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Not today Justin
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he wasn't even looking at me and he found me
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Ready for being used.
Got to guard those family jewels!
Famous authors, their writings and their rejection letters.
Sylvia Plath: There certainly isn’t enough genuine talent for us to take notice.
Rudyard Kipling: I’m sorry Mr. Kipling, but you just don’t know how to use the English language.
Emily Dickinson: [Your poems] are quite as remarkable for defects as for beauties and are generally devoid of true poetical qualities.
Ernest Hemingway (on The Torrents of Spring): It would be extremely rotten taste, to say nothing of being horribly cruel, should we want to publish it.
Dr. Seuss: Too different from other juveniles on the market to warrant its selling.
The Diary of Anne Frank: The girl doesn’t, it seems to me, have a special perception or feeling which would lift that book above the ‘curiosity’ level.
Richard Bach (on Jonathan Livingston Seagull): will never make it as a paperback. (Over 7.25 million copies sold)
H.G. Wells (on The War of the Worlds): An endless nightmare. I do not believe it would “take”…I think the verdict would be ‘Oh don’t read that horrid book’. And (on The Time Machine): It is not interesting enough for the general reader and not thorough enough for the scientific reader.
Edgar Allan Poe: Readers in this country have a decided and strong preference for works in which a single and connected story occupies the entire volume.
Herman Melville (on Moby Dick): We regret to say that our united opinion is entirely against the book as we do not think it would be at all suitable for the Juvenile Market in [England]. It is very long, rather old-fashioned…
Jack London: [Your book is] forbidding and depressing.
William Faulkner: If the book had a plot and structure, we might suggest shortening and revisions, but it is so diffuse that I don’t think this would be of any use. My chief objection is that you don’t have any story to tell. And two years later: Good God, I can’t publish this!
Stephen King (on Carrie): We are not interested in science fiction which deals with negative utopias. They do not sell.
Joseph Heller (on Catch–22): I haven’t really the foggiest idea about what the man is trying to say… Apparently the author intends it to be funny – possibly even satire – but it is really not funny on any intellectual level … From your long publishing experience you will know that it is less disastrous to turn down a work of genius than to turn down talented mediocrities.
George Orwell (on Animal Farm): It is impossible to sell animal stories in the USA.
Oscar Wilde (on Lady Windermere’s Fan): My dear sir, I have read your manuscript. Oh, my dear sir.
Vladimir Nabokov (on Lolita): … overwhelmingly nauseating, even to an enlightened Freudian … the whole thing is an unsure cross between hideous reality and improbable fantasy. It often becomes a wild neurotic daydream … I recommend that it be buried under a stone for a thousand years.
The Tale of Peter Rabbit was turned down so many times, Beatrix Potter initially self-published it.
Lust for Life by Irving Stone was rejected 16 times, but found a publisher and went on to sell about 25 million copies.
John Grisham’s first novel was rejected 25 times.
Jack Canfield and Mark Victor Hansen (Chicken Soup for the Soul) received 134 rejections.
Robert Pirsig (Zen and the Art of Motorcycle Maintenance) received 121 rejections.
Gertrude Stein spent 22 years submitting before getting a single poem accepted.
Judy Blume, beloved by children everywhere, received rejections for two straight years.
A Wrinkle in Time by Madeline L’Engle received 26 rejections.
Frank Herbert’s Dune was rejected 20 times.
Carrie by Stephen King received 30 rejections.
The Diary of Anne Frank received 16 rejections.
Harry Potter and The Philosopher’s Stone by J.K. Rolling was rejected 12 times.
Dr. Seuss received 27 rejection letters
Now this…THIS inspires me.
Don’t give up people.
Thanks! This gives hope and inspiration to some.
Hot
I want to build this. Anyone have plans for it? Or can you give me the dimensions and specs?
That is such a nice view.
Poulenc - Aubade (1929)
For piano and chamber orchestra. This is also described as a “concerto choréographique” because Poulenc originally wrote it as a ballet. Nowadays, the ballet part is not performed and instead this is treated like another piano concerto. The story was written by Poulenc himself. It follows the goddess Diana, who is tormented by having chastity imposed on her [historically she has been a symbol for feminine virginity]. Her companions, probably nymphs, give her a bow and try to console her with the hunt. But distressed, she goes off into the woods alone. Even though this story isn’t as associated with the music today, I find it interesting and wonder why Poulenc would have written it. It’s possible that this is a kind of poetic representation of being Catholic and homosexual. Distressed by chastity being imposed on oneself by an outside force. And maybe Diana running off into the woods alone acts as a rejection of this imposition? After all, Poulenc did eventually find love. The music opens with the first main theme blasting out of the brass, stately and imposing. The piano enters, repeating the theme, and then the winds play a second main theme, an uncomfortable crawling figure. The rest of the movement is for the piano alone, a toccata, and we get almost a mechanical feel to it. Pretty melodies weave over banging chords, neo-classical counterpoint. After a rousing intro, the orchestra comes back, and they play through the main themes again with new harmonies. Soon the piano introduces a much softer, lyrical theme. Something you could whistle in the street. As usual, he pairs the dramatic with the silly and charming. After Diana is dressed in a frenzy of piano and wind writing, we get a quiet melancholic line in the oboes and clarinets, over a soft piano beat. The music rushes as Diana throws her bow to the side, and then the wonderful coda begins. A long passage, the piano plays dark chords with subtle dissonances, the cello plays out a depressed solo, singing out as the only passage with a string instrument at the forefront. The main themes come back and play over each other, in a slight crescendo, but overall the work resigns into silence.
Movements:
Toccata (lento et pesante)
Récitatif, (larghetto)
Rondeau, (allegro)
Presto
Récitatif (larghetto)
Andante (andante con moto)
Allegro féroce
Conclusion (adagio)
Pianist: Boris Krajný Conductor: Stanislav Macura Orchestra: Prague Chamber Orchestra
Be sure to give yourself at least twenty two days of movie nights to prepare for the finale.
I see marvel studios has successfully replicated the experience of trying to get into comics
just realized this isn’t even release order what the fuck
I thought this chart was a little hard to follow so here’s an easier to read version:
JAMES FRANCO.
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Love to see men stretching.
Promises, promises.