Credible Sources for Novels

CREDIBLE SOURCE

URL:

https://www.bl.uk/20th-century-literature/articles/nineteen-eighty-four-and-the-politics-of-dystopia

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Sample:

“One of the crucial questions about Nineteen Eighty-Four is whether Orwell is interested in the potential for opposition to the totalitarian state, or if his last book offers only despair. Orwell lived just long enough – he died in January 1950 – to see his book appropriated by right-wing political forces for the defence of American freedom, against which he protested in vain. This was the beginning of a long dispute over the interpretation of the book, which shows no sign of ending. Is it an anti-communist rant of a comrade who betrayed the cause? Or is it principally anti-fascist, a chilling realisation of the totalitarian imaginings of the German or Italian fascist state? But perhaps the book was anti-capitalist too, since one of the biggest influences on Orwell was James Burnham’s critique of the rise of a ‘managerialist’ class in both East and West, Russia and America, that would see technocrats overwhelm democratic institutions in the future?[2] Is it a humanist lament that is so despairing that it ends up building a monument to anti-humanism? Nineteen Eighty-Four is a mirror: it is impossible for the reader not to find their own politics reflected, challenged or distorted in its fiercely polished plain prose. This is perhaps why so many towering literary and political critics have ended up engaging with the novel in one way or another.”

Description:

In-depth analysis of the political climate during George Orwell’s life and how that influenced key parts of his well-known dystopian novel, 1984.

Author(s):

  • Roger Luckhurst

Title:

  • Nineteen Eighty Four and the politics of dystopia

Publisher:

  • British Library

Date:

  • No date.

Citations:

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CREDIBLE SOURCE

URL:

https://www.wired.com/2008/02/does-the-techno/

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Sample:

“We can’t know what George Orwell, author of Nineteen Eighty-Four, would think about his old neighborhood being watched by dozens of cameras. It’s not hard to make an educated guess.

But while the West is a society under surveillance, the novel’s sinister technology goes far beyond CCTV. Science fiction, like Oceania, can tailor technology to an arbitrary vision of reality. Even now, could a totalitarian government craft 1984 as Orwell described it?

Telescreens

Often compared to today’s ubiquitous cameras, Nineteen Eighty-Four’s telescreens were sinister creations: huge, thin, and inherently two-way.”

Description:

Interesting article that compares the tech from George Orwell’s 1984, published in 1949, to the technology of the modern world.

Author(s):

  • Rob Beschizza

Title:

  • Does the Technology of Orwell’s 1984 Really Exist?

Publisher:

  • Wired

Date:

  • February 5, 2008

Citations:

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CREDIBLE SOURCE

URL:

http://www.bbc.com/news/magazine-21337504

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Sample:

“For years the question of Orwell’s intentions in Nineteen Eighty-Four has caused great debate.

With a few exceptions on the far left, every political tendency has wanted to claim him. So there has been a well-established and heartfelt desire on the more moderate left to claim that Orwell was indeed a genuine socialist whose warning was aimed at totalitarianism in general, not at the left per se.

The right, of course, have had the easier task of suggesting that Orwell was writing about what he appeared to be writing about. It seems to me that the right probably has the better argument.”

Description:

Article from BBC detailing George Owell’s life and how the geopolitical environment in which he lived and influenced his well-known novel, 1984.

Author(s):

  • David Aaronovitch

Title:

  • 1984: George Orwell’s road to dystopia

Publisher:

  • BBC

Date:

  • February 8th, 2013

Citations:

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CREDIBLE SOURCE

URL:

https://www.nytimes.com/2017/01/25/books/1984-george-orwell-donald-trump.html?_r=0

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Sample:

“Even outside the United States, interest in “1984” has grown. So far this year, sales have risen by 20 percent in Britain and Australia compared to the same period a year ago, according to Jess Harrison, a London-based editor at Penguin Books. The novel is usually a best-seller, she said, and it sold 100,000 copies last year in English-speaking countries outside the United States and Canada. “But we’ve definitely seen an uplift” in sales, she added.

Dystopian novels are “chiming with people,” Ms. Harrison said, adding that “The Man in the High Castle” by Philip K. Dick, an alternative history in which the Nazis defeated America to win World War II, is also selling well. A television series based on Mr. Dick’s novel is now in its second season at Amazon.”

Description:

Report from NY Times detailing increases in sales of Orwell’s 1984 related to 2016 U.S. Election and Kellyanne Conway ‘alternative facts’ comments.

Author(s):

  • Kimiko de Freytas-Tamura

Title:

  • George Orwell’s ‘1984’ Is Suddenly a Best-Seller

Publisher:

  • The New York Times

Date:

  • January 25, 2017

Citations:

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CREDIBLE SOURCE

URL:

http://abcnews.go.com/blogs/headlines/2013/06/sales-of-orwells-1984-increase-as-details-of-nsa-scandal-emerge/

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Sample:

“Sales of “1984,” George Orwell’s 1949 classic novel about the oppressiveness of government overreach and life in a world where there is no place to escape the watchful eye of Big Brother, have risen more than 3,000 percent on Amazon since the country learned of the U.S. government surveillance programs.

As of noon today, the book was number 5 on the “movers and shakers list,” which represent the biggest gains in sales over the past 24 hours. The book’s sales rank had jumped to 194, from 6,750 Monday.”

Description:

ABC News report on an increase in 1984 book sales after news reports of mass NSA surveillance programs in the U.S. that seem reminiscent of the book’s plot.

Author(s):

  • Alana Abramson

Title:

  • Sales of Orwell’s ‘1984’ Increase as Details of NSA Scandal Emerge

Publisher:

  • ABC News

Date:

  • June 11, 2013

Citations:

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CREDIBLE SOURCE

URL:

http://www.nytimes.com/2003/01/19/tv/cover-story-holmes-loses-the-hat-and-watson-gets-hip.html

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Sample:

“Mr. Attwood even advanced a rationale for making the thinking man’s detective less a thinker and more a doer. ”In the novels, it’s said that Holmes was a ‘master of the short stick,’ meaning tht he could handle himself in a fight,” he said, explaining why he replaced the ”pipe-and-carpet-slippers Holmes” with a ”don’t-you-mess-with-me Holmes.” But he maintained that any deviations made from Holmesian tradition were calculated to rescue the novel from earlier ”cozy versions suffused with lovely Victoriana” and to restore Conan Doyle’s original concept of ”The Hound of the Baskervilles” as a dark and terrifying tale of the supernatural. ”We wanted to scare people,” he said of his melodramatic storytelling techniques, which tend to cast the storyteller’s face in candlelight while the rain beats down and the fog rolls in and unearthly creatures stir in the night.”

MLA Citation:

Stasio, Marilyn. “Holmes Loses the Hat, and Watson Gets Hip.” nytimes.com. The New York Times Company, 19 Jan. 2003.  (PUT DATE OF ACCESS HERE). <http://www.nytimes.com/2003/01/19/tv/cover-story-holmes-loses-the-hat-and-watson-gets-hip.html>.

In-Text: (Stasio)

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APA Citation:

Stasio, M. (2003, Jan. 19). Holmes loses the hat, and Watson gets hip. The New York Times Company. Retrieved from http://www.nytimes.com/2003/01/19/tv/cover-story-holmes-loses-the-hat-and-watson-gets-hip.html

In-Text: (Stasio, 2003)

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CREDIBLE SOURCE

URL:

http://www.bl.uk/romantics-and-victorians/articles/an-introduction-to-the-hound-of-the-baskervilles

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Sample:

“The Hound of the Baskervilles, the third novel by Arthur Conan Doyle to feature Sherlock Holmes, is arguably the most famous detective story in fiction. The tale was a huge success upon its first appearance in The Strand Magazine where it ran from August 1901 to April 1902. Indeed the story’s popularity was such that for the first (and only) time in The Strand’s history a seventh printing of the magazine was required in order to keep up with demand. The story of a seemingly supernatural hound that haunts Dartmoor caught the public imagination, pitting as it did the supremely rational Sherlock Holmes against the unearthly family curse that terrorises the Baskervilles. The novel also merged two popular genres, the detective story and the Gothic tale, using an ingenious double-narrative to do so. In addition, along with its late-Victorian Gothic predecessors Strange Case of Dr Jekyll and Mr Hyde (1886); The Picture of Dorian Gray (1891) and Dracula (1897) the book addressed many of the fears that assailed the final years of the 19th century.”

MLA Citation:

Buzwell, Greg. “An introduction to The Hound of the Baskervilles.” bl.uk. British Library Board, n.d.  (PUT DATE OF ACCESS HERE). <http://www.bl.uk/romantics-and-victorians/articles/an-introduction-to-the-hound-of-the-baskervilles>.

In-Text: (Buzwell)

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APA Citation:

Buzwell, G. (n.d.). An introduction to The Hound of the Baskervilles. British Library Board. Retrieved from http://www.bl.uk/romantics-and-victorians/articles/an-introduction-to-the-hound-of-the-baskervilles

In-Text: (Buzwell)

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CREDIBLE SOURCE

URL:

http://www.newyorker.com/magazine/2009/08/10/the-courthouse-ring

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Sample:

“One of Atticus Finch’s strongest critics has been the legal scholar Steven Lubet, and Lubet’s arguments are a good example of how badly the brand of Southern populism Finch represents has aged over the past fifty years. Lubet’s focus is the main event of “To Kill a Mockingbird”—Finch’s defense of Tom Robinson. In “Reconstructing Atticus Finch,” in the Michigan Law Review, Lubet points out that Finch does not have a strong case. The putative rape victim, Mayella Ewell, has bruises on her face, and the supporting testimony of her father, Robert E. Lee Ewell. Robinson concedes that he was inside the Ewell house, and that some kind of sexual activity took place. The only potentially exculpatory evidence Finch can come up with is that Mayella’s bruises are on the right side of her face while Robinson’s left arm, owing to a childhood injury, is useless. Finch presents this fact with great fanfare. But, as Lubet argues, it’s not exactly clear why a strong right-handed man can’t hit a much smaller woman on the right side of her face. Couldn’t she have turned her head? Couldn’t he have hit her with a backhanded motion? Given the situation, Finch designs his defense, Lubet says, “to exploit a virtual catalog of misconceptions and fallacies about rape, each one calculated to heighten mistrust of the female complainant.””

MLA Citation:

Gladwell, Malcolm. “The Courthouse Ring.” newyorker.com. The New Yorker, 10 Aug. 2009.  (PUT DATE OF ACCESS HERE). <http://www.newyorker.com/magazine/2009/08/10/the-courthouse-ring>.

In-Text: (Gladwell)

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APA Citation:

Gladwell, M. (2009, Aug. 10). The Courthouse Ring. The New Yorker. Retrieved from http://www.newyorker.com/magazine/2009/08/10/the-courthouse-ring

In-Text: (Gladwell, 2009)

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CREDIBLE SOURCE

URL:

http://wayback.archive.org/web/20080910082631/http://www.dunphy.de/ac/pdf/Meena’s_Mockingbird.pdf

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“Syal’s novel Anita and Me describes the childhood of Meena, a young member of the Asian diaspora in Britain in the late 1960s. The article demonstrates how this book draws on Lee’s To Kill a Mockingbird for inspiration, and shows how a post-colonial reading of Lee’s description of the American South provides a way into a similar reading of Syal. The relationship of the two may then be understood as a post-colonial `writing back’.”

“Meera Syal’s 1996 novel Anita and Me is probably the first work by a woman author of the British Asian community to achieve international recognition, and it very quickly became the subject of academic interest.’ It tells the story of Meena Kumar, the daughter of a Punjabi household in the village of Tollington in the English Midlands, who like the author is a second-generation member of the immigrant Indian community. Biographically, the first-person narrator mirrors the author, as the echo in the name (Meera/Meena) suggests: Syal was born in 1963 and brought up in the Staffordshire mining village of Essington, just outside Wolverhampton; although there are no dates for the action of the novel, the references to contemporary children’s television place the nine-year-old Meena at the turn of the sixties and seventies, and the fictional Tollington could easily be Essington. The theme is childhood, but specifically childhood against the backdrop of racial diversity and cultural hybridity.”

MLA Citation:

Dunphy, Graeme. “Meena’s Mockingbird: From Harper Lee to Meera Syal.” Neophilologus 88 (2004): 637-659.  (PUT DATE OF ACCESS HERE). <http://wayback.archive.org/web/20080910082631/http://www.dunphy.de/ac/pdf/Meena’s_Mockingbird.pdf>.

In-Text: (Dunphy)

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APA Citation:

Dunphy, G. (2004). Meena’s mockingbird: From Harper Lee to Meera Syal. Neophilologus, 88, 637-659. Retrieved from http://wayback.archive.org/web/20080910082631/http://www.dunphy.de/ac/pdf/Meena’s_Mockingbird.pdf

In-Text: (Dunphy, 2004)

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CREDIBLE SOURCE

URL:

http://www.nytimes.com/2015/07/13/books/the-invisible-hand-behind-harper-lees-to-kill-a-mockingbird.html?_r=0

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Sample:

“Now, this week’s publication of “Go Set a Watchman” offers a rare glimpse at the before and after of a book widely regarded as a masterpiece. The main characters may be the same, but “Watchman” is an entirely different book in both shape and tone from “Mockingbird.” Scout is not an impressionable child in Maycomb, Ala., looking up to her heroic father, but a young woman from Maycomb living in New York. Her father, the great Atticus Finch, is a bigot.

The release of “Watchman,” which has been only lightly copy-edited, also leads inevitably to the question: Who was the invisible hand guiding Ms. Lee as she transformed this book into “Mockingbird”? Maybe more to the point, how big a role did she play in reconceiving the story from a dark tale of a young woman’s disillusionment with her father’s racist views, to a redemptive one of moral courage and human decency? And, for that matter, how would Ms. Hohoff have felt about the decision, more than a half-century later, to publish a prototype of “Mockingbird”?”

MLA Citation:

Mahler, Jonathan. “The Invisible Hand Behind Harper Lee’s ‘To Kill a Mockingbird’.” nytimes.com. The New York Times Company, 12 July. 2015.  (PUT DATE OF ACCESS HERE). <http://www.nytimes.com/2015/07/13/books/the-invisible-hand-behind-harper-lees-to-kill-a-mockingbird.html?_r=0>.

In-Text: (Mahler)

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APA Citation:

Mahler, J. (2015, July 12). The invisible hand behind Harper Lee’s ‘To Kill a Mockingbird’. The New York Times Company. Retrieved from http://www.nytimes.com/2015/07/13/books/the-invisible-hand-behind-harper-lees-to-kill-a-mockingbird.html?_r=0

In-Text: (Mahler)

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CREDIBLE SOURCE:

 

URL:

http://www.newyorker.com/culture/richard-brody/why-the-great-gatsby-endures

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Sample:

“Gatsby, returning stateside after five months in a program at Oxford reserved for American officers, spent three years doing the things that made him fabulously wealthy—bootlegging, maybe some gambling, maybe some shady financial dealings, maybe some oil business—and doing it apparently by design, in the hope of impressing and wooing Daisy. “

MLA Citation:

Broody, Richard. “Why ‘The Great Gatsby’ Endures.” newyorker.com. Conde Naste,  29 April 2013.  (PUT DATE OF ACCESS HERE). <http://www.newyorker.com/culture/richard-brody/why-the-great-gatsby-endures>.

In-Text: (Broody)

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APA Citation:

Broody, R. (2013, April 29). Why The Great Gatsby Endures. The New Yorker. Retrieved from http://www.newyorker.com/culture/richard-brody/why-the-great-gatsby-endures

In-Text: (Broody, 2013)

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CREDIBLE SOURCE:

 

URL:

http://www.guardian.co.uk/books/2011/nov/18/yossarian-slept-here-erica-heller-review?INTCMP=ILCNETTXT3487

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Sample:

“Heller owed it all to one novel, published by Simon & Schuster on 10 October 1961; copies cost $5.95, in a print run of 7,500. Erica Heller, in her memoir of her father, calls it simply “the book”. Tracy Daugherty, in his biography (Just One Catch: The Passionate Life of Joseph Heller, Robson Press, £25), traces the trajectory towards its publication: how Catch-22 became catch-22. Erica is concerned more with the consequences: how Catch-22 became a catch-22.”

MLA Citation:

Sanson, Ian. “Yossarian Slept Here by Erica Heller — Review”. guardian.co.uk. The Guardian, 18 Nov. 2011. (PUT DATE OF ACCESS HERE). <http://www.guardian.co.uk/books/2011/nov/18/yossarian-slept-here-erica-heller-review?INTCMP=ILCNETTXT3487>.

In-Text: (Sanson)

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APA Citation:

Sanson, I. (18 Nov 2011). Yossarian Slept Here by Erica Heller — Review. Retrieved (PUT DATE OF ACCESS HERE), from http://www.guardian.co.uk/books/2011/nov/18/yossarian-slept-here-erica-heller-review?INTCMP=ILCNETTXT3487

In-Text: (Sanson)

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CREDIBLE SOURCE:

 

URL:

http://www.guardian.co.uk/books/2011/oct/10/catch-22-50-years-joseph-heller

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Sample:

“The Catch-22 itself is a bureaucratic idiocy so sublime it leaves you staring out the window with wonder. As many of you will already know, the novel is set on a made-up island off the coast of Italy during the second world war, where an American bombing group is stationed. Desperate to impress his superiors, Colonel Cathcart keeps raising the number of missions his men have to fly. Our hero, Yossarian, has flown 50. Driven half-mad by his will to live, he wants out. But he’s thwarted by Catch-22, a clause which states that pilots don’t have to fly if they are certified as insane, but that being driven mad by fear is fundamentally rational. As it’s described in the novel: “Orr would be crazy to fly more missions and sane if he didn’t, but if he was sane he had to fly them. If he flew them he was crazy and didn’t have to; but if he didn’t want to he was sane and had to.” The result, put simply, is that no one can get off the ride.”

MLA Citation:

Cox, Chris. “Catch-22: 50 Years Later”. guardian.co.uk. The Guardian, 10 Oct. 2011. (PUT DATE OF ACCESS HERE). <http://www.guardian.co.uk/books/2011/oct/10/catch-22-50-years-joseph-heller>.

In-Text: (Cox)

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APA Citation:

Cox, Chris. (10 Oct, 2011). Catch-22: 50 Years Later. Retrieved (PUT DATE OF ACCESS HERE), fromhttp://www.guardian.co.uk/books/2011/oct/10/catch-22-50-years-joseph-heller

In-Text: (Cox, 2011)

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CREDIBLE SOURCE:

 

URL:

http://www.thedailybeast.com/articles/2011/09/04/joseph-heller-catch-22-50th-anniversary-how-the-novel-changed-america.html

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Sample:

“Most books disappear quickly down the memory hole. Even powerful literary works rarely outlast their generation. The world moves on and last year’s sensation can seem as dated as yesterday’s papers. For a book to survive half a century it must excite passion in individual readers and touch a nerve in the national psyche. Joseph Heller’s much-loved 1961 novel Catch-22 is just such a book, as unkillable as Yossarian, its stubbornly nay-saying anti-hero. The novel did not take off immediately, despite the publisher’s brilliantly conceived roll-out, but it broke through the following year as a mass-market paperback when young people could afford to buy it. Mixed reviews showed that its farcical deflation of a Mediterranean bombing campaign late in the “good war,” and especially its cartoonish technique, could make it a closed book to many older readers. But word-of-mouth and changing times soon made it a classic.”

MLA Citation:

Dickstein, Morris. “The Catch in ‘Cathc-22′”. thedailybeast.com. The Newsweek/Daily Beast Company LLC, 4 Sep. 2011. (PUT DATE OF ACCESS HERE). <http://www.thedailybeast.com/articles/2011/09/04/joseph-heller-catch-22-50th-anniversary-how-the-novel-changed-america.html>.

In-Text: (Dickstein)

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APA Citation:

Dickstein, M. (4 Sep, 2011). The Catch in “Catch-22”. Retrieved (PUT DATE OF ACCESS HERE), from http://www.thedailybeast.com/articles/2011/09/04/joseph-heller-catch-22-50th-anniversary-how-the-novel-changed-america.html

In-Text: (Dickstein, 2011)

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Read More Comments Off on Catch-22, Joseph Heller, Great Analysis

CREDIBLE SOURCE:

 

URL:

http://www.guardian.co.uk/books/booksblog/2013/jan/30/rereading-stephen-king-christine

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“Christine is the story of Arnold “Arnie” Cunningham (a name taken from two Happy Days characters), a shortsighted bookish type (a “loser”) who has only one friend and not much of a life. He’s an aching stereotype, but that’s not always a bad thing – as King had shown before – particularly when the stereotype breaks their mould and becomes the hero. So, we accept that he is somewhat nerdy; we accept that his one friend, Dennis, is one of the most hollow characters King has ever written, seemingly existing only to tell Arnie to be careful (and given that he’s the narrator of the book, that’s some going); and we accept that Arnie would see a battered, ruined 1958 Plymouth Fury on his way home from school and just buy it. No ifs or buts: he’s taken in, wanting to be cool, and he falls in love.”

MLA Citation:

Smythe, James. “Rereading Stephen King: week 15 – Christine”. guardian.co.uk. The Guardian, 30 Jan. 2013.  (PUT DATE OF ACCESS HERE). <http://www.guardian.co.uk/books/booksblog/2013/jan/30/rereading-stephen-king-christine>.

In-Text: (Smythe)

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APA Citation:

Smythe, J. (30 Jan, 2013). Rereading Stephen King: week 15 – Christine. Retrieved from http://www.guardian.co.uk/books/booksblog/2013/jan/30/rereading-stephen-king-christine

In-Text: (Smythe)

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Read More Comments Off on Christine, Stephen King, Book Review

CREDIBLE SOURCE:

 

URL:

http://www.guardian.co.uk/books/2012/jun/22/rereading-stephen-king-the-shining

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Sample:

“The Shining is the story of Jack Torrance, who is employed as the caretaker of the gargantuan Overlook Hotel in Colorado one winter. Moving his wife, Wendy, and their son, Danny, into it for the season, he hopes to find peace: to finish his writing project, to escape his latent alcoholism, and to stich his fractured family unit together. But when they’re alone, Jack appears to go insane, pushed into fantasy – or hallucination. Eventually, he attacks his family, attempting to kill them in a twisted mirroring of the awful events that, it transpires, occurred in the hotel’s past. This is the story of both King’s 1977 novel and Stanley Kubrick’s film adaptation three years later, but they’re vastly distinctive beasts. For the King fan, however, it’s hard to think of one without the other. The Shining is two stories, both the same, but somehow very different.”

MLA Citation:

Smythe, James. “Rereading Stephen King: week three – The Shining”. gaurdian.co.uk. The Gaurdian, 22 Jun. 2012.  (PUT DATE OF ACCESS HERE). <http://www.guardian.co.uk/books/2012/jun/22/rereading-stephen-king-the-shining>.

In-Text: (Smythe)

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APA Citation: 

Smythe, J. (22 Jun, 2012). Rereading Stephen King: week three – The Shining. Retrieved from http://www.guardian.co.uk/books/2012/jun/22/rereading-stephen-king-the-shining

In-Text: (Smythe)

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CREDIBLE SOURCE:

 

URL:

http://www.guardian.co.uk/books/2012/may/24/rereading-stephen-king-carrie

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Tell us what you’re looking for in the Study Hall and get responses from us, and you’re fellow students. Get help with exactly what you need so you can get this assignment out of the way and move on to better things (or the next assignment).

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Sample:

“Structurally it’s a really weird one, with a standard Kingian third-person narrative voice interspersed with extracts from other media: newspaper reports, autobiographies of characters, transcripts of police interviews, that sort of thing. It’s not a structure that entirely works, as the extracts are still slightly too close to King’s standard narrative voice, and are often the worst (read: slowest) parts of the novel. While still reeling from the excitement of some of the third-person sections – particularly the classic prom scene – being dragged somewhere else entirely and presented with an often less-interesting viewpoint isn’t always ideal. (In particular, there’s a series of extracts from Susan Snell’s fake biography; none are very interesting. Apart from anything else, they don’t read like biography: they read like monologues.)”

MLA Citation:

Smythe, James. “Rereading Stephen King: week one – Carrie”. gaurdian.co.uk. The Gaurdian, 24 May. 2012.  (PUT DATE OF ACCESS HERE). <http://www.guardian.co.uk/books/2012/may/24/rereading-stephen-king-carrie>.

In-Text: (Smythe)

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APA Citation:

Smythe, J. (24 May, 2012). Rereading Stephen King: week one – Carrie. Retrieved from http://www.guardian.co.uk/books/2012/may/24/rereading-stephen-king-carrie

In-Text: (Smythe)

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URL:

http://www.pastemagazine.com/articles/2010/07/the-booky-man-revisiting-to-kill-a-mockingbird-on.html

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Tell us what you’re looking for in the Study Hall and get responses from us, and you’re fellow students. Get help with exactly what you need so you can get this assignment out of the way and move on to better things (or the next assignment).

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Sample:

“After nearly 50 years in print, Mockingbird is surely the most widely read work of fiction about race relations ever printed. The book still sells a million copies a year, a staple of the syllabus of high schools and universities all over the world. Harper Lee still lives in the little town of Monroeville, in the Black Belt of Alabama, where she firmly turns down nearly every interview and PR opportunity, as she has since shortly after the book came out. Lee has friends, lots of them, and a social life. But the reporter’s notebook and the unblinking eye of the TV camera never suited her.”

MLA Citation:

McNair, Charles. pastemagazine.com. Paste Media Group, 15 Jul. 2010.  (PUT DATE OF ACCESS HERE). <http://www.pastemagazine.com/articles/2010/07/the-booky-man-revisiting-to-kill-a-mockingbird-on.html>.

In-Text: (McNair)

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APA Citation:

McNair, C. (15 Jul, 2010). The Booky Man: Revisiting ‘To Kill a Mockingbird’ on Its 50th Anniversary. Retrieved from http://www.pastemagazine.com/articles/2010/07/the-booky-man-revisiting-to-kill-a-mockingbird-on.html

In-Text: (McNair, 2010)

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CREDIBLE SOURCE:

 

URL:

http://abcnews.go.com/WN/50th-anniversary-famous-harper-lee-book-kill-mockingbird/story?id=11126933#.UbOrqvmsiSo

Can’t Find What You’re Looking For?

Tell us what you’re looking for in the Study Hall and get responses from us, and you’re fellow students. Get help with exactly what you need so you can get this assignment out of the way and move on to better things (or the next assignment).

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Sample:

“The novel, which won the 1961 Pulitzer Prize for fiction and became an Academy Award-winning film starring Gregory Peck, has never been out of print. In fact, one million copies are sold each year in 40 languages. The Library of Congress even has said that “Mockingbird” is second only to the Bible as books most often cited as making a difference.”

MLA Citation:

Noll, Eric, and Xorjie Olivares. abcnews.go.com. ABC News Network, 9 Jul. 2010.  (PUT DATE OF ACCESS HERE). <http://abcnews.go.com/WN/50th-anniversary-famous-harper-lee-book-kill-mockingbird/story?id=11126933#.UbOrqvmsiSo>.

In-Text: (Noll, Olivares)

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APA Citation:

Noll, Eric, and Xorjie Olivares. (9 Jul, 2010). Person of the Week: Celebrating 50 Years of Harper Lee’s Classic, ‘To Kill a Mockingbird’. Retrieved from http://abcnews.go.com/WN/50th-anniversary-famous-harper-lee-book-kill-mockingbird/story?id=11126933#.UbOrqvmsiSo

In-Text: (Noll and Olivares, 2010)

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CREDIBLE SOURCE:

 

URL:

http://www.theatlantic.com/magazine/archive/1960/08/to-kill-a-mockingbird-by-harper-lee/306456/

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Tell us what you’re looking for in the Study Hall and get responses from us, and you’re fellow students. Get help with exactly what you need so you can get this assignment out of the way and move on to better things (or the next assignment).

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Sample:

To Kill A Mockingbird is a more successful piece of work. It is frankly and completely impossible, being told in the first person by a six-year-old girl with the prose style of a well-educated adult. Miss Lee has, to be sure, made an attempt to confine the information in the text to what Scout would actually know, but it is no more than a casual gesture toward plausibility.”

MLA Citation:

Adams, Phoebe Lou. theatlantic.com. The Atlantic Monthly Group, 1 Aug. 1960.  (PUT DATE OF ACCESS HERE). <http://www.theatlantic.com/magazine/archive/1960/08/to-kill-a-mockingbird-by-harper-lee/306456/>.

In-Text: (Adams)

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APA Citation:

Adams, Phoebe Lou. (1 Aug, 1960). To Kill a Mockingbird, by Harper Lee. Retrieved from http://www.theatlantic.com/magazine/archive/1960/08/to-kill-a-mockingbird-by-harper-lee/306456/

In-Text: (Adams, 1960)

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CREDIBLE SOURCE:

 

URL:

http://www.newyorker.com/online/blogs/movies/2013/05/the-great-gatsby-a-voice-of-degeneration.html

Samples:

“It would be fun not to know that Baz Luhrmann’s new movie is an adaptation, not to have read the book that it’s an adaptation of, not to bother comparing the movie to its source or evaluating its fidelity to or imaginative reinterpretation of the novel, but simply to watch “The Great Gatsby” as a movie that brings some notable actors together in a sumptuously-realized Jazz Age extravaganza to tell a tumble of good stories—of a lost love fleetingly recaptured, a couple of marriages unhinged, a crime unsolved, lives violently lost, a fledgling romance dissolved, the disillusionment of a New York newcomer, and, overall, of the end of a time of fabled exuberance—by way of vividly conceived characters and finely rhetorical dialogue. It wouldn’t make the resulting movie any better, but it would at least make for a source of wonder that an early-twenty-first-century screenwriter could offer up such a rich lode of material, regardless of the use made of it.”

“Fitzgerald’s literary and personal conception of the aphrodisiac power of money, though, was remote to two of the most important writers of the day—D. H. Lawrence, and Fitzgerald’s friend Ernest Hemingway, whose prime themes are virility and vitality, the physical energy and mental discipline which carry a sexual charge. In effect, they wrote of the higher animal prowling around the edges of a society and making incursions; Fitzgerald, however, wrote of society, remained an insider, and his view of social gamesmanship and the finely-calibrated inflections and higher frequencies with which insiders speak to each other—and the forceful desires that those glittering games both conceal and express—is the essence of his poetic vision of the world, the charm of his despair.”

MLA Citation:

Brody, Richard. “‘The Great Gatsby’: Try Again, Old Sport.” newyorker.com. Conde Naste, 10 May. 2013.  (PUT DATE OF ACCESS HERE). <http://www.newyorker.com/online/blogs/movies/2013/05/the-great-gatsby-a-voice-of-degeneration.html>.

In-Text: (Brody)

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APA Citation:

Brody, R. (10 May, 2013). ‘The Great Gatsby’: Try Again, Old Sport. Retrieved from http://www.newyorker.com/online/blogs/movies/2013/05/the-great-gatsby-a-voice-of-degeneration.html

In-Text: (Brody, 2013)

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