I can’t say the words out loud,
So in a rhyme I wrote you down.
Now you’ll live through the ages,
I can feel your pulse in the pages.
I have written you down
Now you will live forever
And all the world will read you
And you will live forever
In eyes not yet created
On tongues that are not born
I have written you down
Now you will live forever
Ask any writer about the rules he’s heard throughout the years, and he will be able to recite a litany as deeply embedded as the Lord’s Prayer. Show, don’t tell. Write what you know. The first sentence is key. The last sentence is key. All writing is rewriting. No adverbs. No one aside from you finds your dreams interesting. You should never write in the second person.
I love the sound of words, the feel of them, the flow of them. I love the challenge of finding just that perfect combination of words to describe a curl of the lip, a tilt of the chin, a change in the atmosphere. Done well, novel-writing can combine lyricism with practicality in a way that makes one think of grand tapestries, both functional and beautiful. Fifty years from now, I imagine I’ll still be questing after just that right combination of words.
—Lauren Willig (via writersrelief)
It is easy to read the story of Medea as told by Seneca as a critique on the effects of passions on the mind set on a person. However, the violence of the story while coming physically from Medea finds its roots in the actions of those around her. The dismissal of her pain and hurt by those that she had sacrificed so much for was the catalyst for the harm and death that we read. The only wrong Medea is guilty of is that she is a woman with power, who from the outset of the play is already in a disenfranchised position.
Medea stands in precarious in a situation and instead of bowing to the pressures of her situations; she uses what is available to her to act with agency and impose her will on others. It was not until after meetings with Creon then Jason, who consistently ignore her desires and pleas, that she reaches a breaking point. She sacrificed her brother, left her homeland, murdered for the sake of Jason and his glory. Yet when the time comes to dispense punishment, Medea alone must face comeuppance. Mirroring the actions and behaviors of Jason, Medea ignores ideals of morality and social obligation. Michael Zelenak compares the two characters thusly “(Medea) insists on her right to do what male protagonists have always done - to define herself and become her vision of herself, regardless of law or morality. In a man, this is called a tragic protagonist. In a woman, it is called a monster, or “a witch,” (Zelenak 17). Not only does being a stranger in a strange land put Medea in an inferior position in regards to other characters, but the mere fact that she is a woman, a supernaturally powerful woman at that, paint the perception of others have of her. The fear of the damage that she is capable of bringing down kept the other characters from approaching her, as she truly was, a wounded woman. It is possible that the violent outcome could have been avoided had a proper discussion between the characters. However, all characters with direct contact with Medea reject her feelings of betrayal as out of control passions and minimized her as a person, she took a course of action that she felt could not be ignored as easily as her words were.
photocredit: Medea - cover illustration- ©Editions Faton 2014 byThomasBrissot
Why Physicists Make Up Stories in the Dark
In unseen worlds, science invariably crosses paths with fantasy.
For centuries, scientists studied light to comprehend the visible world. Why are things colored? What is a rainbow? How do our eyes work? And what is light itself? These are questions that preoccupied scientists and philosophers since the time of Aristotle, including Roger Bacon, Isaac Newton, Michael Faraday, Thomas Young, and James Clerk Maxwell. But in the late 19th century all that changed, and it was largely Maxwell’s doing. This was the period in which the whole focus of physics—then still emerging as a distinct scientific discipline—shifted from the visible to the invisible. Light itself was instrumental to that change. Not only were the components of light invisible “fields,” but light was revealed as merely a small slice of a rainbow extending far into the unseen.
Physics has never looked back. Today its theories and concepts are concerned largely with invisible entities: not only unseen force fields and insensible rays but particles too small to see even with the most advanced microscopes. We now know that our everyday perception grants us access to only a tiny fraction of reality. Telescopes responding to radio waves, infrared radiation, and X-rays have vastly expanded our view of the universe, while electron microscopes, X-ray beams, and other fine probes of nature’s granularity have unveiled the microworld hidden beyond our visual acuity. Theories at the speculative forefront of physics flesh out this unseen universe with parallel worlds and with mysterious entities named for their very invisibility: dark matter and dark energy.
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A new international report lays out the challenges to building Earth’s next great mega-project — and they’re more surmountable than you think.