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Por fin termine la #TrilogíaPuros de Julianna Baggott y ame la saga en general aunque sigo sin saber si me gusto el final #Lectura2016 #Books #Libros #DramasDeUnaLectora #JuliannaBaggott #bookaddict #bookworm #bookstagram
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Julianna Baggott, writer
Author Julianna Baggott shares with LFF about her new novel, Harriet Wolf’s Seventh Book of Wonders (which there a full page review of Harriet Wolf’s Seventh Book of Wonders in The New York Times Book Review, and the book was an Editor’s Choice), her writing process, feminism, and more...
Where are you from? How did you get into art/writing/etc?
I’m from a sweet little town called Newark, Delaware, but by the time I was eleven or so, my oldest sister was an actress in NYC and so we went into the city a good bit to see plays, and my parents didn’t censor what I saw. Brilliant shows, awful shows and a range of content. That’s likely where I fell in love with story and language and character – seeing it live in very tiny little theaters, way off Broadway.
Tell me about your new novel, Harriet Wolf’s Seventh Book of Wonders, and why it’s important to you.
I’ve never received so many emails about a novel by readers telling me that they book made them cry. They also – and I love this – write me about which parts touched them. I love this and it surprises me.
I’ve published over twenty novels and so I’m a prolific writer, but this novel took me eighteen years to write. It holds so much of who I was and who I am, my obsessions over almost two decades. Harriet Wolf is a reclusive novelist and I tell her life story, over the span of the twentieth century. I also had the opportunity to write about the love affair I’ve had with writing – tumultuous and torrid over the years.
Artist Wanda Ewing, who curated and titled the original LFF exhibit, examined the perspective of femininity and race in her work, and spoke positively of feminism, saying “yes, it is still relevant” to have exhibits and forums for women in art; does feminism play a role in your work?
It does. But I don’t think of abstract ideas when in the process of writing. It’s hard enough to be true to the characters – fully imagine their interior and exterior landscapes and tell the truth of their lives. That said, when it’s all done, my novels are – I believe – deeply feminist.
Ewing’s advice to aspiring artists was “you’ve got to develop the skill of when to listen and when not to;” and “Leave. Gain perspective.” What is the most helpful advice you have received?
I agree that one needs to insulate in order to really go off – to go deep and headlong. That’s gotten harder. The screen that writers used to gaze at was the window – the actual window – out into a view. This kind of gazing allows the mind to wander. Gazing at a computer screen that looks out into the vast internet doesn’t. It feeds the mind with images. It’s in control, not you and not your subconscious which needs that gaze to air itself out. Dali said, “To gaze is to think.” Artists of all kinds should make sure they are self-protective of their own gaze.
Julianna Baggott www.juliannabaggott.com The Shared Brain of Baggott, Asher & Bode Blog www.pure-book.com
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Les Femmes Folles is a volunteer organization founded in 2011 with the mission to support and promote women in all forms, styles and levels of art from around the world with the online journal, print annuals, exhibitions and events; originally inspired by artist Wanda Ewing and her curated exhibit by the name Les Femmes Folles (Wild Women). LFF was created and is curated by Sally Deskins. LFF Books is a micro-feminist press that publishes 1-2 books per year by the creators of Les Femmes Folles including Intimates & Fools (Laura Madeline Wiseman, 2014) and The Hunger of the Cheeky Sisters: Ten Tales (Laura Madeline Wiseman/Lauren Rinaldi, 2015). Other titles include Les Femmes Folles: The Women 2011, 2012, 2013, and 2014 available on blurb.com, including art, poetry and interview excerpts from women artists. A portion of the proceeds from LFF books and products benefit the University of Nebraska-Omaha’s Wanda Ewing Scholarship Fund. See the latest call for work on the Submissions page!
Popel a jizvy
Po Explozích už nikdy nic nebude jako dřív. Pressia má k ruce přirostlou gumovou hlavu panenky, vyrábí mechanická zvířátka a obývá šatní skříňku v ruinách starého holičství. Tohle apokalyptické drama je opravu výjimečné.
Před několika lety dopadly na svět speciální ničivé bomby a proměnily ho v zoufalé místo plné sutin, prachu, mrtvol a přeživších, kteří splynuli se svým okolím. Nad tou zkázou se tyčí Dóm, sídlo lidí, kteří se před Explozemi ukryli, jsou čistí. Mimo něj zasáhly výbuchy každého. Obloha se krabatí temnou hradbou zčernalých mraků, vzduch zhoustl popelem a prachem a v ulicích zpustošeného města se míhají lidé smísení s plastem a kovem, se svými blízkými, zvířaty... Támhle jde kolem někdo, kdo má telefonní sluchátko splynuté s uchem, tenhle má rozevřenou dlaň se zahnízděnou klávesnicí, jiní mají hustou srst a na předloktí pokroucenou ruku, která vypadá jako zvířecí pracka. A všichni se snaží přežít a všichni pomalu umírají.
Pressia bydlí se svým dědečkem ve starém holičství a schovává se před OSR (vojenskými jednotkami, které ovládají město). Při jedné své výpravě do Žárovišť, kde hledá součástky pro svá mechanická zvířátka, která vyměňuje na trhu za jídlo, narazí na Bradwella, kluka se třemi ptáky vrostlými v zádech. Z doby před Explozí si toho pamatuje opravdu hodně a je přesvědčený, že Dóm, ke kterému všichni vzhlíží jako ke spasiteli, je za celou apokalypsu zodpovědný... A právě v Dómu žije Partridge, který věří, že jeho matka stále žije a je pravděpodobně někde venku. Rozhodne se pro útěk a jeho cesty se zkříží s Pressií a Bradwellem.
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