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"Mammals Migration Fiction."
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Little Whale
Little Whale is nervous about leaving the shallows of the warm, southern sea but Gray Whale gently guides her new baby as they migrate to the cool, rich waters of the north.
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LOOKING FOR THE WAY BACK
The words “looking for the way back” or their equivalent appear frequently in the writings by American Indians in the first decades of the literary movement known as the Native American Renaissance, an outpouring of Native American writing that began just before and after the tumultuous happenings of the 1960s and 1970s. James Welch, a Blackfeet (Pikuni)/Gros Ventre (Aaniiih) writer, was in the forefront of that movement—along with N. Scott Momaday (Kiowa), Leslie Marmon Silko (Laguna), Simon Ortiz (Acoma), Joy Harjo (Creek), and Duane Niatum (Klallum)—as young Native Americans began writing out of a determination to express themselves
Book Chapter
Technoscience’s Stepdaughter
As of 2005, four films in theAlienseries have been produced in the span of 18 years:Alien(1979),Aliens(1986), andAlien³ (1992), referred to as the “trilogy,” andAlien Resurrection(1997).¹ I agree with Stephen Scobies in “What’s the Story, Mother? The Mourning of the Alien” that despite the differences in directors and production crews, the movies can be treated as “one extended work” (80), based on the unity provided by the protagonist, Ellen Ripley (played by Sigourney Weaver in all four movies), and the visual representation of the alien. In addition, the expectations of the audience
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Chicago Tribune Steve Johnson column
(There's also a baby, but he's just an excuse for arguments over sitting duties.) It is Lip who gives voice to this season's credo, that folks in the Gallaghers' place will never be able to make it honestly, will always have to cheat their way to success.
Newsletter
Dog Days
Warren would give you the character you wanted,” Judy Jones said. Although she was speaking in personal rather than professional terms, the statement was equally applicable. Bob Watkins agreed. “Everybody puts on a different face,” he said. “Everyone who knows you sees a different you. I think about Judy and Teddy, they knew a different Warren. The wives were married to him at different times, professionally, economically, maturity, all those factors. Everybody had a different idea of who he was. Warren had many facets.” It is doubtful that Oates’s public would have thought of the rabble-rousing tough guy as someone
Book Chapter
I’m Sorry I Didn’t Tell You about the World
Science-fiction and fantasy films reveal more about the cultures that spawn them than the imaginary worlds they ostensibly describe. By extending contemporary societal problems far into the future, or by inserting fantastical elements into present-day environments, these movies encourage viewers to contemplate disruptive communal questions made less volatile by the mediating distance of time, the remoteness of space, and the illusion of supernatural encounters. Fanciful creatures (such as aliens, ghosts, or pixies) interjected into ordinary life, or diverse life forms confronted by human beings in galaxies far, far away, become representatives of “the cultural other,” allowing filmmakers to explore current
Book Chapter
Emigration and a Best-Seller
Although it certainly surprised her family and friends, Anne McCaffrey’s sudden removal to Ireland heralded her new life. Eight years after her emigration she would appear on the bestseller’s list. Her immigration to her great-grandparents’ home country led to the pinnacle of Anne’s writing career. Matching moves as bold as those of her heroines—from Menolly to Killashandra to Nimisha—Anne boldly relocated, taking herself away from the people who emotionally supported her, especially Virginia Kidd. Betrayed by a male figure (her husband) who thwarted her love of writing, Anne felt like Menolly, that she had no choice but to
Book Chapter
The Late Revisions 1955–1962
The years after the death of Stalin witnessed a gradual liberalization in the cultural climate of the Sdviet Union. Authors who had been disgraced or executed were rehabilitated; works that had been suppressed were reissued; writers who had been almost forgotten began to find their way back into print. For all artists it was a period of greater freedom of expression, even if dangerously ill-defined. It may seem surprising then that after producingThe Russian Forestwith its comprehensive indictment of Soviet Communism, Leonov was to contribute nothing further to the literature of the ‘Thaw,’ unless we count the unimportant
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