble -- is character arc.
Most stories take place over a few hours, days, or weeks. Unless you're writing a sweeping saga, the timeline is very short.
To have a character discover something about herself over such a short period of time -- at least to the point where it changes her, is, to my mind, a bit of a stretch.
Generally speaking, people don't change in a few days, no matter what they're confronted with. If something major happens, like a death in the family, a mugging, an accident -- people are certainly affected by it, but any change they go through would still take months or even years.
Yes, I know we're talking fiction, and fiction often has a kind of accelerated reality, but I think too many of us put too much emphasis on the idea that your hero has to change in some way.
Does James Bond change? Even in this last, best Bond, Bond went from being a ruthless killing machine to a slightly more ruthless -- and pissed off -- killing machine. Not much of a change.
Michael Connelly's Harry Bosch has changed, but it has taken several books -- and years -- for that arc, and it's still in progress.
Or look at Jack Reacher. To my mind, he is one of the greatest characters in fiction these days -- every writer wishes he'd created a Reacher, and readers love him. But change? Not much. In fact, we don't WANT him to change. Reacher remains the same solid, unflinching nomad throughout the story, and we know that in the end he's going to save the day, then walk off alone into the sunset.
Now, I'm not suggesting there's anything WRONG with a nice character arc, I just don't think it's a NECESSARY element of fiction.
My two cents, at least.----
Well, first, I'd like to disagree that sweeping character change is not possible in a limited time frame. Compression is pretty much the essence of drama, and a great story will present a human being in a crisis, or crucible, that forces great change. That's one of the main things we seek out in stories, especially standalones, in which you only have that one shot to say EVERYTHING you want to say.
Plus, you know, I'm a drama queen and I need things BIG.
But Rob is right that a lot of classic characters don't have a huge range of change. So I'd like to restate what I've said before about
CHARACTER ARC AND SERIES CHARACTERS
Series hero/ines are a different animal than standalone hero/ines. One theory of this is that readers who are devoted to a series character really want to see the same person, over and over again.
I think it's a little more complicated than that. I think a lot of classic series characters, especially series detectives – and of course James Bond and his sexier modern incarnation Jack Reacher do spring immediately to mind – are really examples of the "Mysterious Stranger" archetype, and Mysterious Stranger stories have their own story structure. Mary Poppins is the classic Mysterious Stranger; she pops in (get it?), fixes the family, and pops out, while remaining herself "Practically Perfect in Every Way". SHANE is a great film with a Mysterious Stranger structure, although Shane is a much more wounded Stranger than Mary Poppins – he's very imperfect, unable to change, and therefore unable to integrate into society in the end – but he does fix the town's problem and the wound in the family that temporarily takes him in.
James Bond and Jack Reacher are also perfect characters in their ways (although, from a female POV, perfectly infuriating). Rob is right - we don't want them to change. The trick to the Mysterious Stranger structure is that it's the OTHER characters who have the big character arcs in the story (although in some Mysterious Stranger stories, the Stranger does have an arc as well. Emma Thompson had some fun with that – as the screenwriter and actress – in the recent film NANNY McPHEE, based on the books by Christianna Brand). And of course not all series detectives are perfect Mysterious Strangers, either – I myself am partial to the flawed ones, like Tess Gerritsen's surly Jane Rizzoli.
This all goes to emphasize an important point: different genres have very different story structures, and you need to study and understand the classic tricks and expectations of your own genre. That's why I so adamantly advocate creating your own story structure workbook, as I've talked about here:
All right, on to Act Two.
Act Two is summed up by the greats such as, like, you know, Aristotle - as "Rising Tension" or "Progressive Complications". Or in the classic screenwriting formula: Act One is "Get the Hero Up a Tree", and Act Two is "Throw Rocks at Him" (and for the impatient out there, I'll reveal that Act Three is; "Get Him Down.")
All true enough, but a tad vague for my taste.
So let's get more specific.
The beginning of the second act of a book or film (30 minutes or thirty script pages into a film, 100 or so pages into a book) – can often be summed up as "Into the Special World" or "Crossing the Threshold". Dorothy opening the door of her black and white house and stepping into Technicolor Oz one of the most famous and graphic examples… Alice tumbling down the rabbit hole is another. The passageway to the special world might be particularly unique… like the wardrobe in THE LION, THE WITCH AND THE WARDROBE; that between-the-numbers subway platform in the HARRY POTTER series; Alice again, going THROUGH THE LOOKING GLASS; the tornado in THE WIZARD OF OZ; the blue pill (or was it the red pill?) in THE MATRIX; or the tesseract in A WRINKLE IN TIME.
This step might come in the first act, or somewhat later in the second act, but it's generally the end or beginning of a sequence – think of ALIEN (the landing on the planet to investigate the alien ship), STAR WARS, RAIDERS OF THE LOST ARC, going out on the ocean in that too-small boat in JAWS, flying down to Cartagena in ROMANCING THE STONE, flying to Rio in NOTORIOUS, stopping at the Bates Motel in PSYCHO. It's often the beginning of an actual, physical journey in an action movie; in a ghost story it is entering the haunted house (or haunted anything). It's a huge moment and deserves special weight.
There is often a character who serves the archetypal function of a "threshold guardian" or "guardian at the gate", who gives the hero/ine trouble or a warning at this moment of entry – it's a much-used but often powerfully effective suspense technique – always gets the pulse racing just a little faster, which is pretty much the point of suspense.
And I highly recommend Christopher Vogler's THE WRITER'S JOURNEY and John Truby's ANATOMY OF STORY for brilliant in-depth discussions on archetypal characters such as the Herald, Mentor, Shapeshifter, Threshold Guardian, and Fool.
Also very early in the second act the Hero/ine must formulate and state the PLAN. We know the hero/ine's goal by now (or if we don't, we need to hear it, specifically.). And now we need to know how the hero/ine intends to go about getting that goal. It needs to be spelled out in no uncertain terms. "Dorothy needs to get to the Emerald City to ask the mysterious Wizard of Oz for help getting home". "Clarice needs to bargain with Lecter to get him to tell her Buffalo Bill's identity."
It's important to note that it's human nature to expend the least amount of energy to get what we want. So the hero/ine's plan will change, constantly – as the hero first takes the absolute minimal steps to achieve her or his goal, and that minimal effort inevitably fails. So then, often reluctantly, the hero/ine has to escalate the plan.
Also throughout the second act, the antagonist has his or her own goal, which is in direct conflict or competition with the hero/ine's goal. We may actually see the forces of evil plotting their plots (John Grisham does this brilliantly in THE FIRM), or we may only see the effect of the antagonist's plot in the continual thwarting of the hero/ine's plans. Both techniques are effective.
This continual opposition of the protagonist's and antagonist's plans is the main underlying structure of the second act.
(I'm giving that its own line to make sure it sinks in.)
The hero/ine's plans should almost always be stated (although something might be held back even from the reader/audience, as in THE MALTESE FALCON). The antagonist's plans might be clearly stated or kept hidden – but the EFFECT of his/her/their plotting should be evident. It's good storytelling if we, the reader or audience, are able to look back on the story at the end and understand how the hero/ine's failures actually had to do with the antagonist's scheming.
Another important storytelling and suspense technique is keeping the hero/ine and antagonist in close proximity. Think of it as a chess game – the players are in a very small, confined space, and always passing within inches of each other, whether or not they're aware of it. They should cross paths often, even if it's not until the end until the hero/ine and the audience understand that the antagonist has been there in the shadows all along. In movies like THE FUGITIVE, you can see Richard Kimble and U.S. Marshal Gerard passing each other by inches, sometimes. It's a great suspense technique in itself (and oh, does Hollywood love this mano a mano stuff…)
Besides this continual clash of opposing plans, the hero/ine's allies will be introduced in the second act, if they haven't already been introduced in Act One.
In fact there is often an entire sequence called "Assembling the Team" which comes early in the second act. The hero has a task and needs a group of specialists to get it done. Action movies, spy movies and caper movies very often have this step and it often lasts a whole sequence. Think of ARMAGEDDON, THE STING, MISSION IMPOSSIBLE (I mean the great TV series, of course), THE DIRTY DOZEN, STAR WARS – and again, THE WIZARD OF OZ. One of the delights of a sequence like this is that you see a bunch of highly skilled pros in top form – or alternately, a bunch of unlikely losers that you root for because they're so perfectly pathetic. I had fun with this in THE HARROWING - even if you're not writing an action or caper story, which I definitely wasn't in that book, if you've got an ensemble cast of characters, the techniques of a "Gathering the Team" sequence can be hugely helpful. The inevitable clash of personalities, the constant divaness and one-upmanship, and the reluctant bonding make for some great scenes – it's a lively and compelling storytelling technique.
There is also often a TRAINING SEQUENCE in the first half of the second act. In a mentor movie, this is a pretty obligatory sequence. Think of KARATE KID, and that priceless Meeting the Mentor/Training sequence that introduces Yoda in THE EMPIRE STRIKES BACK.
There's often a SERIES OF TESTS designed by the mentor (look at AN OFFICER AND A GENTLEMAN and SILENCE OF THE LAMBS).
Another inevitable element of the training sequence is PLANTS AND PAYOFFS. For example, we learn that the hero/ine (and/or other members of the team) has a certain weakness in battle. That weakness will naturally have to be tested in the final battle. Yoda continually gets angry with Luke for not trusting the Force… so in his final battle with Vader, Luke's only chance of survival is putting his entire fate in the hands of the Force he's not sure he believes in. Lovely moment of spiritual transcendence.
Very often in the second act we will see a battle before the final battle in which the hero/ine fails because of this weakness, so the suspense is even greater when s/he goes into the final battle in the third act. An absolutely beautiful example of this is in the film DIRTY DANCING. In rehearsal after rehearsal, Baby can never, ever keep her balance in that flashy dance lift. She and Patrick attempt the lift in an early dance performance, Baby chickens out, and they cover the flub in an endearingly comic way. But in that final performance number she nails the lift, and it's a great moment for her as a character and for the audience, quite literally uplifting.
Of course you'll want to weave Plants and Payoffs all through the story… you can often develop these in rewrites, and it's a good idea to do one read-through just looking for places to plant and payoff. A classic example of a plant is Indy freaking out about the snake on the plane in the first few minutes of RAIDERS OF THE LOST ARK. The plant is cleverly hidden because we think it's just a comic moment – this big, bad hero just survived a maze of lethal booby traps and an entire tribe of warriors trying to kill him – and then he wimps out about a little old snake. But the real payoff comes way later when Salla slides the stone slab off the entrance to the tomb and Indy shines the light down into the pit - to reveal a live mass of thousands of coiling snakes. It's so much later in the film that we've completely forgotten that Indy has a pathological fear of snakes – but that's what makes it all so funny.
I very strongly encourage novelists to start watching movies for Plants and Payoffs. It's a delicious storytelling trick that filmmakers are particularly aware of and deft at… it's all a big seductive game to play with your audience, and an audience eats it up.
Other names for this technique are Setup/Reveal or simply FORESHADOWING (which can be a bit different, more subtle). Woody Allen's latest film, VICKI CRISTINA BARCELONA, does this beautifully with the long buildup to the intro of Maria Lena, the Penelope Cruz character. Penelope completely delivers on her introduction and I think she's a shoo-in for an Oscar nomination for that one.
The Training Sequence can also involve a "Gathering the Tools" or "Gadget" Sequence. The wild gadgets and makeup were a huge part of the appeal of MISSION IMPOSSIBLE (original) and spoofed to hysterical success in GET SMART (original), and these days, CSI uses the same technique to massive popular effect.
In a love story or romantic comedy the Training Sequence or Tools Sequence is often a Shopping Sequence or a Workout Sequence. The heroine, with the help of a mentor or ally, undergoes a transformation through acquiring the most important of tools – the right clothes and shoes and hair style. It's worked since Cinderella – whose personal shopper/fairy godmother considerately made house calls.
And the fairy tale version of Gathering the Tools is a really useful structure to look at. Remember all those tales in which the hero or heroine was innocently kind to horrible old hags or helpless animals (or even apple trees), and those creatures and old ladies gave them gifts that turned out to be magical at just the right moment? Plant/Payoff and moral lesson at the same time.
I'd also like to point out that if you happen to have a both a Gathering the Team and a Training sequence in your second act, that can add up to a whole fourth of your story right there! Awesome! You're halfway through already!
In an action story or a thriller or mystery – or even a fantasy like HARRY POTTER or THE WIZARD OF OZ - in Act Two there will be continual ATTACKS ON THE HERO/INE by the antagonist and/or forces of opposition. These will often start subtly and then increase in severity and danger.
In a detective story, Act Two, Part Two often consists very specifically of INTERVIEWING WITNESSES, FOLLOWING CLUES and LINING UP THE SUSPECTS, very often interspersed with ACTION SEQUENCES and ATTACKS ON THE HERO/INE. You will want to weave in RED HERRINGS and FALSE LEADS. And there's another convention of the genre you'll want to look at, which is THE DETECTIVE VOICING HIS/HER THEORY. Mysteries are by nature convoluted, because there are so many possible explanations for what's going on, so don't be afraid to have your detective just say what s/he's thinking aloud. Your reader or audience will be grateful.
If this is the genre you're writing in, you will definitely want to break down several classics to see how these elements and sequences are handled. MURDER ON THE ORIENT EXPRESS, SILENCE OF THE LAMBS, and CHINATOWN are great examples to analyze. (See my breakdown of CHINATOWN for a more specific discussion of these story elements).
Also in the second act (but maybe not until the second half of the second act) you may be setting a TIME CLOCK or TICKING CLOCK, which I'll talk more about in an upcoming post on suspense techniques.
And you'll also want to be continually working the dynamic of HOPE and FEAR – you want to be clear about what your audience/reader hopes for your character and fears for your character, as I talked about in the Elements of Act One.
A screenwriting trick that I strongly encourage novelists to look at is the filmmakers' habit of STATING the hope/fear/stakes, right out loud. Think of these moments from
JAWS: "We're gonna need a bigger boat." (Well, yeah, they should have, shouldn't they?)
SILENCE OF THE LAMBS: "Do NOT tell him anything personal about yourself. Believe me, you don't want Hannibal Lecter inside your head." (And what does Clarice proceed to do?)
ALIEN: "It's going to eat through the hull!" (When they first cut the alien off John Hurt and its blood sizzles straight through three layers of metal flooring. How do you kill a creature that bleeds acid without annihilating yourself in the process?)
The writers just had the characters say flat out what we're supposed to be afraid of. Spell it out. It works.
Okay, this is long enough for one blog so we'll continue next week, after I say one more thing.
All of the first half of the second act – that's 30 pages in a script, or about 100 pages (p. 100 to p. 200) in a 400 page book, is leading up to the MIDPOINT. This is one of the most important scenes or sequences in any story – a huge shift in the dynamics of the story. Something huge will be revealed; something goes disastrously wrong; someone close to the hero/ine dies, intensifying her or his commitment (What I call the "Now it's personal" scene… imagine Clint Eastwood or Bruce Willis growling the line), or the whole emotional dynamic between characters changes with what Hollywood calls, "Sex at Sixty" (that's 60 pages, not sixty years.) And this will often be one of the most memorable visual SETPIECES of the story (more on setpieces to come), just to further drive its importance home.
We'll pick it up next week – Act Two, Part Two. Or maybe I should stop and talk about visual storytelling and creating suspense, first, since that all has to be working at the same time.
But in the meantime – is this making sense? Can you give me any great examples of the story structure elements we've talked about here?
Labels: character arc, Elements of Act Two, film structure, midpoint, Story structure
Sarah Pinborough said...
This was an interesting read...I'm currently on 32k which I guess is about the end of the first act and I smiled wryly reading all the elements of Act 2 you listed and comparing with my outline...They were all there.
It's strange isn't it? I'd never referred to Acts etc until a conversation with Mike Marshall Smith made me say 'Acts? Huh?' and he said, 'oh shut up, trust me, you know what they are..' I think most novelists do it instinctively..which creates a whole different discussion on why that might be..
But fab essay lady.. as usual!
Oh, yeah, you definitely have it all going in your books.
I think I'm hyper aware of acts because of all the theater I did - it's physically ingrained in me. I still think of act climaxes as "curtains" - you have a big finish, a musical number, a major revelation, just before the curtain, which virtually ensures that the audience will come back after intermission to see what happens next. It's just good business! ;)
Same principle in television - you need to get the viewers back after the commercial.
We do it "instinctively" because we're obsessed with storyteling and we study it. Even when we don't have the names for it, we feel the rhythm of it.
I just wanted to pop in and say that I am getting so much out of these posts, Alexandra. They have really helped me whip my outline into shape. Thank you VERY much for sharing this information. I look forward to your future posts.
Kristine, I really appreciate your saying so. Of course I'm talking to myself, here (blasting into a second draft and OH, do I need the refresher course!). But it's great to know that other people are getting something out of it, too.
ace antonio hall said...
I will admit, Alexandra, that you argue a great point about a plot's timeline and the plausibility of a character going through a drastic change. However, the characters you cited may perhaps be you greatest point, but what if...that formula works best with characters that are introduced to us in one story? Perhaps, this is our first look at them, and to give them an internal conflict in which they have to overcome is one of the foundations of protagonist characterizations.
This is a wonderful post!
Hey Ace, how nice to see you here!
You've hit on a classic rule of storytelling - "Start with the hero/ine in crisis." Whether or not the character knows s/he's in crisis is up to you and the story - often the character thinks everything is just fine, while we, the audience or reader, quickly gather that her whole world is unraveling around her.
And yes, that's a great way to make big character change more plausible within the confines of a a single story, because the crisis has obviously taken years to develop, and radical change is necessary for the protagonist's happiness or even survival.
And yes, you're also right on the money that this works best for a standalone, which generally demands a more radical character change than you find in a series.
Nadia said...
That was an interesting read!
Hi, Alex! Do you remember me? I'm Nadia, and we talked a bit on Suzanne Beecher's Book Club.
So, how are you? Guess what, I finally found a copy of The Harrowing!
Nadia, you weren't supposed to buy that yourself. I still have copies of THE HARROWING and THE PRICE for you - I just got hit by a nasty flu a couple weeks ago and still haven't been able to get to the post office yet. All this traveling has really taken a toll on my immune system. :(
Hopefully this week.
But I'm glad you found your way here, anyway!
Charlotte Phillips, Co-Author of The Eva Baum Detective Series said...
Thanks for this great information. I will definitely be back for more and have added this blog to my blogroll for writers.
Charlotte Phillps
A Death in Texas
So glad it's useful, Charlotte, and thanks for the add! What's the URL of your blog?
Holly Jahangiri said...
This is great! I'll be back, taking notes.
That's great, Holly - glad to have you here!
Oh, I didn't buy it yet. It's absolutely unbelievable - my bookstore STILL doesn't have a copy, and it doesn't look like they will anytime soon. I'm on the waiting list for the Harrowing at the library... and I'm still waiting. Apparently, people take a long time to read good books. :P
Oh, that sounds terrible! Are you doing better?
Oh, good. I will send both books out to you, then.
It will be a lot easier for you to get my books in NZ and Australia next year - Little, Brown, UK is publishing THE HARROWING in April, THE PRICE in August, and THE UNSEEN in November.
Thanks for being patient!
Haha, no problem at all! Thankyou very much, I extremely appreciate it. It's such a warm sentiment!
Ooh, what's THE UNSEEN? A new book?
Hussey said...
Really I respect the sort of sentimental sentiments passed on. But anyhow it was undeniably keen and interesting to read.
Strongboy said...
On The Waterfront (once again)
About 60 minutes into the film and Terry Malloy's freind, Kayo Dugan is crushed by a ton of Irish Whiskey while working in the hole of a freighter. It's clearly no accident. This spurs Terry into finally agreeing to speak the truth about his corrupt union boss to Father Barry. However Terry's dark night of the soul also seems to entwine with the 'now it's personal' aspect towards the end of the film when Terry finds his brother's dead body hanging from a cargo hook in an alley -- executed. Suddenly his desire to do what's right becomes VERY personal. "I'm gonna take it out on their skulls."
Niki Chanel said...
Re: Gathering the team, how about 50 First Dates? Adam Sandler sees the 'other' Lucy, the dad, brother, the doctor, guy at the reception desk, 10-second Tom, the newspaper, wall painting and accident photos... all in one sequence.
I'm pleased with mself as I have so many of these elements you're teaching, already in my novels & scripts without ever having been taught. Thank you, Alexandra!
Cedric J. Sims said...
another great example of that 'assembling the team' part of a second act is the entire sequence in Inception when Cobb first meets Ariadne up to when she discovers his 'prison of memories'. But that's besides the point. how would I introduce an antagonist if my character's antagonist is his own mind?
Monique said...
You are so damn helpful. I've read many screenwriting books, but this resonates.
Spiders from Mars
Women and Horror
Guest blogging today
What works? (Notes on book marketing)
More on Bouchercon
The First Act (Story Structure, cont.)
Bouchercon Wrap-Up
That first short story
THE DARKER MASK, Heroes from the Shadows - out now...
Speculative Fiction panel in Raleigh today


Very relaxed, informative and enjoyable.
Michael is a guy who clearly cares about Auckland and NZ. He has a wealth of knowledge and many interesting anecdotes.
We were thrilled with our time out on the water.
Couldn't have wanted anything better. The wind came up in perfect time so we were able to enjoy the thrill of actually sailing this beautiful yacht.


text:
Stephen Curry's Son: All About Canon W. Jack Curry
Canon Curry, Stephen Curry's only son, is the only son of Golden State Warriors star Stephen Curry. Cannon's fourth birthday was recently celebrated at California Classics by Steph and Ayesha. Four-year-olds are adored not only by their parents but by the entire world.
There is no harm in stating that the little munchkin has been bringing smiles and happiness to all of his fans. Ayesha Curry was hospitalized five times during her pregnancy while Canon was in the womb!
Today we'll talk about Canon, the adorable baby of NBA couple Steph and Ayesha. We guarantee Stephen Curry's son will make you smile from ear to ear.
1 Where was Canon Curry born? Ethnicity, Nationality, Family, Education
3 Social Media Details
Where was Canon Curry born? Ethnicity, Nationality, Family, Education
Canon Curry is the son of Ayesha Curry and Stephen Curry. Steph and Ayesha welcomed their third child, a boy, on July 2, 2018. The child is also the grandson of former NBA player Dell Curry and the nephew of Philadelphia 76ers guard Seth Curry. Ayesha describes her third pregnancy as ROUGH.
"My third pregnancy was a nightmare. "I had hyperemesis and needed a PICC line, major thyroid issues, anxiety… you name it," Ayesha wrote in her post. Furthermore, Canon was born prematurely. Canon was born a month early, as Ayesha revealed in her post.
Canon arrived in the world perfectly healthy and weighing 6lbs 7oz. Curry wrote on Canon's fourth birthday, "To my son- the World is yours you light up the room and already bring joy to everyone you meet."
Full Name Canon Wardell Jack Curry
Birth Place Oakland, California
Nick Name Young Wolf
Zodiac Sign Cancer
Father's Name Stephen Curry
Mother's Name Ayesha Curry
Siblings Two (Riley Curry and Ryan Curry)
Height N/A
Eye Color Blue-Green
Education N/A
Social Media None
Net Worth N/A
Maternal Grandfather John Alexander
Maternal Grandmother Carol Alexander
Paternal Grandmother Dell Curry
Maternal Grandfather Sonya Curry
Uncles Seth Curry, Jaz Alexander, Chad Alexander
Aunts Sydel Alicia Curry, Janice Alexander, Maria Alexander
Stephen Curry Merch Jersey, Shoes
Last Update September 2022
A Brief History of Stephen Curry and Ayesha Curry
Before we get into the specifics of Cannon, here is a quick wiki about Stephen and Ayesha for those who are unfamiliar with them. Stephen Curry is an American professional basketball player who currently plays for the NBA's Golden State Warriors. Steph Curry is without a doubt one of the best shooters in NBA history.
He is also well-known as a three-time NBA champion and two-time MVP. Steph is one of the highest-paid athletes in the world. He was ranked ninth on Forbes' list of the highest-paid athletes in 2019. As a result, Steph's net worth is estimated to be around $160 million. He earns around $50 million per year.
Steph is 24 years old and was born on March 14, 1988. He stands 6 feet 3 inches tall and weighs approximately 86kg. He has a healthy and fit body as an athlete. Stephen Curry's wife is Ayesha Curry. Steph and Ayesha married in 2012, and they have three children.
The couple is the most adorable in the NBA. They are also one of the most discussed couples. In terms of her professional life, Ayesha is an entrepreneur, host, and New York Times, bestselling author. She is also an actor who has appeared in several short films.
Ayesha has accumulated a net worth of approximately $16 million as of 2022. Stephen and Ayesha both believe in giving back to their communities. As a result, they established the "Eat. Learn. Play" foundation. The foundation is dedicated to helping every child reach their full potential.
What's the story behind Stephen Curry's son's name?
When Steph and Ayesha were expecting their first child, they chose the name Canon. However, because their first child was a girl, they kept the name Riley. Ryan was the name they gave to their second child, who was also a girl. Ayesha was finally pregnant for the third time.
They found out they were having a son this time. As a result, the name 'Canon' slipped their minds once more. They did, however, have other names in mind for their son. For example, the couple considered naming their child 'Wardell Stephen Curry III.'
The name was chosen because the child was born to Stephen and his grandfather's name was Dell. He was also the third Wardell in the family.'Wardell Stephen Curry III' would carry on the family name. Steph and Ayesha had also decided to call their son 'Trey.'
The couple, however, couldn't get rid of the name Canon. They felt comfortable with the name. As a result, they ultimately decided to name their baby boy Canon, the name they chose 9 years ago. Similarly, to keep the family ties in the name, the word 'Jack' was added in the middle as a tribute to his grandfather.
Cannon Curry: Siblings
Riley Elizabeth Curry and Ryan Carson Curry are Cannon Curry's two sisters. Riley was born on July 19, 2012, in Charlotte, North Carolina, to Steph and Ayesha. She is well-known in the United States as a child model. Riley, who is now ten years old, is the eldest of Steph's children.
Ryan, likewise, was born on July 10, 2015, making her only 7 years old. She is the daughter of Steph and Ayesha.
Social Media Details
Canon, Steph's son, is only four years old. As a result, he is still too young to manage his own social media account on his own. As a result, Canon does not have its own social media platform. However, don't be disappointed; Canon's mother, Ayesha, and father, Steph, frequently post adorable pictures and videos of Canon on social media.
Also Read: Is Deadliest Catch's Josh Harris Wed? Family And Wealth
Related tags : celebrity child
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In the UK, Atom Uniacke is a well-known celebrity youngster. Rosamund Pike and her boyfriend Robie Uniacke have a son named Atom Uniacke. Net Worth of Family As of December 2022, his mother's estima
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text:
Dos Chicos
Two Latino boys. Two engaging stories. Two distinctive illustration styles. ¡ bravo!
Frederico and the Wolf by Rebecca J. Gomez ill by Elisa Chavarri
Once upon a modern time...
Gomez takes the well-known tale of "Little Red Riding Hood," dresses the main character in a scarlet hoodie, adds a distinctive Latin flavor, and sets it to a rhythmic beat. It's Federico and the Wolf, a contemporary retelling.
In this version, young Federico bikes to his grandfather's shop. First he stops to purchase ingredients for pico de gallo. He and grandfather plan to enjoy lunch together and then whip up a batch of hot salsa.
Federico is on his way with a basket of groceries when a hungry wolf appears and declares his intent to devour this niño. It takes some quick thinking and a large habanero to outwit un lobo.
At the tale's conclusion, Gomez shares a recipe for pico de gallo. She adds a glossary of Spanish words and phrases with pronunciation guide along with definitions.
Chavarri's charming illustrations have a contemporary folk-art quality. End papers feature colorful traditional patterns with the faces of Federico and Grandfather nestled within the designs. Her portfolio includes this dazzling bookmobile art.
Pub date: May 19, 2020 Publisher: Clarion Books ISBN: 978-1328567789
Brick by Brick by Heidi Woodward Sheffield
Tonight I dream in my house.
Nuestra casa para siempre-
our always house.
Brick mason meets young reader. Sheffield has ingeniously woven together the building of an architectural structure and the creation a reader. Both are busy: constructing brick by brick, book by book.
Pages views alternate between parallel activities. Papa scales the scaffolding while Luis scrambles up playground equipment. Papa mixes mortar and trowels a layer of cement as Luis molds clay. Papa stacks bricks row by row and Luis arranges a tower of his favorite stories, book upon book.
The heart of the story is the relationship between a father and son. Luis rides on his father's shoulders while wearing papa's hard hat. The two share a warm abrazo.
Together they work and plan for the fulfillment of a dream: a house that they can call home.
Sound effects displayed with various font colors add to the sensory experience.
TAP TAPS brick into place
SCRRRRAPES drips the mortar
KERCHUNKS lunch box closes
WHIRRRRRR a mixer at work
WHOOOSH water added to the slurry
Illustrations are stellar. Sheffield's collages of textures, colors, shapes and snippets of photographs are ingenious. Artistic assemblages are enhanced with painted details.
Observant readers will find papa's boots are photographs of actual work boots. The United States flag is a collection of irregular red and white stripes, hand drawn stars on a blue background and a snippet of blue jeans. Pieces of actual brick form the buildings. Multicolor angular shapes become falling autumn leaves.
Spanish phrases are seamlessly woven into the narrative. Messages are carefully placed throughout the illustrations. A city illustration includes the messages "dream" and "mis sueños" which echo the father and son's hopes for the future. When the pair drive away from the city toward their new home the environmental art contains a different message: "bye" and "adios." Brick by Brick is brimming with the joy of hard work and the realization of a dream.
Pub date: May 5, 2020 Publisher: Nancy Paulsen Books ISBN: 978-0525517306
Bunch of Baloney
Baloney and Friends by Greg Pizzoli
Come and see...the masterful...the magical...the one and only Baloney!
When times are tough, when days are dark, when "normal" is a fleeting memory, some may wonder if there is anything that will bring a bit of cheer to world weary souls. The answer is yes. Baloney and Friends is here to dispel some of life's hopelessness.
This collection of graphic novel shorts begins with the introduction of four slightly zany cartoon characters. Readers meet Baloney, the pig and star of the book. He is joined by friends Peanut D. Horse, Biz E. Bee, and Krabbit a rabbit. Krabbit lives up to his name often responding with a sarcastic "whatever."
Readers are treated to a selection of stories interspersed with mini comics. Follow Baloney as he entertains his friends with tricks which may or may not be magical. The gentle humor continues as he struggles with fear of the unknown and feelings of sadness. Pizzoli has created a winsome collection of tales with precisely the right amount of snark.
Bright colors, a handy trim size of just over 6" x 8", an easy-to-read 96 pages, and limited word count make this an excellent choice for emergent readers. Bonus back matter provides step- by-step tutorials for drawing each of the book's characters. Silliness, snappy dialogue, and a few bathroom jokes will delight young readers. It's a bunch of baloney that kids will eat up.
Pub date: April 21, 2020 Publisher: Little, Brown Books for Young Readers ISBN: 978-1368054546
A Tale Retold
Bluebeard: A Feminist Fairy Tale by Metaphrog
The dynamic duo Metaphrog have created a creeptastic reimagining of Bluebeard. Award-winning co-creators John Chalmers and Sandra Marrs have cast this traditional French folktale as a fantasy feminist story. Readers meet a girl who doesn't wait to be rescued. She rescues herself.
Here's how it happens:
Eve and her family live near an enchanted forest. Beyond the forest atop a high mountain is the castle of Count Bluebeard.
Eve's idyllic life with her family and her best friend Tom is disrupted when strange things begin to happen near the forest. Animals disappear. People can be trapped in the masses of dense vegetation. No one dares to enter this sinister wood.
After Eve reaches her eighteenth year, Bluebeard decides to select a bride from among the townsfolk. With a roll of the dice, Eve is selected to become his wife and live with him on the mountaintop. Following the marriage ceremony he takes her to his imposing, opulently furnished castle. Eve notices a long corridor leading to countless rooms. At the end of an extended hallway is a door opened only with a special golden key.
When Bluebeard leaves on urgent business he presents Eve with a ring of keys giving her access to all rooms in the castle. She is explicitly warned to never enter the door unlocked with the golden key. Alone and anxious, Eve roams throughout the castle, going from room to room.
Eventually she opens the forbidden door. To her horror she finds the bodies of all the Count's former wives, hanging from the ceiling, their blood staining the room a violent red. The horrific truth dawns on Eve: He has killed all his wives. She is trapped inside the home of a murderer and she will be his next victim.
Meanwhile in the village Eve's older sister Anne has disappeared. Tom worries about Eve as there has been no communication from her. Tom suspects foul play and decides to take action. He recruits Eve's brothers to help him storm the castle, locate Anne, and rescue the two sisters.
Bluebeard returns to his home and finds that Eve has discovered the bodies of his murdered wives. In an intense climactic scene, Eve struggles to save her sister. Not waiting for Tom and her brothers, she courageously takes matters into her own hands, finishing off the count and setting both girls free.
Tension escalates with a series of panels that depict Eve gazing up a dizzying spiral staircase while Bluebeard stealthily inches nearer. Close-ups of razor-sharp teeth and talon-like extended fingers bring the terror into sharp focus.
Art is breathtaking. Intricately detailed dark silhouettes contrast against the soft jewel tone tints. The gorgeous backgrounds are enchanting.
Color plays an important part in the story. Some of the opening settings and coloring are reminiscent of the classic Disney fairy tales, such as Cinderella. Eve's world is a sparkling pink, while the appearance of Bluebeard is signaled with predominantly blue hues.
More Wondrous Stories
Metaphrog, is an award-winning graphic novelist team known for imaginative stories, resplendent art and stunning use of color. I became acquainted with Metaphrog about ten years ago when I picked up a curious little graphic novel, Louis-Night Salad. I had never encountered a book quite like this one. The approach is unique with classic art, luscious coloring and innovative story twists. Bluebeard continues that tradition of excellence.
Pub date: May 5, 2020 Publisher: Papercutz ISBN: 978-1545804124
Shine Your Light. Shine Your Story.
When Stars Are Scattered by Victoria Jamieson, Omar Mohamed, and Iman Geddy
If you know how to look, there are stories woven into the very essence of stars.
Be like a star. Shine your light. Shine your story.
Victoria Jamieson and Omar Mohamed's When Stars Are Scattered introduces readers to the reality of survival for displaced individuals, an existence filled with deprivation, uncertainty, and boredom.
Jamieson is a masterful storyteller. She brilliantly describes her childhood interests in Roller Girl, a Newbery Honor Award book and All's Faire in Middle School. Now she steps away from personal experience to chronicle the childhood of Somali refugees Omar Mohamed and his younger brother Hassan.
The narrative is based on Omar's memories. He and Hassan escaped Somalia's civil war, lost contact with their parents, and were given shelter at a camp located in Kenya. Looked after by a kind woman, they subsist on meager rations and sleep in a tiny tent. Omar assumes responsibility for disabled brother's daily care. Life changes when a UN worker suggests that Omar attend a school organized for the camp's children. Education becomes his lifeline and an escape from the grim reality of camp life. Fifteen long years later, the two resettle in Arizona.
Drawings are clean and uncluttered, keeping the focus on these young siblings. Each frame becomes a metaphor for life within the refugee camp. Omar remains trapped inside the confining panel boundaries. There are a few instances where Omar breaks through the restrictive lines which limit him. Using a stick, his elbow stretches beyond the frame as he writes letters in the ground. Arms extend out as he considers his decision to attend school. His hand drops out of the panel to receive a packet of verses that distill the lives, hopes, and dreams of young refugees. The inference is that education breaks the confines that hold him captive.
Color tends to be flat except the expanse of sky, where a breathtaking array of hues ranging from soft pinks to deep blues are sprinkled with the glimmering pinpoints of tiny stars. The sky appears limitless.
Jamieson takes a few liberties with Mohamed's story, fleshing out the narrative with additional characters. Two fictional camp residents deal with the harsh realities for girls in this society: few basic supplies, limited education opportunities, and arranged marriages at a young age.
Back material consists of an Afterword, Author's Notes by both Mohammed and Jamieson, photographs of Omar and his family, and Acknowledgments.
With extraordinary grace and simplicity, Mohamed and Jamieson put a name and a face on the plight of refugees. The suffering and unsettled circumstances are evident on every page. Without undue sentimentality or overwrought emotion, young Omar's story is simple and straightforward yet powerful in it's impact.
This graphic novelization of Omar's life as a refugee is heartbreaking and eye opening. It's the story of the bond that connects siblings, of living with a disabled family member, of a repressive view of women, and the long-lasting aftereffects of war. Notwithstanding these obstacles, this is a story of hope.
This seminal work written for children is a must read for all ages. A harrowing story well told. A story of humanity and possibility.
"I lived in Dadaab Refugee camp for over fifteen years. I know what its like to spend your entire childhood without resources. Now I'm working to change that for my family, friends, and neighbors." Omar Mohamed
Inspired by the story of a young refugee? Learn more about the mission and work of Refugee Strong.
Uncorrected copy provided by publisher
Pub date: April 14, 2020 Publisher: Dial Books ISBN: 978-0525553908
Long Story Short: 100 Classic Books in Three Panels
 by Lisa Brown
Literature is long. Comics are short.
Long ago, somewhere between the age when dinosaurs roamed the earth and the advent of Walkman cassettes, I discovered Richard Armour's The Classics Reclassified. Armour's tongue-in-cheek synopsis of literary standards such as The Iliad, Julius Caesar, and Ivanhoe are awash with witty observations, puns, and a plentiful side of silliness. An example is this title and subtitle "The Scarlet Letter: An A for effort."
I enjoyed that slim volume and would carry it around, quoting it to anyone who would listen.
Long Story Short has gone one better. Actually, it's one hundred better with pithy summaries of classic literature ranging from Dante's The Inferno and Beowulf to contemporary classics such as Maya Angelou's I Know Why the Caged Bird Sings and Hinton's The Outsiders, a groundbreaking YA novel for young adults. Lisa Brown also skewers beloved children's books: Harriet the Spy, Charlotte's Web, and *gasp* Harry Potter.
Here's what stands out: Brown condenses the larger works into a comic format, with about three jaw-dropping panels for each title. Think newspaper comic strip/Cliffs Notes mash-ups. It's amazing.
The abridged comics are organized into thematic sections: "Big Thoughts," "Epic," "Female Trouble," "War is Hell," "(Un)Happy Families," "The Horror," "Jeepers! Creepers!" "Friends and Frenemies," "Love," "Sex," and "Death."
Back matter includes a one-page guide on How to Write Your Own Three-Panel Book, index listing by title, and index listings by subject.
This is a book for those with a literary bent. Readers familiar with these titles will appreciate Brown's wit and her remarkable ability to distill a magnum opus into a few cleverly drawn panels. Well drawn. Well done.
Pub date: April 7, 2020 Publisher: Algonquin Books ISBN: 978-1616205034
Paper Planes by Jim Helmore and Richard Jones
How could they be best friends if they were so far apart?
Mia and Ben are best of friends. Inseparable, the duo can frequently be found designing and flying their own paper planes.
When Ben's family moves far away, the two are worried about the fate of their friendship. The distance between the two seems insurmountable. Then a small but remarkable thing happens. One smashed air ship and and a plane lacking wings bring the two together, joining forces to solve a problem. The challenge to construct a flight-worthy aircraft unites Mia and Ben. They also work out the challenge of their geographical separation with paper. Intricately folded paper.
Helmore has based the story on the long-distance friendship between his daughter living in England and her Australian cousin. This relationship spanning thousands of miles was forged and cemented by an exchange of paper planes.
With slightly greyish hues Jones' color palette has a muted quality that captures a sense of loneliness. The wide expanse of sky emphasizes the distance separating Mia and Ben. Images of flight emerge throughout the pages: geese soaring through the air, an airplane making dizzying dives in the skies, and boats gliding across the water.
While the story is based in reality, there is a gorgeous dream sequence where the friends meet high above the clouds. The longing to stay connected permeates the children's dreams. Paper Planes celebrates the youthful joy of friends with a shared interest. The pain of their separation followed by the comfort of discovering and strengthening their connection brings the tale to a satisfying conclusion.
Plan a Virtual Fly-off
Ben might be far away, but that didn't mean Mia had lost him forever.
This appealing picture book acknowledges the sorrow friends experience when they are far apart. This feeling is particularly poignant in today's world. Like Ben and Mia, kids can discover ways to maintain a friendship when separated by distance. Why not plan a virtual fly-off?
Peachtree Publishing Company offers online directions for making paper airplanes. This simple activity is great fun. Download the template and/or create your own paper planes. Customize the design. Decorate any way you would like.
Using your phone's camera, record the flight of your paper plane, carefully marking the start and landing points. Using a measuring tape, determine the distance flown. Invite your friend to do the same. Compare videos, noting the span of each flight. There can be many iterations of this contest. Will the winner be declared after two-out-three races? Will modifications be allowed? Perhaps you and your friend can create planes for one another and film the results for each of these test flights. Great way to learn about aerodynamics. Wonderful way to sustain a friendship.
Pub date: March 1, 2020 Publisher: Peachtree Publishing Company ISBN: 978-1682631614


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Travel 80 » Mexico » How to Get to Cozumel (in the Cheapest and Fastest Way)
How to Get to Cozumel (in the Cheapest and Fastest Way)
Cozumel, Yucatan's rising star has one of Latin America's busiest airports and is one of the Americas' major port towns. Its perfect blue Caribbean waters, chill, laid-back island feel, makes it one of the best hotspots if you're looking for that authentic Mexican Caribbean getaway.
This slice of heaven in the Riviera Maya is famed for its dive-worthy reefs, diverse activities, relaxed atmosphere, and cheaper thrills. Cozumel may be overshadowed by its mainland bigger sisters like Playa del Carmen and Cancun, but it stays afloat claiming its spot as one of the Yucatan's pride.
How Far is Cozumel From Mainland?
Cozumel Island is 16km or 10 miles from mainland Quintana Roo, this is the estimated distance from San Miguel de Cozumel, the central town of the island to Playa del Carmen.
Does Cozumel Have an Airport?
The Cozumel International Airport accommodates visitors straight from mainland Mexico and other countries. The airport sees many international and domestic flights and operates in the city of San Miguel de Cozumel.
The airport was renovated and expanded back in 2003, now with 6 international gates and 2 domestic. This has provided Cozumel an even better hold on the world-stage for tourist destinations.
How Many Airports Are There in Cozumel?
Cozumel only has one airport, the Cozumel International Airport with the IATA code of CZM. Since its expansion and the rise of Cozumel into the international spotlight, the airport has seen growing numbers of visitors over the years. In 2019, the airport has seen over 546, 423 passengers.
What Airport is Closest to Cozumel?
The nearest airport to Cozumel is the Cancun Airport. Visitors who plan to go to Cozumel after Cancun, either take a ferry to the island from Playa del Carmen or a smaller single-aisle plane directly from Cancun to Cozumel.
What Airlines Go to Cozumel?
There are many Mexican and International Airlines that fly to Cozumel like Aeromexico, Air Canada, American Airlines, Delta Airlines, Frontier, Interjet, Southwest, Volaris, MAYair, VivaAerobus, and many more.
It is best to check out ticket booking platforms online and find out if your local airlines have flights that go to Mexico, with connecting flights to Cozumel. Chances are if you're from the US or Canada, many flights take you to the Yucatan directly.
What Airlines Fly Direct to Cozumel?
Other than Mexican airlines, most of the airlines that fly directly to Cozumel are from the US and Canada like, Air Canada, Delta Air, Continental, WestJet, United Airlines, and Sun Country.
Try checking out travel platforms online and see if there's a flight from your city that directly fly to Cozumel. However, if you're not from Canada or the US, you might have to take connecting flights to Mexico to get to Cozumel.
Does Southwest Fly Into Cozumel?
Southwest Airlines fly directly to Cozumel International Airport. Flying with Southwest Airlines make Cozumel easy to reach, with available flights from different key cities in the US, and Mexico.
Does Jet Blue Fly to Cozumel?
Jet Blue, unfortunately, doesn't have many flights going directly to Cozumel. Even from key cities in the US.
How Do You Travel From Cancun to Cozumel?
There are various ways to get to Cozumel from Cancun, and whichever way you want to do it depends on the type of travel and experience you want to get out of.
The most popular way to get to Cozumel is by ferry from either Cancun or Playa del Carmen. There are also flights from Cancun that take you to Cozumel International Airport as Cozumel is one of the busiest airports this side of Mexico, even in Latin America.
Taking a ferry directly to Cozumel from Cancun is probably the cheapest way to go.
But, if you want to get the most out of the Riviera Maya experience, getting to Cozumel via a tri-city trip is a perfect choice.
You can stay and explore Cancun, and then take a bus to Playa del Carmen, experience the famous charm of this coastal town, then take a ferry from the Playa's pier to Cozumel and start from there.
How Far is Cancun to Cozumel?
The distance between Cancun and the central town of San Miguel de Cozumel is about 76 kilometers or 47 miles. You can choose from several options on getting to Cozumel, depending on your budget, what level of comfort you prefer, and generally the kind of trip you want to have.
Can You Fly Into Cancun to Get to Cozumel?
You can fly from Cancun to Cozumel coming from major airports, but some airlines offer direct flights to Cozumel, without having to fly in any of the major airports in Mexico.
There are international airlines, mainly from the US and Canada that fly to Cozumel, from certain cities outside Mexico.
How Do I Get From Cancun Airport to Cozumel?
You can get to Cozumel in various ways. Whether you take another flight directly to Cozumel, or you go by land and by water.
You can fly from Cancun through many airlines that serve flights between Cancun and Cozumel. Various Mexican airlines will get you from Cancun to Cozumel.
Apart from that, you can take a ferry from the pier in Playa del Carmen via bus or private transfer from Cancun, and sail off to San Miguel de Cozumel pier.
Buses from ADO in Cancun will take you to Playa del Carmen and you can either take a taxi to the pier or you could just walk.
Can You Drive From Cancun to Cozumel?
You can actually drive from Cancun to Cozumel. You can rent a car from Cancun and drive all the way down to Calica port, 10km south of Playa del Carmen, which takes a little longer and is more of a hassle than a private transfer.
This is usually not recommended by travelers who have been to Cozumel. Taking a private transfer, shuttle service or a bus is more convenient and cheaper.
This will take you to the pier in Playa del Carmen that only ferries passengers. Upon arriving at the port of San Miguel, you can take a taxi from there to your hotel. It is better to rent a car, a jeep, or a motorcycle when you're already on the island.
How Far Away is Cozumel From Playa Del Carmen?
Cozumel is 19 km or about 12 miles from Playa del Carmen. Getting from Playa del Carmen to Cozumel is probably the best, and most popular option if you want to hit two birds with one stone.
From Cancun, you can take a shuttle, a private transfer, or a bus to Playa del Carmen, and explore the city from there. And then after some time, and some exploring, get to the pier and take a ferry to Cozumel, you can purchase tickets at the kiosks near the ferry pier.
Is There a Ferry From Playa Del Carmen to Cozumel?
Taking a ferry to Cozumel from Playa del Carmen is cheaper, and less hassle. Two Ferry companies serve visitors in getting between these two Yucatan jewels.
Winjet and Ultramar have kiosks near the pier. From there you can buy one-way or round trip tickets, and you can take whatever boat is available on standby. It is advisable to get a one-way ticket first, and then get another one when you're ready to go back to the mainland. That way you wouldn't cram your way in getting to the pier on time for your scheduled trip.
How Long is the Boat Ride From Playa Del Carmen to Cozumel?
It only takes 30 minutes for ferries to cross. But that still depends on the sea conditions, rougher seas will take crossing a little longer.
Make sure you get to the boats on time, or at least 10 minutes before so that you have time to walk out and get on.
How Much is the Ferry Ride From Playa Del Carmen to Cozumel?
Average ferry prices cost about 220 Mexican Pesos one way or 400 for a round trip. If you have children with you, kids 2 to 12 years old have different prices – 140 pesos one way, or 260 round trip, and those below 2 years old are free.
How Often Does the Ferry Go to Cozumel?
The good thing about having two ferry companies servicing visitors makes for a more flexible trip. Winjet ferries go to Cozumel about 15 times a day, while Ultramar goes about 17 times a day.
Is the Ferry to Cozumel Safe?
The ferries comply with guidelines and protocols that ensure sea safety for passengers of all ages. The fact that these two ferry companies are the main operators, make them safe, trusted, and convenient services.
Can You See Cozumel From Playa Del Carmen?
You can actually see San Miguel, the central town of Cozumel from Playacar beach in Playa del Carmen. As the Playa del Carmen is no more than 19 km away from Cozumel, the adjacent towns are visible to each other much to visitors of the Playa and Cozumel's delights.
How Far is Cozumel to Tulum?
Tulum is 63 km or 40 miles from Cozumel. Tulum and Cozumel, being two of Yucatan's best, has convenient means of getting to and from each other, just like with Playa del Carmen and Cancun.
The most popular option and service that will get you in between these places are still the ADO buses. Although, you have to get to Playa del Carmen pier all the way from Tulum, and take a ferry to San Miguel de Cozumel.
How Do I Get From Tulum to Cozumel?
There are various means of getting in between these two destinations, like taxis, buses, and rental cars. Cozumel is a drive and ferry ride away from Tulum, with Tulum being on the mainland, further south of Playa del Carmen.
From Tulum, you can take a taxi or bus, the latter is cheaper and more convenient, given the facilities of ADO buses in the region. Then drive to Playa del Carmen pier, and take the next ferry to Cozumel.
However, if you're renting a car, the only way to get to Cozumel is through a car ferry 10 km south of Playa del Carmen in the Calica port, and usually, it isn't advisable. It's best to rent a car once you're on the island as car ferries are more hassle.
How Far is Tulum From Cozumel Airport?
The distance of Tulum from Cozumel airport is around 82 km. Tulum sits further down south of Playa del Carmen. However, getting to Cozumel from Tulum is easier and faster as it's nearer Cozumel than Cancun.
How Do I Get From Tulum Airport to Cozumel?
Unfortunately, Tulum doesn't have an airport, but an airbase and it doesn't accommodate commercial flights to the city. The main airport that receives visitors to Tulum and Cozumel is still Cancun Airport.
Anyone looking to visit Tulum will have the same options and means to get to Cozumel and Tulum. But, if you're coming from Tulum, you can take taxis, buses, and a rental car, although that isn't really advised by past travelers.
How Far is Cozumel From Isla Mujeres?
Isla Mujeres is 85 km away from Cozumel, both of which are charming islands just off the coast of Quintana Roo, along the Riviera Maya. Isla Mujeres however, is a lot smaller than Cozumel and seats nearer to the mainland.
Is There a Ferry From Isla Mujeres to Cozumel?
There aren't ferry services that take you from Isla Mujeres to Cozumel. The most popular choice is to take a ferry from Isla Mujeres to Cancun.
From Cancun, take a bus to Playa del Carmen, which has the closest port to Cozumel, and take a ferry that leads you directly to San Miguel de Cozumel.
Sint Maarten vs. Cancun (The Battle of the Caribbean Giants)
Is Costa Maya a Good Cruise Port (and What Can You Do There)?
What Are the Best Ruins to See in Costa Maya (and Where Can You Find Them)?
How Do You Get to Costa Maya (From Yucatan and Belize)?
What Is Costa Maya Known for (Everything You Need to Know Before Going)
What Is Mahahual Like (and How Do I Get There)?


Just before I retired in 2011 I sold almost everything I owned. It wasn't because money was tight, but because I wanted to spend my life as an adventure, traveling the world, pursuing my passions of writing and photography and most of the things I owned weren't going to fit into that lifestyle. I didn't intend to become a "minimalist", but I wanted to make the most of my retirement and it was the best thing that would make things work smoothly.
Read more of Jonathan's story here!


text:
José Luis Garcés González es un escritor y ensayista colombiano nacido en Montería, Córdoba, o San Jerónimo de los Charcos como él suele llamarle, el 28 de agosto de 1950. Miembro fundador del grupo literario "El Túnel", actualmente dirige la revista y el periódico del mismo nombre.

Trayectoria
En el género de la novela y el cuento ha alcanzado el suficiente prestigio y los méritos como para colocarse al lado de los más connotados escritores de América Latina. Con sus obras en prosa ha ganado importantes concursos nacionales y ha quedado finalista en otros del orden internacional. Con el cuento "Organizando el Trayecto" inicia su racha de triunfos, obteniendo el primer premio en el concurso organizado por la Universidad de Córdoba en 1976.

Cuatro años más tarde es nuevamente galardonado con el primer premio en el concurso de cuentos auspiciado por el Departamento Administrativo del Servicio Civil. En esta oportunidad su cuento ganador fue "El Retorno Triste de la Memoria". Más tarde su cuento "Desde las fauces de la Sombra", gana el primer lugar en el concurso organizado por la Fundación Testimonio y la Universidad de Nariño. Tiempo después queda como finalista en el Concurso Latinoamericano de Novela "Jorge Isaacs", con la obra "Los Extraños Traen Mala Suerte". Con la novela "Entre la Soledad y los Cuchillos", se coloca como finalista en el concurso de novela organizado por Plaza y Janés, editorial que le publica su obra.

Otras de sus obras son: "Oscuras Cronologías", (recopilación de cuentos y relatos cortos); "La Efímera Inmortalidad de los Espejos", (cuentos); "Balada del Amor Final" (cuentos), "Carmen ya iniciada", (novela), "La Llanura obstinada" (novela), "Corazón Plural" (Poemas), "Zahusta" (cuentos y relatos), "El Abuelo Bijao y otros cuentos de lao" (cuentos), "Cuerpos otra vez", (relatos) y "Los Locos de Montería", (semblanzas), "Ese viejo vino oscuro".

Director de la revista El Túnel y exdirector de la Casa de la Cultura de la ciudad de Montería. Autor de dos obras de teatro y de los argumentos de las telenovelas: "Caballo Viejo", "Música Maestro" y "La 40, la Calle del Amor", obras que fueron llevadas a la televisión colombiana con insupera-ble éxito de sintonía. Sus trabajos como periodista han sido publicados en revistas, periódicos y suplementos literarios de todo el país. Algunas de sus poesías están incluidas en la Antología de Poetas de Córdoba (v.e.n.). Hace algún tiempo montó la taberna "Palabras" (v.e.n.), un lugar abierto a la cultura.

Como director y guionista ha realizado tres documentales para Telecaribe, profesor del Área de Español y Literatura de la Universidad de Córdoba. En marzo de 1998 publicó el libro antológico "Crónicas para intentar una historia", en agosto de 1997 ganó en Barranquilla el concurso de libro de cuentos con el texto "Amor Recíproco"

En una de sus obras publicadas recoge la vida y desventura de una veintena de locos que ha dado la ciudad. De la pérdida del juicio de algunos de ellos él se siente culpable.

Premios

Garcés González ha publicado cuentos, poemas, crónicas, investigaciones literarias y estudios monográficos. Su obra literaria ha sido reconocida tanto en Colombia como en el exterior. Algunos de los galardones que ha recibido, son: Segundo premio Plaza y Janés, 1985, con Entre la Soledad y los Cuchillos; Primer premio de Novela Ciudad de Pereira, 1984, con Carmen ya Iniciada. Primer premio al Mejor Envío Extranjero, Concurso de Cuentos Javiera Carrera, Valparaíso, Chile, 1983.

En 1992, con motivo de los 500 años de América, logró el tercer premio en el concurso de historia, Universidad del Atlántico, con el ensayo Dos Lujurias en América. Su libro de cuentos Fernández y las Ferocidades del Vino, ganó el segundo premio en el concurso nacional del libro de cuento Ciudad de Bogotá, en 1991. A finales de febrero de 2007 obtuvo el Premio Nacional de libro de cuento de la Universidad Industrial de Santander con el volumen "Aguacero contra los Árboles"

Obra publicada
Libros de cuentos
 Oscuras cronologías (1980)
 La efímera inmortalidad de los espejos (1982)
 Balada del amor final (1986)
 Fernández y las ferocidades del vino (1991)
 Zahusta (1995)
 La vida: (un documental en ciento veinte capítulos) (2004)
 Aguacero contra los árboles (2007)
 La muerte del filósofo y otras narraciones (2009)

Novela
 Los extraños traen mala suerte (1984)
 Entre la soledad y los cuchillos (1985)
 La llanura obstinada (1988)
 Carmen ya iniciada (1988)
 Isaac (2000)
 Ese viejo vino oscuro (2005)
 La fiera Fischer (2012)
 Fuga de caballos (2013)

Poesía
 Corazón plural (1989)
 Cuerpos otra vez (1993)
 Sombra en los aljibes (2008)

Literatura infantil
 El abuelo Bijao y otros cuentos de lao (1996)
 El abuelo Bijao ha regresao: el abuelo Bijao ha regresao, con coplas, adivinanzas y una obra de teatro al lao  (2002)

Crónica
 Crónicas para intentar una historia (1998)

Ensayos
 Los locos de Montería (1992)
 Literatura en el Sinú (2 vols.) (2000)
 Manuel Zapata Olivella, caminante de la literatura y de la historia (2002)
 Cultura y Sinuanología (2002)
 Literatura en el Caribe colombiano. Señales de un proceso (2 vols.) (2007)
 Montería a sol y sombra: (de la fábula a la postmodernidad) (2010)
 Textos de medianoche'' (2010)

Véase también
 Anexo:Escritores de Córdoba (Colombia)

Enlaces externos
 Grupo Cultural el Túnel
 Entrevista a José Luis Garcés en YouTube.
 Entrevista La Cueva de Gabriel

Nacidos en Montería
Novelistas de Colombia

redpajama_set_name: RedPajamaWikipedia


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