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"Success Fiction"
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Oh, the places you'll go!
Advice in rhyme for proceeding in life, weathering fear, loneliness, and confusion, and being in charge of your actions.
Book
In Which Brief Stories Are Told
Brief encounters with the suffering and triumphs of characters living in northern Michigan by Phillip Sterling.
In Which Brief Stories Are Told presents a collage of moments in the lives of average people—car salesmen and motel maids, mothers and fathers, neighbors and professional colleagues—with small-town northern Michigan as a backdrop. Author Phillip Sterling invites readers to share his characters' small tragedies and victories in fifteen deceptively simple, intimate stories. While varied in length from short glimpses to longer narratives, each of the stories is defined by a unique perspective, as characters present their version of a story—sometimes other peoples' stories—clouded by the same emotion, judgment, and passing of time that inhabit all of our memories.
The stories in this collection contain laments and mysteries: a car salesman implicates himself in a crime that he is not sure ever took place, a third-shift convenience store clerk accepts her unfortunate disfigurement, dinner parties generate jealousy and resignation among their participants, a sister's disappearance creates a long-standing familial black hole, a sailboat comes to symbolize the longing of an elderly couple, and a daughter finds answers in her father's speechlessness. In what is often unspoken or unacknowledged, Sterling's narrators draw readers into complicity. Readers will identify with these characters, who weigh the what-ifs and could-haves at length, often for longer than it takes to recount the actual events of their stories, revealing the telltale signs of our own heartache, guilt, or feelings of forgiveness in the process.
Sterling's realistic and intriguing stories offer haunting glimpses of characters and situations that are original but familiar. Readers of short fiction and enthusiasts of Michigan stories will enjoy this unique collection.
eBook
I knew you could do it!
An illustrated, rhyming celebration of everyday accomplishments and milestone events, from the viewpoint of an adult who always believed the child would succeed.
Book
Research on the theme selection of Chinese films in the new environment
This selection is important because the film is a good way for the country to show itself to foreign countries. China’s progress can be shown to foreign countries through improvements in film production, and it can also reduce some high-cost low-income films and make the direction of film development clearer. The comparative analysis method is used to analyze the paper more comprehensively and focused. It is found that the film needs to be richer in macro construction and less in narrative and lyrical storytelling. Because science fiction films need to be more well-made for the imagination of the wide world, China is still too conservative and wants to add a sense of home and country to the film, which is sometimes counterproductive. This paper goes from comparing the two films to analyzing the success and failure of similar films to the problems and suggestions encountered in developing science fiction films in China. Hopefully, it can play some role in Chinese films’ development direction and methods.
Journal Article
Two Can Play This Squid Game: The Japanese Entanglements of South Korean Speculative Fiction
[...]Squid Game was the major driving force behind 4,380,000 new subscribers from July to September along with a record stock evaluation of $700 per share on November 19 of that year (Hayes, Shaw, Sherman). While the end of World War II marked the end of colonization, antipathy has persisted to this day, coalesced around, for example, Japan's response to the \"comfort women\" (meaning girls and women from Korea and other occupied countries forced into sexual slavery during World War II) and the sovereignty dispute over the Liancourt Rocks. [...]it was the lifting of the ban and the importation of Japanese media that played a part in Hallyu, as Korean producers increased their efforts in anticipation of this \"foreign invasion.\" Squid Game and the Japanese Entanglements of South Korean Speculative Fiction Squid Game is set in a fictional South Korea that, for the most part, mirrors the actual country.
Journal Article
Tease monster : (a book about teasing vs. bullying)
When \"One of a Kind\" is laughed at by Purple One and called a name by Green One, is the Tease Monster to blame? This tale teaches readers the difference between friendly teasing and mean teasing, and why some teasing can have a negative bite if it's meant to be hurtful and cause embarrassment.--Publisher.
Book
'What was failure? What was success?': The Impostor Syndrome's Literary Transformations
Marian Engel's Sarah Bastard's Notebook and Christine Smallwood's The Life of the Mind bookend an emerging literary history of the impostor syndrome and establish fiction as an important source for theorizing it as a cultural phenomenon. This essay argues that the impostor syndrome should be understood as a structure of feeling that articulates the contradictory experiences of women thinking in public. A comparative analysis of narrative irresolution in each book also tracks a shift in conceptualizing impostor syndrome from feminist optimism to neoliberal stuckness.
Journal Article
Anxious Apocalypse: Transmedia Science Fiction in Japan’s 1960s
Science fiction (SF) developed as a self-identified genre in Japan in the 1950s and quickly underwent a boom in the 1960s. Throughout this period, SF literature, film, and television were tightly intertwined industries, sharing production personnel, textual tropes, and audiences. As these industries entered global circulation with the hope of finding recognition and success in the international SF community, however, they encountered the contradictions of the Cold War liberal cultural system under the US nuclear umbrella. Awareness of the discursive marginalization of Japanese SF in the Euro-American dominated global SF scene manifested in Japanese texts in the twin tropes of apocalypse and anxiety surrounding embodiment. Through a close reading of two SF films—The X from Outer Space (Uchū daikaijū Girara, 1967) and Genocide (Konchū daisensō, 1968), both directed by Nihonmatsu Kazui for Shochiku Studios—and Komatsu Sakyō’s 1964 SF disaster novel Virus: The Day of Resurrection (Fukkatsu no hi), I argue that, largely excluded from discursive belonging in the global community of SF producers and consumers, Japanese authors and directors responded with texts that wiped away the contemporary status quo in spectacular apocalypses, eschatological breaks that would allow a utopian global order, as imagined by Japanese SF, to take hold.
Journal Article