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Crazy Like the Fox

‘Novels’ Category

  1. Postmodernism

    02/09/2023 by axonite

    More than other movements, such as Romanticism and Existentialism, Postmodernism is perhaps the one that most often results in confusion. Put simply, it is a rejection of the notion of certainty. It is also about artists (writers, sculptors, architects etc.) having fun – while reminding us that this is a construct and not life.

    It is not that postmodernists say that there is no such thing as ‘Truth’ – but that we cannot be sure exactly what that thing is (ToK connection here). Since our perceptions are filtered through our senses, we cannot really know that what you see as ‘blue,’ I also see as ‘blue.’ Taking it to the extreme, we are reminded of Descartes – “I think; therefore I am” being the most that I can say with any certainty!

    Victorian writers tended to aim for verisimilitude (many readers got rather upset when a train was cited wrongly in a Sherlock Holmes story), sounding sometimes like a Police report. By contrast, postmodernist writers may remind us that this is fiction, introducing metafiction elements (a great example of this being John Fowles’ The French Lieutenant’s Woman in which the author himself pops up in the story). Perhaps, after WWII, many artists simply wanted a “brave new world” (to coin a phrase) and wanted to focus not so much on the world per se but how we perceive it. Hence, literary techniques such as the unreliable narrator, the vivid instant, non-chronological narrative, stream of consciousness and metafiction.

     


  2. Reading List by Genre

    01/06/2022 by axonite

    Now is always the perfect time to chill out with a good book.

     

    “Outside of a dog, a book is a man’s best friend. Inside of a dog, it’s too dark to read.”
    — Groucho Marx

     

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    “So please, oh PLEASE, we beg, we pray, Go throw your TV set away, And in its place you can install, A lovely bookshelf on the wall.”
    — Roald Dahl, Charlie and the Chocolate Factory

    “There is more treasure in books than in all the pirate’s loot on Treasure Island.”
    — Walt Disney

     

    david_mattingly_006

    Best Sci-Fi Authors

    01 Isaac Asimov
    02 Arthur C Clarke
    03 John Wyndham
    04 John Christopher
    05 Ray Bradbury
    06 H.G. Wells
    07 Fritz Leiber
    08 Orson Scott Card
    09 Brian Aldiss
    10 Jack Chalker
    11 Theodore Cogswell
    12 Theodore Sturgeon
    13 Harry Harrison
    14 Jack Williamson
    15 William Nolan
    16 Harlan Ellison
    17 Larry Niven
    18 Jack Vance
    19 Margaret Atwood
    20 Bob Shaw

     

    Brian Aldiss_Helliconia_cover set_TRIAD BOOKS


    Best Fantasy Authors

    01 J.R.R. Tolkien
    02 Terry Brooks
    03 Steven Erikson
    04 Philip Jose Farmer
    05 George R.R. Martin
    06 Ursula K. Le Guin
    07 Robin Hobb
    08 Roger Zelazny
    09 Terry Pratchett
    10 David Eddings
    11 Frank Herbert
    12 Raymond E. Feist
    13 T.H. White
    14 Robert Jordan
    15 David Gemmell
    16 Stephen R. Lawhead
    17 Mervyn Peake
    18 Jack Vance
    19 H.P Lovecraft
    20 George Clayton Johnson

     

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    Best Comedy Authors

    01 P.G. Wodehouse
    02 Bill Bryson
    03 Harry Harrison
    04 Terry Pratchett
    05 Jerome K. Jerome
    06 Kingsley Amis
    07 Tony Hawks
    08 Stella Gibbons
    09 Evelyn Waugh
    10 Douglas Adams
    11 Joseph Heller
    12 James Herriott
    13 Isaac Bashevis Singer
    14 Malcolm Bradbury
    15 Grant Naylor
    16 Bob Shaw
    17 J.K. Rowling
    18 Spike Milligan
    19 Sue Townsend
    20 Gerald Durrell

     

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    Best Crime Authors

    01 Arthur Conan Doyle
    02 Agatha Christie
    03 Stieg Larsson
    04 Raymond Chandler
    05 Dashiell Hammett
    06 Ruth Rendell
    07 Henning Mankell
    08 P.D. James
    09 Dorothy L Sayers
    10 Patricia Cornwell
    11 James Patterson
    12 Colin Dexter
    13 Ellis Peters
    14 Patricia Highsmith
    15 Ed McBain
    16 Harlan Coben
    17 Ian Rankin
    18 Ann Cleeves
    19 Barbara Vine
    20 Josephine Tey

     

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    Best Horror Authors

    01 M.R. James
    02 Stephen King
    03 Bram Stoker
    04 Mary Shelley
    05 Jack Williamson
    06 Richard Matheson
    07 Edgar Allan Poe
    08 H.P. Lovecraft
    09 Ray Bradbury
    10 Clive Barker
    11 Robert Bloch
    12 Algernon Blackwood
    13 Ambrose Bierce
    14 Dean Koontz
    15 Clarke Aston Smith
    16 James Herbert
    17 Anne Rice
    18 Peter Ackroyd
    19 Charles Beaumont
    20 Ira Levin

     

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    Best Modern Playwrights

    01 Tom Stoppard
    02 Arthur Miller
    03 Brian Friel
    04 Samuel Beckett
    05 Bertolt Brecht
    06 Caryl Churchill
    07 Harold Pinter
    08 George Bernard Shaw
    09 Willy Russell
    10 David Williamson
    11 T.S. Eliot
    12 David Mamet
    13 Ariel Dorfman
    14 Stephen Sondheim
    15 Lucy Prebble
    16 Wole Soyinka
    17 Alan Bennett
    18 Alan Ayckbourn
    19 J. B. Priestley
    20 Terence Rattigan

     

    Thorgal Foto 5


    Best Graphic Novels

     

    01 Charlie’s War
    02 Pyongyang: A Journey in North Korea
    03 V For Vendetta
    04 Planet of the Apes: Cataclysm
    05 Persepolis
    06 Space 1999: To Everything That Was
    07 Nausicaä
    08 Thorgal
    09 Galaxy Express 999
    10 Dan Dare
    11 Watchmen
    12 Maus
    13 Storm (Don Lawrence)
    14 The Freedom Collective
    15 2001 Nights of Space
    16 Wulf, The Briton
    17 The Vagabond of Limbo
    18 Citizen of the Galaxy
    19 Judge Dredd: The Cursed Earth
    20 Strontium Dog

     

    London 1940
    London (1940)

     

    Links

    The Big Read

    The 100 Best Novels

    Libraries that look like Alien Spaceships

    Who killed Literature?

    Ursula K. Le Guin Names the Books She Likes and Wants You to Read

     

    Book Suggestions (by Year Group)




  3. The Book Thief

    20/05/2022 by axonite





  4. Lord of the Flies – General intro

    10/09/2018 by axonite

    When looking at any text (poem, short story, novel excerpt, holiday brochure etc), look first at the title. In this case ‘Lord of the Flies’ (Baal-ze-Bub, later Beelzebub) is indicative of evil. This hints at the topic of the narrative.

    As the story opens, it seems similar to Coral Island – jolly good fun with no adults to spoil it! The boys sound like quaintly old-fashioned English school children from 1950s books and magazines (with one exception). Nothing an author does is accidental. Here, Golding explores the difference between expectation and reality. Will the boys build their utopia? Will their ingenuity get them rescued? Will they have lots of fun in the meantime?

    The island (on which the boys find themselves) is, in a sense, a microcosm of the world. Each boy is a person in his own right but also represents character types. We have the well-meaning, charismatic but not very clever or successful leader, the natural victim (who is intelligent, but ignored because he is of a lower social class and less physically attractive than others), the warlord/gang boss, the henchmen, the mystic and so on. We also see how the desire for an easy life and simple answers can lead to ruination. The story has real life implications – it is allegorical (like parables or fables).

    “…is indicative of…” is a great IGCSE style expression. It sounds much better than repeatedly saying “…tells us that…”
    narrative = story
    narrator = story teller
    narrates = (verb) tells the story
    topic = one word (e.g. Power)
    theme = a ‘truth claim’ about the topic (e.g. Power corrupts)
    message (the ‘moral’ of the story) = how we should respond (Don’t be corrupted by Power)
    micro = a smaller version of something (e.g. the family is a microcosm of society)
    macro = a larger version
    charismatic = having a ‘magnetic’ personality (one to whom others are drawn)

     


  5. Year 8 Book Reviews

    05/12/2017 by axonite


  6. Imagery

    29/09/2017 by axonite


     

    “Why is the imagery there?” someone asked me this week.
     

    To ask this question is perhaps indicative of thinking about the poem or lyrical prose passage too much and (to paraphrase Charlie Chaplin) feeling it too little. One might as well say, “what is the purpose of poetry?” (Sadly, one joyless Mr Spock type Science teacher once did, before going on to declare that it “serves no function”! It seemed that for him love, humour and enjoyment in general were illogical and thus “irrelevant, captain”).

     

    Figurative language is essentially poetic language. When we read lyrical passages in works such as Laurie Lee’s As I Walked Out One Midsummer Morning, we need to ‘experience’ it with our senses. What Lee does is share with us, first and foremost, the feeling of being in those ‘exotic’ places, so we can understand on an emotional level something of what it felt like for him to have that peculiarly paradoxical mix of revulsion and attraction, of culture shock and exoticism. Imagery hits us in our hearts. We are intended to respond to it as human beings – yes, we may think about it, but feelings precede thoughts in this case.


  7. The Return of the Native

    06/09/2016 by axonite

    Return of the Native

     
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    “To be loved to madness – such was her great desire.”

     

    The characters are perhaps not as ‘flat’ as they initially appear. Hardy takes stereotypes (the virtuous woman, the fallen woman, the hero, the rake etc.), then holds them up to the light. Like jewels (sorry to be pretentious here) each facet suggests a different aspect of the character(s). Is Eustacia selfish, vain, a witch, just a naïve young girl, a vibrant youngster stuck in a dull backwater, a fallen woman, a simple victim of the romances that she reads? Yes. No. Maybe. Possibly all. It is as if the situations themselves suggest roles for the characters (one in which the villagers are happy to believe). They are, in a sense, victims of circumstance and appearance – or are they? Hardy provides no easy answers.

     

     

    Map of Hardy’s Wessex
    Queen Eleanor’s Confession


  8. Structure

    11/10/2014 by axonite

    When I was 7 years old, an author came to my school to give a talk. I remember that he said that a good story “must have a beginning, a middle and an end.” At the time, I thought that this was so blindly obvious that it didn’t really need to be said. However, I came to realise that what he meant was that a writer should consciously structure his/her work. This is true of non-fiction as well as fiction.

     

    You have probably heard of the Well-Made Play:

     

    7 Things Every Play Must Have
    The Four Stages
    TeacherWeb

     

    However, what is true of Drama is also true of novels, short stories, essays and speeches (Pay attention, those of you who have IOCs coming up).

     

    Essay Rubric
    A Guide to Writing Essays

     

    Does your essay writing resemble a stream of consciousness? If so, then you need to address your structure as a matter of some urgency. Even if you are actually writing in the style of Talking Heads, you will notice that Alan Bennett does, in fact, structure his monologues.

     

    Your structure is the skeleton around which you build the body of your speech, essay, story or whatever. In the case of the short story, the author may pose a question at the start and give his/her verdict at the end. Thus, by referring back to the original premise (without actually repeating) an author can confer upon the story a sense of completeness. This is the purpose of a conclusion – it is not a summary – it simply concludes. Too many oral exams fizzle out at the end, with the student saying, “um…er…that’s about it really.” Nothing screams Lack of Structure at an examiner louder than an oral exam that ends this way. So, before you come to talk or write, decide on the beginning middle and end.

     

    So true. Send this to your project manager.


  9. IB Written assignment

    23/01/2014 by axonite

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    The procedure leading towards the eventual production of written assignments is a rather drawn-out affair.

    After each Works in Translation text, we first have an Interactive Oral:

    The discussions should address the following cultural and contextual considerations.

    • In what ways do time and place matter to this work?
    • What was easy to understand and what was difficult in relation to social and cultural context and issues?
    • What connections did you find between issues in the work and your own culture(s) and experience?
    • What aspects of technique are interesting in the work?

    Next, you write a Reflective Statement of between 300-400 words. 

    The reflective statement must be based on the following question.
    • How was your understanding of cultural and contextual considerations of the work developed
    through the interactive oral?

    Then, comes the Supervised Writing. This is in class and is between 40-50 minutes and “must be in continuous prose.” I will provide you with 3 or 4 prompts which will act as “a springboard to elicit ideas” from you.

    Once we have completed this process for each text, you “will choose one of their pieces of supervised writing and develop that into the essay required for submission. There must be an apparent connection between the supervised writing and the final essay, but students are encouraged to provide their own title and to develop the chosen prompt in an independent direction.”

    Each student is required to produce an essay of 1,200–1,500 words in length on a literary aspect of one work.
    The essay is developed from one of the pieces of supervised writing completed in class, with the guidance
    of the teacher.

    After this, I will give you feedback on the first draft, and you will then (finally) produce your Written Assignment without help.

    Phew! What a tortuous process!

    If in doubt, always look in the Literature Guide. Good luck.


  10. The Dialectic Journal

    09/01/2014 by axonite

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    DIALECTICAL JOURNALS

    The term ‘Dialectic’ means “the art or practice of arriving at the truth by using conversation involving question and answer.”

     

    Think of your dialectical journal as a series of conversations with the texts that we read during this course. The process is meant to help you develop a better understanding of the texts that we read. Use your journal to incorporate your personal responses to the texts, your thoughts about the themes we cover and our class discussions. You will find that it is a useful way to process what you are reading and a way of preparing yourself for group discussion.

     

    PROCEDURE

    As you read, choose passages that stand out to you and record them in the left-hand column of a T-chart (ALWAYS include page numbers)

     

    In the right column, write your response to the text (ideas/insights, questions, reflections, and comments on each passage).

     

    If you choose, you can label your responses using the following codes:

    (Q) Question – ask about something in the passage that is unclear

    (C) Connect – make a connection to your life, the world, or another text

    (P) Predict – anticipate what will occur based on what’s in the passage

    (CL) Clarify – answer earlier questions or confirm/discount a prediction

    (R) Reflect – think greatly about what the passage means in a broad sense – not just to the characters in the story. What conclusions can you draw about the author’s reflections on the world, on human nature, or just on the way things work?

    (E) Evaluate – make a judgment about the character(s), their actions, or what the author is saying.

     

     

    Complete journal entries for at least five passages each week. The quality of your responses may be when calculating your grade.

     

    Sample Dialectical Journal entries: To Kill a Mockingbird by Harper Lee

    Passages from the text Response (pg 10)

    “So Simon, having forgotten his teacher’s dictum on the possession of human chattels, bought three slaves…”

    The author appears to be commenting on the hypocrisy of her ancestors and perhaps of other Southerners in the USA.

    It was wrong to put on “gold and costly apparel,” but it was fine to own slaves.
    (R) (pg 11)

    “…bony mules hitched to Hoover carts…”

    What is a Hoover cart? Could this be named after President Herbert Hoover, such as the Hoovervilles were?

    (Q) Found the answer on the Internet: A Hoover cart is an automobile where the front is cut off and the back part is hitched to a horse mule that pulls it. Many people during the Depression could not afford petrol.

    (pg 12)

    “Our mother died when I was two…I did not miss her, but I think Jem did…”

    (C) Jem would have been six when his mom died. This makes me sad to think of my sons, who are five and six, losing me. I know he’s old enough that he would remember me.


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