Stephen King Teaches Us How To Write Well


Writing is a very personal (and messy) activity. Effective writers do not necessarily follow the same writing process. Besides, writing can be difficult and painful. According to a well-known quote by Hemingway, There is nothing to writing. All you do is sit down at a typewriter and bleed.

Having said that, I firmly believe that a beginning writer can benefit from some guidelines and tips, before developing his own writing method, style, and voice. I like to teach my language students the basic steps of a methodology called process writing, which puts the drafting at the center, rather than the final product. The more drafts a writer produces, the better. Of course, you need to know that beyond a certain point, your writing can begin to deteriorate, so it takes practice to develop the gut feeling of when to stop working on a certain piece. A good editor can help you with that. If you want to know more about process writing, please refer to a previous post I wrote on the topic: http://wp.me/p4gEKJ-1ot

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In his best selling manual ON WRITING, author Stephen King draws on his long and productive experience as a successful fiction writer to give us some help on how to write well. Besides being very interesting, as the author mixes anecdotes of his personal life and backstage accounts of how some of his most famous books came to life, this manual also works as a very useful introductory guide on how to write effectively. I’ve selected five of his best tips to share with you and took the liberty to add my personal comments to his suggestions. But you must read his book for a more comprehensive idea of the subject. His pieces of advice are mainly about fiction, but I believe many of his points apply to good writing in general

 

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1. Read a lot and write a lot. Stephen King recommends you spend at least 4 to 6 hours a day either reading or writing. He says he aims for writing 2,000 words a day. But this piece of advice varies from author to author. I heard Lionel Shriver, another famous writer, say that she sticks to 1,000 words a day. Malcolm Gladwell, in his brilliant book Outliers, claims that to achieve world-class mastery in any field, one needs to dedicate some 10,000 hours to it. He uses The Beatles, the lawyer Joseph Flom, Bill Gates and other successful people as examples. This is a hard call, but I thought I should be honest with you and warn you about the work ahead if you wish to become a star.

 

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2. If you intend to write as truthfully as you can, your days as a member of polite society are numbered. Philip Roth, considered by many on of the greatest American authors, stirred controversy, shock and strong criticism within the Jewish community when he published his first books. By the end of the 60s, he wrote an outrageously funny novel about a man obsessed with masturbation, which definitely put him on the black list of polite, civilized people with good taste. You can’t write to please. You write to express your truth, to reveal the hypocrisy of your community, to probe into the souls of real human beings. This is likely to cause you trouble. Salmon Rushdie spent decades in hiding, threatened to be killed, after allegedly insulting the members of the Muslim faith. This is a very high price to pay. Wearing the pleasant social masks most people don’t hesitate to put on and being a genuine and respected writer are incompatible. Are you prepared to deal with it?

3. Most of us do our best in a place of our own. I beg to disagree. Most of my writing is done in public cafés and bistros. The presence of pulsating, vibrant life around me gets my creative juices going and helps me put my ideas down on paper. However, I agree that you need to isolate yourself mentally, if not physically, to be able to produce effective writing. If you can’t do that in public, find a nice office, or a room, furnish it with everything you need to write well and close that door. You should be able to concentrate and avoid interruptions wherever you are.

4. A strong enough situation renders the whole question of plot moot, which is fine with me.The most interesting situations can usually be expressed as a What-if question. It looks like Stephen King tends to start his stories from a situation he imagined. He often conjures what-if scenarios to come up with something compelling and unusual. What-if can boost a whole lot of interesting ideas in the brainstorming phase of writing. Not every writer does that, though. An alternative is to start from a different, unique character from whom the story will stem and possibly take unpredictable turns. Most Hollywood scriptwriters use yet another method: they start by outlining and putting a firm structure in place. They think in terms of plot, with defined turning points, clearly delineated phases the hero goes through, character arcs and an edifying end. If you are interested in finding out more about how to write scripts following the Hollywood model, I would recommend Christopher Vogler’s The Writer’s Journey: Mythical Structure for Writers, based on the mythological studies of Joseph Campbell, presented in the book The Hero with a Thousand Faces.

 

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5.Description begins in the writer’s imagination but should finish in the reader’s. Don’t over describe. Detailed descriptions are boring for most contemporary readers. All the author needs to do is to apply some quick brush strokes highlighting the main elements of a setting or the physical traits of a character. The reader will be happy to use his imagination to fill in the blanks. Pick important details that help the reader construct the whole on his own. Don’t spoon-feed the reader.

All these tips can be of help to the budding writer, but, as I explained at the beginning of this post, writing is a very idiosyncratic activity and it will take you some time to find and develop your own tools. In addition to that, remember, you need to put in at least 10,000 hours of hard work if you wish to break through the clutter and become a star, according to Malcolm Gladwell. No time to waste then, start today!

Au revoir

Jorge Sette

 

 

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What do Classic Novels have in Common?


Classic novels and the Western Canon (Shakespeare, Swift, Cervantes, Austen, Dickens, Flaubert, Melville, etc.) are sometimes used as synonyms. In this post, however, we apply a broader definition to the former, extending the concept to a certain category of written stories that may have originated in any part of the world, as long as they sustain the set of common characteristics we discuss here.

In his famous 1986 short essay, “Why Read the Classics?” Italian journalist and writer Italo Calvino gives an all-encompassing and powerful definition of classic novels:

“A classic is a book that has never finished saying what it has to say.”

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Italo Calvino

We couldn’t agree more. In addition to that, we would argue that classic novels share the following traits:

Language: One of the main features of classic books is the careful use of the language they employ, which leans towards the innovative, the unique and the artistic (meaning: evocative, non-referential language that stands in its own right, for its beauty or unconventionality). The classics normally establish new standards of language use; they formalize in writing what was once only oral, for example. Classic writers create new linguistic facts: expressions, words, metaphors. They coin new lexicon

Originality: Classics convey new perspectives and worldviews; they provide groundbreaking insights into the human experience. They change the way readers see the universe. When reading the classics, we sometimes discover where certain ideas came from, who first expressed them. We realize that people didn’t always have the same feelings their contemporaries share about things and that sometimes it’s possible to pinpoint the specific moment the innovative thought was introduced.

Freshness: Classics are books that can be reinterpreted over and over again. They adapt effortlessly to new eras and offer a lens through which different realities can be analyzed. Pride and Prejudice is not read today in the same way as was when first published in 1813. Modern readers add layers of new personal and communal meanings to their interpretation of the original text, experiencing it in completely novel but still relevant ways.

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Seminal: Classics inform and influence innumerable artworks and ideas. Contemporary movies, TV series, and literature, for example, are constantly borrowing and repurposing the themes, characters, plots, and even the language of the classics. Who doubts that Jaws (both the book and movie versions) is a modern-day Moby Dick?

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Moby Dick

Longevity: They endure and remain in print. The strength of their plots, the charisma of their characters, and the essentiality of their ideas get handed down from one generation of readers to the next. They resonate with the reader in primeval and timeless ways. You will probably find an edition of The Complete Works of Oscar Wildein most bookstores you walk into around the globe.

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Oscar Wilde

Eternal truths and grand themes: Classics deal with what is essential to human beings. They identify universal feelings and behaviors, incorporating these archetypical entities into specific contexts, which make them more palpable and understandable.

Identity: Because classics tend to represent the zeitgeist of their times in such accurate and interesting ways, they become part of the very fabric of shared culture.

As you will have noticed, our criteria for identifying classic novels is flexible and can be rather subjective. Ultimately, given the extraordinary number of great books available today (from all kinds of times and regions), it’s necessary for the reader to establish their personal library of classics. Everyone has their own list of favorites: books that have changed their lives; books that helped them through difficult times; books that are relevant to them in unique ways; books that marked important moments. These are classics too – on an individual level.

Au revoir

Jorge Sette

 

Velázquez – The Iconic Painter of the Spanish Baroque


Considered the painter’s painter, Diego Rodríguez de Silva y Velázquez was born in Seville in 1599, growing up in the old Jewish quarter of that booming city.

Velázquez was an apprentice to Sevillian artist Francisco Pacheco for 5 years. However, it did not take long for the pupil to surpass the master in technique, which did not bother Pacheco at all. He was very proud of the young artist, who would later become his son-in-law. At the age of 19, Velázquez married Pacheco’s daughter, Juana, and had two daughters by her.

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Velázquez

In 1623, he was invited to go to Madrid to paint the portrait of King Philip IV. The king liked the painting so much he commanded Velázquez to became his personal painter. From then on, only Velázquez was allowed to paint the king, and all his other portraits were taken out of circulation. Later on, Velázquez rose in the court to also become the king’s curator (being the person in charge of choosing and purchasing the furniture and paintings that would decorate the king’s palaces). Velázquez served the king for over 40 years, while Philip IV was the most powerful man on Earth.

At the beginning of his career, Velázquez soon distanced himself from the usual religious themes most Spanish painters produced at the time, due to the influence and power of the Catholic Church, and the overwhelming surveillance of the Spanish Inquisition. Instead, he started painting bodegones – kitchen and tavern scenes, involving common people – which, despite being considered a low genre of painting in those days, started to attract the attention of rich purchasers and patrons. Among these paintings, we have, for example, Old Woman Frying Eggs, and the breathtaking Water Seller.

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Old Woman Frying Eggs

His art was clearly influenced by Caravaggio in his use of contemporary, common people as models, and also in the use of the dramatic contrasts of light and shadow (chiaroscuro). Another major influence on Velázquez’s work was the art of Flemish baroque painter Peter Paul Rubens, who spent seven months at the court of King Philip IV on a diplomatic mission. Later, after spending time in Italy on two different occasions, he incorporated elements of both the contemporary local art and features of the Renaissance into his technique.

When he began working for King Philip IV, his main assignments consisted of portraits. He painted the members of the royal family in a great number of portraits, but his most famous ones are his own slave and studio assistant Juan de Pareja’s and the stunning portrait of Pope Innocent X. The realism and strength of these works, in which Velázquez managed to capture not only the physical but also the personality traits of his models, astonished his contemporaries and are a source of awe and inspiration to many artists to this day. Since most of Velázquez’s works were made for the king, they remained unseen for many years, hanging from the private walls of the royal family’s many residences.

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Pope Innocent X

In addition to the bodegones and portraits, he also produced famous mythological scenes (e.g. The Triumph of Baccus; Vulcan’s Forge; The Spinners; The Rokeby Venus), landscapes (e.g. Philip IV Hunting Wild Boar) and historical scenes (e.g. The Surrender of Breda).

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Vulcan’s Forge

Velázquez’s technique, draftsmanship and use of color have amazed the general public, critics and other painters for centuries. He’s many people’s candidate for the post of best painter ever. His paintings are included in what is called the Spanish Baroque movement of the XVII century, but they stand out as very personal and unique, the work of a genius.

Velázquez struggled his whole life to become part of the nobility he served so faithfully. His Jewish blood, however, was a constant obstacle for him to achieve such recognition. Only at the very end of his life, in 1658, did he become a knight, receiving the insignia of the Military Order of Santiago, the red cross that features on his chest in his most famous painting Las Meninas.

Velázquez died on August 6th, 1660, at the age of 61.

Au revoir

Jorge Sette

 

 

 

Five Takeaways from the Book TED Talks – The Official TED Guide to Public Speaking


Founded by Richard Saul Wurman and Harry Marks in 1984, the TED conferences originally featured talks focused on Technology, Entertainment, and Design. Under the catchy tagline Ideas Worth Spreading, the range of these talks has since expanded to include other academic, scientific and cultural topics.

If you have ever watched any of these talks, you will have noticed that they are not the usual boring PowerPoint-based presentations we get in conferences of all kinds. Storytelling techniques – long a proven method for grasping and keeping listeners’ attention – prevail in most TED talks. Another obvious key to their success in the succinctness; speakers have 18 minutes to tell a compelling narrative.

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In his engrossing book, TED Talks – The Official TED Guide to Public Speaking, published last year, Chris Anderson, who took over the conferences in the early 2000s, offers the reader a truckload of useful and practical suggestions on how to put together and deliver a memorable presentation. A must-read for everyone who needs to speak in public these days (and who doesn’t?)

To whet your appetite, we have selected five of the most stimulating presentation tips we found in the book. See below.

1.What is the takeaway?

As you organize your talk, decide on what is the point you are trying to make. There must be an overarching theme connecting all the elements of the story. This is called a throughline in movies, plays, and novels. As a planning exercise, make sure you specify a concrete objective in no more than 15 words. What is your goal? What do you want to accomplish? What do you want the audience to do, how do you want them to feel after you leave the stage?

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2. Get personal.

Speakers need to connect to the audience, break the ice and build trust. A talk is much more than mere words. You need to engage the audience on many levels. There are different ways to do that. Making eye contact with the audience, for example, is always effective. Showing some kind of vulnerability, such as admitting that you are nervous, may also work. Using humor at the beginning – through a personal anecdote, presenting funny visuals, or by playing with irony and sarcasm – may do the job. Don’t try to be funny if you are not comfortable with it, though.

3. Visuals.

We all know the staggering amount of technology available out there to help public speakers: slides showing graphs, photography, infographics, animations; video, audio, etc. Yet, it may come as a surprise that at least one third of the most viewed TED talks do not make use any of these tools. So maybe you should ask yourself: do I really need to use them? And how much of it is really necessary? Most people are extremely familiar with these so-called innovations by now anyway, so it’s hard to make an impact based only on them. Besides, visuals may distract the audience, taking their attention from you! Then again, great slides may add to the presentation, especially when they do not only repeat and highlight what is being said verbally. Ideally, visuals should reveal (show something that can not be easily described by words); explain (make concepts clearer: a picture is worth a thousand words!); and delight (give the talk aesthetic appeal).

4. To memorize or not to memorize.

Although most TED speakers have their presentations scripted out beforehand and memorize them, this approach does not work for everyone. There’s beauty and power in variety. You need to discover your own natural style. Possible options: you can write and memorize your talk; use in-the-moment language to talk about something you are familiar with (it helps to have a mental structure of the points to cover, though); or even read your piece! Whatever makes you more comfortable and confident. However, remember that preparation is essential for any format you choose.

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5. Traps to avoid.

There are some speaking styles TED organizers do not recommend. The sales pitch: trying to sell products or services directly through your talk may damage your reputation as a speaker. The main job of a speaker is to give not to take. So be careful. Find out if this is the kind of talk your audience is expecting. The ramble: to be under-prepared or not to have a set objective is insulting to the audience; the org bore: talks that focus on the greatness of an organization or on how amazing their staff is will probably bore the audience to death – they don’t work there after all. The inspirational performance: despite the fact that great TED talks deeply inspire and move the listeners, this effect cannot be manipulated through tricks and gimmicks. It needs to feel real. So avoid copying the so-called “inspirational” talks, where the speaker is full of self-praise and despicably phony.

For more tips, I strongly recommend you get the book now and make sure your next presentation is a hit.

Au revoir

Jorge Sette

 

 

Impressionism – A Cautionary Tale


Impressionism is one of the most popular movements of Western Art. It took place between 1870 and 1880, mainly in France, and suffered a lot of resistance at the beginning, since critics, art dealers and the public in general were more used to the academic and “serious” kinds of paintings that would hang from the walls of the official Salón, a very popular government-sponsored art exhibition that took place every year in France.

The typical paintings you would see at the Salón would feature religious, historic or mythological subjects. They would follow the guidelines of realistic art set by the Renaissance and followed by most masters for almost 500 years. The paintings looked subdued in the use of color, valued good draftsmanship and had strict rules of perspective. In addition to that, they were perfectly finished and varnished.

The impressionists started to systematically deconstruct these rules.

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Coquelicots (Poppies At Argenteuil) by Monet, Claude, 1873.

The artists

Monet is considered the quintessential Impressionist painter. The one who practically set the rules and followed them to the very end of his long and productive career. Other famous impressionists were Renoir, Degas, Sisley, Morisot, and Pissarro. They had been heavily influenced by pre-impressionists, like Manet and Courbet, whose art was already moving away from the standards of classic realism.

The technique

Today you will hardly come across someone who does not like Impressionism. The main reason is that Impressionist paintings are usually uplifting, colorful and full of light. They are cheerful works that make most people feel good. Composed of short, broken, brush strokes, in unmixed bright colors, Impressionist art works conveyed how reality appears to us under different light conditions. They avoid rigid contours or lines, drawing was secondary to the use of color. Shadows were never black, but painted in darker hues of colors, which varied throughout the day and in accordance to the season of the year. For more traditional eyes, the paintings can sometimes look rather unfinished.

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Two Sisters (On the Terrace) by Renoir, Pierre-Auguste, 1881.

The origin of the name

In a 1874 exhibition, Monet presented a painting called Impression: Sunrise (see image below). All it showed was a couple of solitary boats on the sea in Le Havre under a red sun reflected on the water. It was painted in quick, diffused, brush strokes. The art critic Louis Leroy, from the magazine Charivari, was not happy with what he saw. He fiercely mocked the artists that painted like Monet and used the very title of the painting to criticize their style, claiming they were mere impressionists. His paintings, Leroy said, looked more like sketches than finished works of art. Despite the derogatory use of the word, Monet and his friends boldly appropriated the name and started to use it officially to define their revolutionary new style. Impressionism had been born.

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Impression, soleil levant (Impression, Sunrise) by Monet, Claude, 1872.

Where the paintings were made

Usually impressionists would paint en plein air, meaning the outdoors. This is where they could best capture the effects of the changing light on trees, flowers, people and water. Some of them would sometimes finish their work indoors, but hardliners, such as Monet, would work outside every day, under different weather conditions, completing their works there.

 The subject matter

Impressionists would do landscapes, seascapes , portraits and still life paintings. But they hardly included anything outstanding. Their themes were scenes and items of everyday reality: moments of contemporary Parisian life, flowers, boats, expanses of water, sunsets…The simpler, the better. Their point was to study and convey how color worked under light. You need to step back from an impressionistic painting at a museum to fully appreciate what it’s all about as a whole. The closer you get, the more the image gets fragmented into singular dabs and brush strokes without specific forms or meaning.

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Sand Heaps by Sisley, Alfred, 1875.

Impressionism is at the very beginning of what we call Modern Art. Those painters influenced strongly all the art movements that followed them, such as fauvism, cubism and surrealism. Impressionist paintings sell for millions of dollars today. It’s hard to believe that they were once discriminated against and frowned upon. Monet lived in poverty for great party of his life until he was recognized as a great innovator.

There’s perhaps a cautionary tale there. The value and importance of contemporary art is almost never acknowledged at its inception. So, perhaps we should hold our judgment when confronted with some new form of Art and try to understand what it really means and learn to identify the possible seeds of radical transformation we are witnessing.

How do you feel about Impressionism? Do you have any favorite painters or works in the movement? Please, let us know.

Au revoir

Jorge Sette.

 

 

What Makes Mark Twain’s The Adventures of Huckleberry Finn So Great?


Mark Twain’s watershed novel has been one of the most controversial and disputed pieces of literature ever since its publication in 1884. Describing The Adventures of Huckleberry Finn, Ernest Hemingway once said:

“American writing comes from that. There was nothing before. There has been nothing as good since.”

Many, however, would vehemently disagree with that statement. While readers from one camp call it “the Great American Novel,” others – including writer Louisa May Alcott – condemn its supposed lack of artistry, the use of vulgar language, and even claim it’s racist. To this day, it’s frequently banned in a number of schools in the US on the grounds that it corrupts youth.

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In this post, we want to explore the motives of the supportive camp. After all, those who love this novel can’t get enough of it. Why? Here’s a brief summary followed by a list of the most appealing traits of the book.

Summary:

For those who are not familiar with this famous novel, it’s the sequel to the simpler and more child-friendly The Adventures of Tom Sawyer. In the first book, the protagonist is Tom, who lives in the fictitious town of St. Petersburg (inspired by the real city of Hannibal, Missouri) on the Mississippi river in the 1830s.

Tom is an imaginative kid, who leads a regular life, goes to the local school and lives with his younger brother Sid and his cousin Mary under the vigilant and protective eyes of Aunt Polly, his dead mother’s sister. Although Tom and Huck (short for Huckleberry) are best friends, the latter, as the son of the abusive town’s drunk, lives a completely deregulated life, playing and roaming the streets of St. Petersburg in total freedom. He is obviously the envy of all the other kids in the region. At the end of the book, after taking part in a number of adventures throughout the narrative, Tom and Huck get rich, having discovered a great amount of money stolen and hidden in a cave by a gang of robbers. The well-to-do and religious Widow Douglas, one of the town’s luminaries, becomes then Huck’s guardian, with the job of “sivilizing” him.

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At the beginning of The Adventures of Huckleberry Finn, we learn that 13-year-old Huck cannot stand the civilized life he’s living at Widow Douglas’s house. He finds the clothes uncomfortable, the table manners constrictive, and the school lessons boring. Moreover, he doesn’t understand or agree with all the religious moralism inflicted on him by the authoritarian widow’s sister, Miss Watson. At this point, he gets kidnapped by his father, who wants to get his hands on the kid’s money. Huck is forced to live with him in a shack across the river.

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Huck realizes he has no choice: he must either submit to living with his abusive father or go back to the horrors of the so-called civilized life under the righteous wing of Widow Douglas. So he decides to fake his own murder and run away. As he tries to escape, Huck bumps into Miss Watson’s black slave Jim, who is also running away, having heard that his mistress is planning to sell him. They get a raft and start floating down the Mississippi river on their way to freedom. Wherever that may be. The novel is the story of that journey.

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The Metaphors:

One of the most enchanting aspects of the novel is Twain’s powerful use of metaphors and symbols. The motif of man in close contact with water – be it sea or river – and its associated subconscious meanings is common in Western literature (take Moby Dick, Heart of Darkness, The Old Man and the Sea, and Life of Pi, for example). The monstrous big Mississippi River in Twain’s novel is also said to stand for a pagan God, both good and evil, leading and interfering with the minute lives that dare to float on its waters; the many storms in the novel seem to be prophetic, signalling approaching turmoil and difficulties. Life on the raft sums up the benefits and downsides of freedom (wild, unconfined and dangerous), in contrast to the oppressive civilized life Huck got to know for a while.

The Innovative Language: 

With The Adventures of Huckleberry Finn, for the first time North American literature breaks away from the limitations of formal and pompous language. The story is told by Huck in his own particular vernacular, which replicates oral language. Ungrammatical sentences and misspellings highlight the expressive force and energy of regional dialects. In the introduction to the novel, Mark Twain explains his linguistic choices:

“In this book a number of dialects are used, to wit: the Missouri negro dialect; the extremest form of the backwoods Southwestern dialect; the ordinary “Pike County” dialect; and four modified varieties of this last. The shadings have not been done in a haphazard fashion, or by guesswork; but painstakingly, and with the trustworthy guidance and support of personal familiarity with these several forms of speech.”

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Humor:

Despite its deep themes (the distorted values of civilization, the hypocrisy of the official religion, inequality, and freedom), the novel pulses with satire. Among the hilarious passages, we’d pinpoint: the description of local superstitions (the bad luck that touching a rattlesnake’s skin can bring about, for example); Jim’s fear of spirits in the fog and of witches in the woods; Huck’s inability to pretend he’s a girl in an encounter with a newcomer to the town; Huck and Jim’s endless discussions about the French language, the wisdom of King Solomon, and the lifestyle of kings.

The Beauty of Descriptive Passages:

The book does not want for poetic strength, as it describes life on a raft, dawn on the river, or a big storm in progress:

“Pretty soon it darkened up and begun to thunder and lighten; so the birds was right about it. Directly it begun to rain, and it rained like all fury, too, and I never see the wind blow so. It was one of these regular summer storms. It would get so dark that it looked all blue-black outside, and lovely; and the rain would thrash along by so thick that the trees off a little ways looked dim and spider-webby; and here would come a blast of wind that would bend the trees down and turn up the pale underside of the leaves; and then a perfect ripper of a gust would follow along and set the branches to tossing their arms as if they was just wild; and next, when it was just about the bluest and blackest—FST! it was as bright as glory and you’d have a little glimpse of tree-tops a-plunging about, away off yonder in the storm, hundreds of yards further than you could see before.”

Huck’s charisma: 

The protagonist is a very likable character: good-hearted, loyal and sensitive. Most readers can identify with his rebellion against the constraints of civilization and the moral dilemma he goes through as he’s helping set Jim free. After all, the events narrated in the story take place long before the American Civil War and the official abolition, in a time when the act of helping to free a slave was illegal and against the established social and moral order. This is how Twain verbalizes the main point of the story:

“A book of mine where a sound heart and a deformed conscience come into collision and conscience suffers defeat”.

However one feels towards The Adventures of Huckleberry Finn after reading it, rest assured that it is very unlikely they will remain INDIFFERENT to the experience.

Au revoir

Jorge Sette

 

 

 

On reading – from Roald Dahl’s Matilda


“Mr Hemingway says a lot of things I don’t understand, Matilda said to her. ‘Especially about men and women. But I loved it all the same. The way he tells it I feel I am right there on the spot watching it all happen.’ ‘A fine writer will always make you feel that,’ Mrs Phelps said . ‘And don’t worry about the bits you can’t understand. Sit back and allow the words to wash around you, like music.”

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Almodóvar’s Julieta


The critics are right: Almódovar is not the same. Julieta, his latest movie, is nothing like Women on the Verge of a Nervous Breakdown, which catapulted the Spanish director to international fame almost thirty years ago.

Julieta is more mature, serious and, in many respects, a lot better, reflecting the evolution and progressive refinement of a seasoned maestro. Of course, some fans will miss the raw humor and shock value of his earlier movies, which celebrated la movida madrileña, the cultural movement of the late 70s and early 80s that stood in direct opposition to the values and life style of Franco’s dictatorial years. In those days of la movida, it was necessary to burn the cultural bra to make a point. Those times are over, though. Besides, for more nostalgic viewers, quite a few of his movies of that era are available on Netflix, at your fingertip.

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 Julieta, on the other hand, belongs to the 2010s. It is allowed – strike that; required is the precise word – to be simpler and more contained. Nevertheless, it has kept the director’s inimitable voice and style: the bright colors, the Madrid touch, and the inscrutable strong women are still there. And even Rossy the Palma, one of the muses of his early years as a filmmaker, makes a comeback; her wondrous nose, uneven eyes and twisted mouth working their magic, in the role of a modern-day Cassandra.

Rossy de Palma La Ley del Deseo

Rossy de Palma in the 1980s.

I find it unbelievable that many critics will say that Almodóvar has never mastered the skills to tell a story. His narrative powers are weak, some say. Obviously, these critics abide by only one model of storytelling: the commercial cinema of Hollywood. Although I respect the claim that some narrative elements and archetypes make themselves present one way or another in every story ever told, they should be rearranged in as many different ways as creative directors can come up with. Almodóvar’s storylines do follow a structure – although an idiosyncratic one. Digression plays a big part in his method.

Without the digression, Julieta would be a simple tale about guilt. It’s the digressions that allow Almodóvar to present the viewer with unique images (an elk running in slow motion alongside a moving train at night; the bluest sea shown though the open windows of a living room in Galicia; the Swiss Alps shot in all their glory); intriguing metaphors: references to Homer’s Odyssey and the power of the sea to entice men like Ulisses and Xoan, pulling them from the safety of their houses and the comfort of their families; and one of the most original transitions between youth and old age in movie history: actress Adrian Ugarte is replaced by Emma Suárez at the sudden removal of a red tower.

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Pedro Almodóvar

Julieta is a delight to the eyes. You could just sit back for hours watching these beautiful women move around in fashionable clothes, stepping in and out of fascinating Madrid buildings, walking along its narrow cobblestone streets or just sitting in close-up against the backdrop of stunningly decorated apartments.

With the help of great actors and a stunning musical store by Alberto Iglesias, Almodóvar turns the straightforward story of a family marked by tragedy into a Hitchockian thriller – with echoes of Vertigo. Viewers will be met by twists and little surprises at every turn, relishing the journey. Almodóvar has developed the fearlessness of those who have nothing more to prove. He shoots his movies out of sheer pleasure. Who can blame him?

Au revoir

Jorge.

 

 

Teaching English with Art: Winslow Homer


Teaching English with Art: Winslow Homer.  This eighth volume of our successful series of eBooks combining ENGLISH TEACHING AND ART is a wonderful supplement to any coursebook or extra materials your students may already be using in the English class. It contains 30 vocabulary,  speaking and writing activities for classroom use, based on some of the most striking works by the best American artist of the XIX century.

The objective of the eBook is to expose the students to art while teaching English, fulfilling therefore one of the tenets of effective language acquisition: providing a realistic context for the language to be learned and practiced as a means to an end. Your students will love to exercise their English discussing the works of Winslow Homer. This is a proven way to make language acquisition fun and effective by creating in the classroom an atmosphere of interest, motivation and emotion. Each activity is clearly correlated to the COMMON EUROPEAN FRAMEWORK OF REFERENCE (CEFR), and the level is stated next to it.

IMPORTANT NOTE. CUSTOMIZATION: if you wish to change the cover of any of the ebooks, add your school logo, negotiate a special price for a determined number of students, or make other suggestions of customization, do not hesitate to talk to us. We are VERY FLEXIBLE. Make your ebook UNIQUE!

Click on the image below to download the ebook:

Click on the image above to get your copy from the Kindle Store.

Click on the image above to get your copy from the Kindle Store.

Check out the video clip on the ebook TEACHING ENGLISH WITH ART: WINSLOW HOMER: https://vimeo.com/142028606

For other books of our series, click here: http://wp.me/p4gEKJ-1lS

Teaching English with Art

Teaching English with Art

Au revoir

Jorge Sette