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The first book is completely crazed—it's got dozens of science fiction ideas thrown into a wild mix of melodrama, and it explodes in six different directions at once. Here is a quick list of the main concepts that McCaffrey jams into one page book:. It's this last point which probably makes the whole book so vivid. For example, the colonists genetically engineered dragons to burn Threads from the sky, but the gaps between the passes of the Red Star are long enough that ordinary people resent supporting the dragonmen.
In Dragonflight , these kinds of details are worked out with extra- ordinary flair. McCaffrey also throws in a ton of melodrama, and I see this as a large part of the appeal of visiting Pern. There's always some kind of personal conflict going on—I think McCaffrey's cast of characters was my introduction to people who just don't get along. The first book also adapted a large part of its plot structure from romance: strong-willed young girl, authoritative older man Best of all, the dragons and time travel and interstellar spores are just background for the tumultuous lives of people we soon care about or dislike intensely.
I'm not saying that the wacky SF ideas are superfluous—more that we learn about them as part of the trials and tribulations of interesting characters. Dragonflight displays quite a florid writing style on McCaffrey's part. It's a bit hard to pin down precisely, but I think it might be in the use of adverbs. Everyone is either "lounging indolently" or "drawling sardonically" or some such thing. McCaffrey doesn't seem able to turn down any rhetorical trick that would amp up the immediate impact of the story.
I loved the Pern books, but I kind of lost interest in the series as the "churned out by a factory" quotient went up and not much new was going on. Sequels are always dicey propositions to me. I like "more of the same" just like everyone else, but it gets boring after a while. If a book is just coasting on its predecessors, it gets obvious fast. Prequels are much worse, since there's often no hope of anything new at all. In that sense, I'm a novelty junkie—I actually don't want to know how the Pernese dragons were developed, or how the Threads first hit Pern. That stuff is great as backstory.
Front and centre, it's just a drag. But now that I've re-read Dragonflight , I can see where the various sequels and prequels came from—they're all in this book already. The second book, Dragonquest , deals with tensions with a group called the "oldtimers" and they first arrive on the scene here, while the third book, The White Dragon , has a protagonist who had a very dramatic birth in this book. Durable characters—like Robinton the masterharper—were here, and a whole framework of craftholder life sets up the Dragondrums trilogy. The legend of Moreta, queen dragon-rider of the ancient past, is mentioned with reverence, and sure enough, she gets her own book later too. That's about where I lost interest in the series—quite a few books followed. I take the point that McCaffrey is painting on a broad canvas of thousands of years, but after a such a mind-numbing quantity of sequels, everything compelling and unique has long been done.
I knew that part, but I was glad to be reminded of the superb quality of Dragonflight. Turns out that I wasn't crazy to be enthused about the series in the first place! When I read the second and third Attolia books later, I was happy to discover that they are just as good as the first book. I get sucked in very easily by books that are smooth on the surface. If a book has glossy enough writing and a well-paced storyline, then I'm almost always a sucker for it. But when a book also has something intriguing going on underneath the surface, then I feel like my optimism has been rewarded—and that's when I really love a book.
The Thief is a young adult novel from about a decade ago. It was Turner's first novel, and kicked up some fuss, including a Newberry Honor. It's ostensibly labelled fantasy, and you can easily read it that way. In this case, Turner models ancient Greek city-states, with a few anachronisms like guns, and a very subtle case of polytheism. That the gods are listening makes it a fantasy? I guess. There's also a quest for a magic object. Gen is in the king's prison; he's the thief of the title. The king's advisor, the magus, will free Gen on one condition: that Gen helps him steal the aforementioned magic object. The magic doodad, Hamiathes's Gift, will apparently guarantee the holder the kingship of a neighbouring country.
The magus, Gen, and a few soldiers go on a trek, locate the hiding spot, then turn the success of the expedition over to Gen and his thieving ways. All along, they've been telling each other stories of their gods and goddesses. The bits and pieces in my summary resemble a stereotypical fantasy novel much more so than when you're reading the book. The difference is in the characterization I guess, since there are some remarkable moments along the way, and some puzzling aspects click together with resounding elegance at the end.
It's adventure, sure, but unexpectedly coherent and impressive. The difference is also in the smooth writing. Turner's style reminds me a great deal of Ursula K. Le Guin, who always stands in for smooth prose when I think about such things. Turner has written two sequels. I must say, though, that as much as I'm looking forward to those next two books, The Queen of Attolia and The King of Attolia , the delicious sense of anticipation—yes, the author has written some more books in the series! I'm jaded, but I've been burned too many times. It's started to affect my enjoyment of a book, even if it stands alone. A few examples to illustrate.
But even if the follow-up books are not giant disappointments, they very seldom live up to the first book. I liked Garth Nix's Sabriel quite a lot, but books two and three were simply Similarly, one of the reader reviews for The Thief on Amazon mentioned a similarity to Lian Hearn's Tales of the Otori , which brought back a flood of memories for me. I had managed to block that series from my mind for years, so I went back and checked my notes. Sure enough, I loved the first book, but as it turns out, books two and three were awesome too - right up until the grand finale, which was hideous and random.
I had been burned by recommending The Golden Compass to a bunch of people before finishing the series myself, so I was holding off on doing the same for Hearn's series. It looked so promising! And book three so good too, I was looking for boxed sets for gifts, the whole deal. Will the same thing happen for Turner? I'm a weird mix of gloom and optimism, as I've mentioned: I would love to have an example to counter my reasons for despair. At this point, all I can say for sure is that I'm glad that The Thief is a relatively self-contained work, just like Sabriel by Nix. If the next two books are ho-hum, I'll just have to come back and read the first one again.
A few months ago, I decided to take the plunge: I would burn through the Harry Potter series, now complete, all in one go. It's been I've discovered all kinds of things I had not realized before, including the fact that Harry is—to put it diplomatically—not a particularly effective hero. When I decided to plow through the series, I had what turned out to be a fair number of misconceptions. In each book, he fights Voldemort at the end, and there's a bunch of "British boarding school" material that fills in the rest of it.
Not so! The boarding school stuff is omnipresent, but it all supports two themes:. None of this is groundbreaking stuff, per se, but Rowling handles it extraordinarily well. In terms of growing up, books 5 and 6 have a lot more material about romance, and how relationships are not a particularly easy thing when you're a teenager. Some of this feels about as painful as reality fortunately not at the Freaks and Geeks level of gritty painfulness—I've been catching up on my iconic-yet-cancelled TV shows.
In general, Harry is learning more about the adult world in this case, the wizarding world each year, and he gets more and more entangled in adult things like racism and dishonesty, and the rather grim realization that mistakes you made in your life years ago can cause problems much further down the road. As for the nature of Harry the hero, I made a claim that he's ineffective, but this is not necessarily a bad thing.
For one thing, he gets a lot of hype around him, but his lack of perfection humanizes him in a way that a more heroic version might not. As Rowling has portrayed him, Harry is a convincing mix of hot-headed and naive; in the later books, he gets quite angry. If he was always calm and perfectly in control and all-powerful, he would be another Dumbledore! Considerations of Dumbledore's character would be an entirely different column. I would draw a parallel between Harry and Buffy, another "heroic" character, another "Chosen One" both series use this exact phrase, making my comparison a little too easy , and while both would much rather have a normal life, they don't lay down their burdens.
I would say that Harry is a much angrier character than Buffy, who had her roots in her "Valley Girl goes into a dark alley and comes out triumphant" high-concept. Harry comes out of a Roald Dahl tradition, whose influences I would argue are particularly strong on the first book. As he grows up, he becomes much more susceptible to rage - against the Dahl-esque Dursleys, against all the circumstances arrayed against him. He knows that he should control his anger, but how can he? It's a horrible burden. Harry gets by with generous help from other people. An idealized loner hero? Not here. The series is essentially the process by which Harry accumulates the friends and surrogate family to help him defeat evil which makes another parallel to Buffy's story.
Harry on his own is not an effective hero, but because of his friendly nature, he has drawn people to him. Some of this is explained rather explicitly in books five and six once Dumbledore tells Harry a bit about the nature of the prophecy that pits Voldemort against Harry specifically. Not to give too much away, but it boils down to this: Harry's not so much a hero as an outward manifestation of Voldemort's innate characters flaws that will eventually bring the Dark Lord down. Voldemort wanted to strike, and in striking, created his worst enemy. Harry's actions function in the opposite way: he draws people to him, turning them to the good side for their own reasons, not fear. I mentioned another major misconception on my part. I've learned that Harry hardly ever fights Voldemort!
I don't want to give away every ending in the series, so I'll just say that Rowling provides a number of other interesting twists and turns. As for the finish of the series, I thought that the build-up to the ending was terrific, really exciting stuff, but the ending itself was fairly Harry made an assumption based on arcane mechanics of a certain kind of magic, which required a lot of explanation. Maybe not that different than the info-dumps required at the end of the previous Potter books? And secondly, I'm dismayed that the movie-makers have chosen to split the the seventh book into two movies, since book 7 is probably the best candidate for compression.
It's a compelling mix of the humourous moments from the start of the series with the more grown-up material from later on. As for Harry himself, he has yet to prove himself to others, but he feels like much more of his own person. And it's less bloated than the previous book, Harry Potter and the Order of the Phoenix. It is an untruth universally acknowledged that a woman in possession of a romance novel must be in want of A wits, B a social life, or C both.
I read romance, and frankly don't care what other people think that says about me. In fact, I think the bias itself says some pretty interesting things. There's a lot to unpack in the pervasive and persistent stereotype that surrounds the romance section of any given bookstore. I see that stereotype emerging from three directions: lack of knowledge of the genre and its readers; envy; and the belief that romances are badly written. But it could be argued that it stems from one source. First, some background. A study released by the ABA in 1 exploded a number of myths about romance readers. For one thing, they were well-educated. Compared to the national average, romance readers were vastly more likely to have finished some form of post-secondary study.
They also expressed a substantially higher than average sense of of job satisfaction. Possibly as a corollary, they also indicated comfort with their earning power. And—this one was a bit of a surprise—they had solid romantic relationships. So much for the bored and lonely housewife desperately seeking something to fill her empty days. There are other more accessible, and more startling, statistics that pertain to romance novels: sales numbers. Romance readers buy more books, more often, than any other group.
To put it another way, when it comes to paperbacks, romances sell more than all other genres and subjects combined. Such obvious success makes romance an easy target; there's no point in scorning something off the radar. Sales of that magnitude mean that midlist romance novelists can make a living, unsupported by arts council grants, even. That kind of thing always draws envy of the bitterest kind. As for being badly written Some romances are poorly written indeed.
So are some mysteries, some biographies, many business books, and most undergraduate poetry. Theodore Sturgeon said that ninety percent of everything is crap—romance is no exception. Why should it be? The lack of awareness, the jealousy, the scorn: these are only symptoms of a deeper disease. Truth is, romances are primarily written by, and for, women. Even today, that automatically relegates them to second-tier status. Detractors claim that romance novels foster unrealistic expectations in readers that can interfere in real-life relationships. Er, pardon? Most of the western world read Harry Potter, and did anyone claim it made readers believe magic was real?
Okay, the lunatic fringe tried, but they could find witchcraft in breakfast cereal, and were rightfully ignored by the wider world But apparently romance readers—who are, don't forget, well-educated and by-and-large happily involved—can't tell fiction from reality. It's the same old story: women can't be trusted to know what they want. Bugger that. As a bookseller, I respect the enormous sales of romance novels. They've kept many a publisher in the black. As a reader, I simply enjoy them. Good stories, well told are always a pleasure.
And I'm not alone in my appreciation. Let's face it: if you recognized the mangled quote that opened this essay, you've read a romance, too. The RWA updates this study periodically. The internet allows writers to do the impossible: write in isolation while in company. A writer might still face off single-handedly against blank screen, but behind the accusing blink of the cursor there are thousands of minds ready to offer information, support and catwaxing options.
On the other hand, it's not as if, pre-internet, every writer was locked in a Proustian cork-lined room. Despite the solitary nature of their work—or possibly because of it—writers have always sought one another out. For encouragment, professional development, and sometimes for the sheer relief of being around other people who get it. That's pretty much the unofficial definition of the RWA. Romantic fiction became popular during the Regency era, when writers like Jane Austen were read by absolutely everyone. The genre slowly began to coalesce through the nineteenth and twentieth centuries, but in the s, it kicked into high gear. At the end of that decade, several women decided to form a group to pool their knowledge and experience, and to help one another with both the creative and business aspects of writing romance.
There were thirty-seven members when the Romance Writers of America was formed in Today, there are more than ten thousand from all around the world. The RWA is a major non-profit trade organization, with ten staff, an elected Board of Directors, dedicated committee volunteers, and many mind-numbing pages of bylaws. Its mission statement is: "to advance the professional interests of career-focused romance writers through networking and advocacy".
And damn, do they follow through. Joining the RWA gives a writer access to an amazing amount of information about the genre, about writing, and about the publishing industry as a whole. The Romance Writer's Report, the member magazine, contains interviews, writing tips, market information, sales numbers, and much more. But that's just the beginning. Once a writer joins the national organization, she can also join any of its chapters. Some of the chapters have to do with subject matter, like the Kiss of Death chapter, which focuses on romantic suspense. Others, like the Toronto Romance Writers, are strictly based on location.
But the highlight of the year is the annual national conference. Known simply as "National", the massive conference brings editors, agents, reviewers, artists, and marketers together with thousands of writers, then hits 'blend'. There are workshops, pitch sessions, lectures, spotlight hours, and more parties than the Toronto International Film Festival.
Sales are made at the conference, deals struck and careers born. It's an exhilarating, exhausting rush. The RWA is no slouch when it comes to advocacy, either. They attend Book Expo and other major trade shows, operate a Speaker's Bureau, provide libraries and booksellers with lists and catalogues, and compile statistics for common use. Several years ago they created a continent-wide poster campaign, similar in function though not style to the 'look who's in our library' campaign of the '90s.
They maintain a solid website 1 at which, among other duties, acts as a platform site for member websites, and provides a monthly list of member-written new releases. They admister awards to industry professionals, and even provide an academic grant to foster the serious study of the romance genre as a whole. The RWA is also dedicated to furthering literacy. Which may sound self-serving, but they've accomplished a great deal at both the community and federal levels. The main fund-raiser is the big Literacy Autographing session which kicks off National each year.
Open to the public in addition as well as attendees, it's like a candy store for the literate. Mmm, just picture it: hundreds of writers lining row upon row of long tables heaped with books the lineup for Nora Roberts usually circles the auditorium. Publishers donate the books, and all proceeds go to literacy. Then there are the RITA awards. There's a similar contest for unpublished manuscripts, called the Golden Heart.
Finalists in that contest end up with their work in front of major editors. It's terrific exposure, and many a Golden Heart winner ceases to be unpublished shortly thereafter. Of course, no group is without blemish, and the RWA is no exception. Several years ago a surprisingly bigoted Board had a referendum to see whether a romance should be defined as the love story between "the two main characters" or "a man and a woman". After voting for the former, I cancelled my membership, not wanting to belong to a group that even considered the latter acceptable. I was far from alone in that action "two main characters" passed, by the way. Another point of contention is that alone amoung professional writers' groups, the RWA does not require publishing credits to join. However to join PAN, the Published Author's Network within the RWA, with its separate newsgroup, own information stream, and private conference track, one certainly has to produce those credits.
And those credits mean something. When Harlequin announced it was going to start steering rejected manuscripts towards its newly formed vanity press, the RWA immediately removed Harlequin from its list of approved publishers. In other words, the world's largest publisher of romance was no longer be deemed an acceptable credit for PAN membership, nor could it use RWA resources at National or elsewhere.
David spanked Goliath public, and other writers groups followed suit. It has its faults—everyone does—but the RWA is truly an extraordinary organization. It is a powerhouse, large enough to be a voice the publishing industry listens to. But true to the nature of its thirty-seven founders, it is also welcoming and co-operative, and provides countless opportunties for personal growth and connection. Like authors in every genre, romance writers cover a broad spectrum of imaginative ground. They come from a variety of backgrounds, and write to any number of inner aesthetics. Each one has a preferred archetype. From the bewilderingly naive traditional, to the often bloody thriller, and every permutation inbetween, romance authors write to their personal tastes in terms of pace, mood, and degree of modernity.
But if you were to get a group of romance writers together and ask them about their formative influences, the vast majority will mention one name: Georgette Heyer. Born in Wimbleton in , Georgette Heyer was very much a woman of her time, which is to say cultered, educated, and above all, discreet. She was a success with her very first book, Black Moth , published when she was nineteen, and remained so for the rest of her life. In fact, when her husband decided to change careers, from mining engineer to barrister, it was her writing which supported the family: this, in the post WWI era, made her even more unique.
When she died in , she had more than fifty books in print, all of the bestsellers. But she never gave a single interview, nor did she ever make a single public appearance. No booksignings, no launches: nothing. After she married at twenty-three, she lived her private life as Mrs. Ronald Rougier. And though she said that anything anyone needed to know about her could be discovered in her books, she had four of her early novels suppressed because she felt they were too autobiographical. Black Moth is a story full of Georgian highwaymen and derring-do that she originally created to entertain her convalescent brother.
Later, Heyer redeveloped some of the characters and featured them in These Old Shades , a marvellous court comedy set largely in pre-Revolution Paris. So in many ways, she was the precursor of that standard of today's publishing indurstry, the spinoff novel. But that's not why Heyer is universally adored. What makes her such a seminal figure in the development of the modern romance was her ability to immerse readers in time and place, and the indefinable something called 'voice'.
Most, though not all, of Heyer's novels are set in the British Regency. In the strict sense, the British Regency spanned the years between and , when King George III was declared insane and his eldest son, the Prince of Wales, was made Prince Regent though the broader Regency period is often extended to mean Heyer's novels are sparklig clear windows into that time.
Historical accuracy was vital to her, and her research into fashions, mores, and locations was intense. She lived in the cities she wrote about most often: Bath, London, York—and she investigated each from every possible aspect. Clothing, conveyances, street cant: every detail is spot on. In fact, one of her historicals novels set around the battle of Waterloo was used in history classes for many years. Her ability to catapult readers deep into other times is one of her great gifts. The other, her inimitable voice, is harder to quantify.
Certainly it has to do with her ability to create characters worth caring about, people with real feelings and real motiviations. It's also apparent in her brilliant dialogue. Often imitated by her successors though never quite duplicated, Heyer created a standard for witty banter that has rarely been equalled, and she did it consistently. But above all, her work is infused with charm. Not the facile sort that is easily forgotten, but the real thing: an allure that fascinates and delights, to a level that could almost be considered magic.
For those who just can't quite bring themselves to try one of her romances, Heyer also wrote a dozen mystery novels. They too are historically accurate, though in their case the time period was Heyer's own. Set in what was to Heyer the modern day, her mysteries have the tightly woven feel of detective novels written before the age of DNA evidence, when character-reading and clue-following reigned supreme. Her husband, a QC, vetted her plots for accuracy. Reading them now offers a remarkable glimpse into English life between and following two World Wars, and the changing nature of societal interactions.
Whether writing hard-bitten mystery, piercingly accurate history or frothy romance, Georgette Heyer occupies a plane of her own. In particular, when it comes to romance, she was a trail-blazer. Hundred of writers have followed in her footsteps. And if none have quite measured up, they have still managed to create a particularly strong and popular subgenre in her honour, called simply 'Regency'. One of the many criticisms levelled at romance novels is that they're a poor model for women when it comes to real-life relationships. All that fairy tale nonsense, detractors say, will make women want the wrong things from their partners. I could list a dozen things wrong with that assumption, but I'll limit myself to three.
First, the blanket belief that alone among the literate romance readers believe everything they read is seriously insulting. Second, it demonstrates that said detractors don't read much modern romance, or they'd know the kind of realism one can find therein. That's annoying. Is divorce realistic, or abuse, or loss? Don't worry: they're covered. Also, please consider what that means about the nature of 'realism'. Third: fairy tales, yes, but nonsense? Bruno Bettleheim would open a can of Jungian whoopass on such ignorance, and rightfully so. Fairy tales are a subset of folk tales, and folktales are the backbone of literature. They are powerful.
These are the stories that outlive nations. Religions may try to bury them, and political regimes to repress them, but folktalkes just don new clothes, get new haircuts, and keep going. As a kid I read hundreds, devouring one textbook-sized collection of international stories after another. So by the time I hit junior high I'd recognized that the same patterns appeared in stories from every part of the globe.
This story might have a fairy godmother where that one had a talking fox; this beast might be a lion where that one was a snake. But the basic patterns, the archtypes, were the same, whether the story came from France or Russia, from India or China. That's not nonsense, it's nuclear. So, yes, romance novels often play off patterns found in fairy and folk tales. Which is another way of saying they're tied into the beating heart of the narrative impulse.
They're the stories that chronicle women's lives and their hopes, which are at least as realistic as their miseries. Fairy tales can encompass just about any setting, problem or character. In some ways, they're the ultimate in fan fiction: since the pattern is already established, writers need only to allude to it to establish emotional resonance.
I can't list all the archtypes here, so for the sake of symmetry, here are the three I think are most common in modern romances. Beauty and the Beast This is one of my personal favourites. From Persephone onward, in this story the underlying archetype is that sacrifice is rewarded Though the beastly character isn't always the hero: Taming of the Shrew is a Beauty and Beast story too. Of course nowadays beastliness isn't a matter of looks but of behavior. So the beast in question might go from withdrawn to engaged; from rapaciously ambitious to sharing; or from reckless hedonism to committed monogamy.
Don't be fooled, it's not an easy trip for anyone involved. But it's worth it. Cinderella The hardworking heroine of any of this wide group of stories epitomizes successful transformation. But the trappings are the least important part of her elevation. It's not about the slipper, it's about the change in state. There might be a literal move from rags to riches, but more often Cinderella stories feature characters who move from emotional paucity to abundance. Not surprisingly, this is one of the most popular archetypes.
After all, if there's one thing women know how to do, it's work. In Cinderella stories, readers get to see drudgery and discomfort turn into acceptance and love. Also under this rubric are the stories of disguise and secret identity. Historical: The Runaway Princess by Christina Dodd; Scandal by Amanda Quick; Reader and Raelynx by Sharon Shinn which is a fantasy novel, but also a romance: that the transforming character is male doesn't mean it doesn't belong in this category. Sleeping Beauty I have a sneaking fondness for stories of awakening. Not from sleep, of course, but those in which a character comes into her own, ie: 'wakes up' to a sense of her own potential and abilities. These characters discover and revel in new skills, or redevelop old ones.
They try new experiences, make new friends, and change their own lives for the better. Change isn't alwasy easy. Sometimes it's a detonation in their existence. And sometimes they simply learn to let go of weight and pain carried too long. However it happens, these are the stories of lives refreshed and made wonderful. Despite being a rapacious reader of just about everything, during my formative years I managed to miss any number of writers who are the bedrock of their particular genres. For instance, I read Terry Brooks long before Tolkien and yes, I'm aware of the gravity of that mistake. Another standard bearer I missed during my younger years, one who had a huge impact on many romance writers who followed her, is Mary Stewart. Born in , Mary Florence Elinor Rainbow was a trendsetter in many ways.
In time when highter education was possible for women, though not extremely common, she received her BA in , and her MA in She married Frederick Stewart in , and shortly after that, began to pursue writing as a serious career. She wrote more than twenty novels, more than two-thirds of which were huge international best-sellers. Not all were romance, or romantic suspense, as they would be called today ie: romances that are also mysteries. She followed those four up much later with The Prince and the Pilgrim. Oddly enough, though I love Stewart's work, I've never read any of those.
I run a fantasy and science-fiction specialty bookstore, and had to ban all things Arthur years ago for the sake of my sanity. But if I ever come out from behind that barricade, Stewart's take on the Matter of Britain will be what I turn to first. The books I love best are the ones Stewart wrote in the '50s and '60s. They tend to be about young ish educated women, who are out making their ways in the world. Her heroines all have real lives: they have bills to pay, they're interested in travel, education and opportunity.
But one of Stewart's strongest skills is her ability to capture atmosphere. She herself was one of those women, and it's evident. A thorough understanding and acceptance of the daily privations of life in post-war England runs through her early works, and with it, the sense of gleeful joy when those privations are eased. Several of Stewart's books are set in the UK, but others are set across the wider European stage. A few take place in the Greek islands, and though some of her ruminations on the nature of the immutable 'Greek character' would cause fits in students of post-colonial post-modernism, she has a near perfect touch with description.
Moonspinners , by the way, was made into a movie. Sadly, the studio was Disney, and the film stars Hayley Mills, so I haven't quite worked up the nerve to watch it. I find it very difficult to choose a favourite among Stewart's novels, but Airs Above the Ground is a perennial front-runner. Drugs, spies, a travelling circus, and the fabulous Lipizzan horses of the famed Spanish Riding School all come together in a delightful road-trip of a tale through rural Austria.
It's also an unusal book in that the heroine has sex. Okay, yes, with her husband, and it happens off the page, but still! It marks a distinct departure from the strictures of the times. Stewart certainly wasn't the first person to put sex in her books, but she normalized it. Even more importantly, without graphic of explicit language, she made sex mutually enjoyable. Mary Stewart epitomizes the voice of her generation: educated, thoughtful and forthright, with the sense of being both forward-looked and aware of the past that is particular of those who lived through WWII. The fantastically pulp nature of her cove art is a brilliant contrast to the deliciously crisp nature of her prose. For millions of readers, many of whom went on to become writers, she opened up the world.
I'm a total chicken. This means I don't watch anything that smacks of horror: in fact, I tend to close my eyes when the music gets even a little bit ominous. It's not the gore I mind so much though really, intestines belong on the inside , but the terror. The supposed cathartic release of the horror movie escapes me: I scare really easily, and unfortunately, I stay scared long after the movie ends. So imagine my joy when awkward first date manners had me agreeing to watch The Mummy remake. Per derangedlemur original suggestion, it seems a safe bet that we're at Salthill.
The photograph likely dates from Sounding the seldom used People Identified Klaxon with one hand while ringing the Date Established bell with the other!! Collection: Clonbrock Photographic Collection. The black of the barrel of Edition provides a striking contrast to this delicate fretwork effect in sterling silver. The barrel and cap of Edition are made of mother-of-pearl lacquer and covered with a white gold weave.
The Montblanc star in this edition is made of fine mother-of-pearl. A delicately engraved lily — a popular art nouveau motif — decorates the rhodium-plated karat gold nib. Andrew Carnegie is still considered one of the greatest patrons of culture in the modern world. A Steel tycoon who emigrated from Scotland to the USA, he was firmly convinced that wealthy people were morally obliged to dedicate themselves to charitable works. So he spent more than million dollars - almost his whole fortune - on cultural foundations, public libraries and cultural programs, and on fostering talented art nouveau artists, the most fashionable artists of the day.
The stylish and elegant Patron of Art Edition Hommage a Andrew Carnegie recalls the artistic style that Carnegie supported so enthusiastically: art nouveau. The barrel and cap of Edition are made of mother-of-peral lacquer and covered with a white gold weave. A delicately engraved lily - popular art nouveau motif - decorates the rhodium-plated 18 carat gold nib.
Industrialist and philanthropist extraordinaire, Andrew Carnegie personifies the American dream and the idea that man does not live by bread alone. Overcoming poverty to become one of the richest men of his time, he rejected an elitist lifestyle to patron the arts and champion the common man. His legacy still enriches the world today and his crowning work, the Carnegie Hall, has become a temple of culture and one of the most important stages in. Echoing the style he loved, the Montblanc Andrew Carnegie is an art nouveau tribute to the man and his legacy.
Its exquisitely carved, carat gold nib and pitch-black barrel set a graceful scene for the dramatic crown of a sterling silver clip in the sensual form of a winged feminine figure. The stylish and elegant Patron of Art Edition Hommage Andrew Carnegie recalls the artistic style that Carnegie supported so enthusiastically: art nouveau. The clip of the pen is a graceful female figure, whose wings wrap around the cap of the pen like a butterfly's.
A steel tycoon who emigrated from Scotland to the USA, he was firmly convinced that wealthy people were morally obliged to dedicate themselves to charitable works. So he spent more than million dollars almost his whole fortune on cultural foundations, public libraries and cultural programmes, and on fostering talented art nouveau artists, the most fashionable artists of the day. Bluma Appel - Canada. He also shared the evolution of her family surname.
As a Member of the Order of Canada she often volunteered to preside at Canadian citizenship ceremonies at 55 St. Clair Avenue East Toronto. I clerked many of her ceremonies and enjoyed talking with her ever present young male assistant who was a classical pianist. Bluma Appel, OC, O. Ont September 4, — July 15, was a Canadian philanthropist and patron of the arts. Bluma married the Montreal chartered accountant Bram Appel on July 11, It was Bram's subsequent success in business which afforded Bluma the opportunity to engage in serious philanthropic activity: in he co-founded Pall Corporation.
In , she ran unsuccessfully as a Liberal candidate for the Canadian House of Commons in the riding of Nepean—Carleton. She lost to Walter Baker. She was a major supporter of the St. Lawrence Centre for the Arts, which named one of its theatres in her honour in March after she made a donation to help renovate the seat theatre where the Canadian Stage Company CanStage performs.
She was also a significant force behind Opera Atelier. Appel an honorary Dora Mavor Moore Award "for her exceptional and lifelong dedication" to the performing arts in Canada. Four days after celebrating her 67th wedding anniversary, Appel lost her brief battle with lung cancer and died in a hospital in Toronto, aged She was buried at Pardes Shalom Cemetery, north of Toronto. Bram Appel died October 8, They are survived by their two sons David born and Mark born , and five grandchildren. In , she was made a Member of the Order of Canada for being one of a few people "as active in such a broad range of community services as she".
In , she was elevated to Officer of the Order of Canada for continuing "her outstanding volunteer work on behalf of numerous cultural, social and health care organizations". In , she was awarded an honorary Dora Mavor Moore Award for her lifelong support of Canadian arts and culture, an honour given to only two other individuals, William Hutt and Urjo Kareda. The Bluma Appel Theatre in the St. She rose to fame in s Hong Kong action films, and is best known internationally for her roles in the James Bond film Tomorrow Never Dies , and martial arts film Crouching Tiger, Hidden Dragon , along with recent international English films and series.
Born in Ipoh, Malaysia, she won the Miss Malaysia pageant of at the age of She later achieved fame in the early s after starring in a series of Hong Kong action films in which she performed her own stunts, such as Yes, Madam , Police Story 3: Supercop and Holy Weapon She was credited as Michelle Khan in her early Hollywood films. She has appeared in many English, Mandarin and Cantonese language films.
In , she starred in the American romantic comedy-drama film, Crazy Rich Asians. The film review-aggregation website Rotten Tomatoes ranked her the greatest action heroine of all time in She was keen on dance from an early age, beginning ballet at the age of four. She studied at Convent Ipoh Main Convent as a primary student. At the age of 15, she moved with her parents to the United Kingdom, where she was enrolled in a boarding school. However, a spinal injury prevented her from becoming a professional ballet dancer, and she transferred her attention to choreography and other arts.
In , at the age of 20, Yeoh won the Miss Malaysia beauty pageant. While in Melbourne, she also won the Miss Moomba title. Yeoh started her film career acting in action and martial arts films such as Yes, Madam in , after which she did most of her own stunts. Yeoh later preferred using her real name. Yeoh married Poon in and retired from acting. In , Yeoh and Dickson Poon divorced and Yeoh returned to acting. Brosnan was impressed, describing her as a "wonderful actress" who was "serious and committed about her work". She wanted to perform her own stunts but was prevented because director Roger Spottiswoode considered it too dangerous. Nevertheless, she performed all of her own fighting scenes. The film was shot in various provinces around China.
Yeoh had grown up speaking English and Malay, before learning Cantonese. Thereafter, she was offered the role of Seraph in the two sequels to The Matrix, but she could not accept due to a scheduling conflict the Matrix writers then changed Seraph into a male character and cast Collin Chou in the role. In , Yeoh starred as the graceful Mameha in the film adaptation of Memoirs of a Geisha, and she continued her English-language work in with Sunshine. In October , she was chosen by Guerlain to be its skincare ambassador. Yeoh has also recently branched out into television, as it was announced in September that she had accepted her first television role on the fifth and final season of Strike Back.
The film was released on 8 November In , Yeoh was engaged to Alan Heldman, an American cardiologist. Yeoh is a Buddhist. The decoration was presented to her in a ceremony in Kuala Lumpur on 3 October Legion Honneur Chevalier ribbon. Legion Honneur Officier ribbon. Ordre des Arts et des Lettres Officier ribbon. Legion Honneur Commandeur ribbon. Rotten Tomatoes. Retrieved 13 November ISSN The Star Malaysia. The Star. Retrieved 15 May Yeoh said that as she grows older, she understands her body will not be able to do what it once did with kick boxing and stunts. South China Morning Post. Archived from the original on 17 September Retrieved 4 August Asia Pacific Arts. Retrieved 23 April Yahoo News.
Associated Press. Penske Business Media. Retrieved 4 July Entertainment Focus. Retrieved from deadline. Retrieved 30 November The Hollywood Reporter. Retrieved 7 March The Times. Retrieved 8 April The Buddhist Channel. Retrieved 29 October Retrieved 25 May Save China's Tigers. Archived from the original on 25 February Archived from the original on 9 May Archived from the original on 6 December BBC News. Bernama via mysinchew. Retrieved 16 March Archived from the original on 30 June Retrieved 1 June Biharprabha News.
Retrieved 1 December Prime Minister's Department Malaysia. Retrieved 25 October Joseph Sipalan and Lee Yen Mun. Retrieved 5 September Desmond Yap. Malaysian Digest. Retrieved 28 June The Asian Awards. Retrieved 28 October In: Leo Suryadinata ed. Ken E. Hall: Michelle Yeoh. While still in school, Sado obtained a position in the Kansai Nikikai, a Japanese school of opera, where he had the opportunity to work with the New Japan Philharmonic and the Kyoto Symphony Orchestra, learning operatic repertoire. He returned to Japan as an assistant to Ozawa and made his debut with the New Japan Philharmonic in Tokyo with a Haydn symphony series. Sado also is chief conductor of the Siena Wind Orchestra in Japan.
He recorded with the Orchestre Lamoureux for such labels as Erato. He conducted 10, people, previously in and another time too the date is unknown. The New York Times. Retrieved 29 March Retrieved 1 October November Retrieved 28 November Der Standard. Through these movements, many different kinds of enjoyment can be produced. Tan Siah Kwee was born in Guangdong, China, on 6 Oct , and moved to Singapore in the s, where he began developing an interest in Chinese calligraphy. As founder of the Chinese Calligraphy Society of Singapore, he has been one of the key promoters of the art form over the past four decades. He has worked tirelessly and taught many, spreading interest in the genre across the island.
Tan is also well known for his public calligraphy demonstrations and workshops, and counts important Singapore politicians among his students. Weekly lessons involved calligraphy exercises, and he soon found an interest in the art form. Later, he would regard Pan Shou as the person who influenced his calligraphy the most. Tan credits the art form with teaching him patience and instilling in him an ethos of hard work. His years of determined practice and study has resulted in a calligraphic style that is marked by a bold engagement with paper, clearly defined characters, considered composition and bravura brushwork. His perseverance towards the cause of promoting Chinese calligraphy saw the society through its difficult times when membership dropped to only 12 members.
Today, the Chinese Calligraphic Society has over members, Tan serving as its president. Over his illustrious career, he also gave several hundred public and private calligraphic demonstrations, and participated in numerous Singaporean diplomatic missions as a cultural ambassador and performing calligrapher. Tan has taught calligraphy at his own society and also at the National University of Singapore, the National Institute of Education and the Nanyang Academy of Fine Arts, among other tertiary institutions. Besides students of all ages and races, he also counts former president of Singapore, S.
Nathan, among his list of distinguished politician-students. Inspired by one of his calligraphy teachers who would give calligraphic prints to his students for reference and practice, Tan continues to provide quality calligraphic materials and equipment for free to his dedicated students. Today, Tan continues to practise calligraphy, teach—often for free—and contribute his expertise on the subject as advisor and consultant to arts institutions in Singapore, Hong Kong, Malaysia and China. The Duke of Soria is a retired medical doctor and was, as his father, a specialist in the respiratory and circulatory system. He studied at the medical faculty of the University of Seville, where he obtained a licentiate in medicine with accompanying award "Premio Extraordinario de Licenciatura" for extraordinary merit in In , the duke gained the position of teacher service manager of the Spanish National College of the Thorax Illness.
Anthony's Church. They have two children:. Madrid, 16 September She has a son, Carlos, born on 28 April in Madrid. The Foundation cooperates with universities and Spanish cultural institutions to contribute the cultural and scientific development in Spain. He also is a member of the Spanish Royal Academy of Medicine. This British surname is barrelled, being made up of multiple names. It should be written as Rhys Jones, not Jones.
He starred in a number of television series with his comedy partner, Mel Smith. With Smith, he founded television production company Talkback Productions, now part of RTL Group and later in , he started the production company Modern Television. He went on to develop a career as a television presenter and writer, as well as continuing with acting work. From until , he presented the television bloopers show It'll be Alright on the Night for ITV, having replaced Denis Norden who hosted the show for almost 30 years. Rhys Jones was himself replaced on the show in by David Walliams. The family moved because of his father's occupation to West Sussex when he was 6 months old. In his autobiography, Semi-Detached, he describes how he was charged with helping to look after Canadian schoolgirls, followed by a similar number of younger Scottish schoolchildren, and refers to the experience as being like "St Trinians at sea".
An evening planned to spend watching his hero Frankie Howerd at the invitation of friends Clive Anderson and Rory McGrath, who were writing the show at the time, resulted in Rhys Jones replacing the show's producer, who had suffered from a stress-related illness from dealing with the comedian. Rhys Jones filled in several minor roles in the first series of Not the Nine O'Clock News, and was brought in as a regular cast member from the second series onwards, replacing Chris Langham. Rhys Jones says that the reason he got the part was not due to his appearance in the initial shows, or his talent, but because producer John Lloyd was going out with his sister at the time. Rhys Jones became a regular from the commissioned second series.
He also played Toad in The Wind in the Willows at the National Theatre in , as well as a number of other theatre roles. He provided the voices on the series of short cartoons Funnybones, for which he also sang the theme tune. The first programme starring Rhys Jones aired in In January , Rhys Jones returned to sketch comedy at the BBC alongside "some of the biggest names in TV", including Hugh Bonneville, Tom Hollander and Larry Lamb, for one of a three episode series in which comedy legends take to the stage for a mix of stand-up and sketches. It also featured a special guest appearance by former comedy partner Mel Smith in a new Head to Head sketch, referring many times to it having been 16 years since their last.
Smith and Rhys Jones were reunited in March , for a Comic Relief sketch, which led to a revival of their previous television series in The Smith and Jones Sketchbook, recorded that same year but aired over twelve months later. When Smith died in the summer of , Rhys Jones wrote a moving piece about his comedy partner in the Radio Times, saying it was "sheer bliss" to perform with Mel. In , Rhys Jones created his own production company 'Modern Television', which has since made a number of productions with Rhys Jones as presenter and executive producer.
Rhys Jones has developed a career as a television presenter, beginning as the co-host on several Comic Relief programmes. He presented Bookworm from to , was the presenter of the BBC's Restoration programme and has done a considerable amount of fundraising work for the Hackney Empire theatre conservation project. In , he led a demonstration at the Senate House in Cambridge University for the purpose of saving architecture as a degree in Cambridge.
In more recent adventures, the three took to the Irish Canals and Rivers on a trip from Dublin to Limerick Dara's Greyhound Snip Nua also tagged along for the trip , went to Scotland, and sailed along the Balkan coast ending up in Venice for a gondola race. Rhys Jones fronted Greatest Cities of the World, which saw him visiting a different city each week. In , he presented the series Hidden Treasures of Art, which examined the art of Australia, India and Africa over the course of three episodes.
The show looked at lesser known routes around Great Britain. He starred as Fagin in Cameron Mackintosh's acclaimed production of Oliver! Rhys Jones has written or co-written many of the programmes he has appeared in, and a number of spin-off books. In , he started writing a book called To the Baltic with Bob, describing his adventures on the high seas with his sailing friend Bob, as they make their way to Saint Petersburg, port by port.
Rhys Jones released the book in , saying of the experience: "As a child you go out and play and you lose all track of time and space. It's harder and harder to attain that blissful state of absorption as you get older. I did a six-month sailing trip to St Petersburg with some mates just to get it back. His early life has been captured in his autobiography, Semi-Detached, published in by Penguin Books. During to , Rhys Jones featured in television adverts for the Vauxhall range of cars, as a "boffin". The riverway is so beautiful and unspoilt, especially with the wildlife and water-lilies and bullrushes, it is just terrific. It is a great example of why rivers should be open to people I salute the River Stour Trust for opening the locks In June , it was announced that Rhys Jones was to become the President of Civic Voice, the nationwide charity that campaigns for better places in the built and green environment.
He has described their first meeting by saying "The day we met, I was semi naked and she was throwing water over me. Around , he bought a foot 17 m wooden yacht, Argyll, which he races at various regattas, including the Fastnet Race. A former heavy drinker, Rhys Jones is a teetotaller: "I don't drink so going to a party can become very tedious. By about 11 o'clock, everybody goes to another planet and you're not there with them, so I tend to avoid that sort of thing.
In , he presented two programmes called Losing It which were shown on BBC Two, in which he discussed his own problems with anger management. An active conservationist, Rhys Jones is the president of Civic Voice, the national organisation representing Britain's civic societies. He also owns a small pack of alpacas. In August , Rhys Jones was one of public figures who were signatories to a letter to The Guardian expressing their hope that Scotland would vote to remain part of the United Kingdom in September's referendum on that issue. He was awarded honorary degrees by the University of Glamorgan, the University of Essex and an honorary D. Litt from Anglia Ruskin University. In the episode, he detailed early memories and stories of his grandparents' fruit and vegetable shop on the high street and his mother's childhood concert performances at Trerhondda Chapel.
Grouted roof, a building technique that Jones employed when restoring Trehilyn farmhouse, causing controversy in the process. Modern Television. Archived from the original on 18 November Digital Spy, 15 August Retrieved 18 July Archived from the original on 25 January Retrieved 3 March South Wales Echo. Retrieved 21 June Archived from the original on 13 November Mountain: Exploring Britain's High Places 1st ed. Michael Joseph Ltd. ISBN Archived from the original on 3 December Retrieved 26 April Archived from the original on 6 October Retrieved 9 May Archived from the original on 19 February The Daily Telegraph. Marketing Week. Retrieved 30 March Archived from the original on 15 January BBC Media Centre. BBC Entertainment. Classic Yacht Argyll.
Archived from the original on 5 May Retrieved 5 May BBC Gardeners' World. Episode Retrieved 16 October Celebrity Griff Rhys Jones invites youngster to his Suffolk home". East Anglian Daily Times. Retrieved 22 March The Guardian. Retrieved 26 August Archived from the original on 17 December Archived from the original on 28 March University of Cambridge. Archived from the original on 11 June Retrieved 8 June Roseann O'Donnell born March 21,  is an American comedian, producer, actress, author, and television personality. She began her comedy career as a teenager and received her breakthrough on the television series Star Search in After a series of television and film roles that introduced her to a larger national audience, O'Donnell hosted her own syndicated daytime talk show, The Rosie O'Donnell Show, between and , which won several Daytime Emmy Awards.
During this period, she developed the nickname "Queen of Nice", as well as a reputation for philanthropy. From to , O'Donnell endured a controversial run as the moderator on the daytime talk show The View, which included a public feud with Donald Trump and on-air disputes regarding the Bush administration's policies with the Iraq War. O'Donnell returned to The View in , leaving after a brief five-month run due to personal issues. In addition to comedy, film, and television, O'Donnell has also been a magazine editor, celebrity blogger, and author of several memoirs, including Find Me and Celebrity Detox She has also been an outspoken advocate for lesbian rights and gay adoption issues.
O'Donnell is a foster and adoptive mother. She was named The Advocate's Person of the Year; in May , she became a regular contributor to the magazine. O'Donnell toured as a stand-up comedian in clubs from to It is near the southeastern corner of the island of Ireland, close to Rosslare Europort. It has a population of 19, 20, with environs according to the census. Wexford lies on the south side of Wexford Harbour, the estuary of the River Slaney. According to a local legend, the town got its Irish name, Loch Garman, from a young man named Garman Garbh who was drowned on the mudflats at the mouth of the River Slaney by flood waters released by an enchantress.
The resulting loch or lough was thus named Loch Garman. The town was founded by the Vikings in about AD. For about three hundred years it was a Viking town, a city state, largely independent and owing only token dues to the Irish kings of Leinster. The Norse inhabitants resisted fiercely, until the Bishop of Ferns persuaded them to accept a settlement with Dermot.
Wexford was an Old English settlement in the Middle Ages. An old dialect of English, known as Yola, was spoken uniquely in Wexford up until the 19th century. County Wexford produced strong support for Confederate Ireland during the s. A fleet of Confederate privateers was based in Wexford town, consisting of sailors from Flanders and Spain as well as local men. Their vessels raided English Parliamentarian shipping, giving some of the proceeds to the Confederate government in Kilkenny. As a result, the town was sacked by the English Parliamentarians during the Cromwellian conquest of Ireland in Many of its inhabitants were killed and much of the town was burned. County Wexford was the centre of the rebellion against British rule. Wexford town was held by the rebels throughout the fighting and was the scene of a notorious massacre of local loyalists by the United Irishmen, who executed them with pikes on Wexford bridge.
John F. The inscription reads: "My heart is with the city of Wexford. Nothing can extinguish that love but the cold soil of the grave. He is interred in the Redmond family vault, St. John's Cemetery, Upper St. John's Street. Redmond Park was formally opened in as a memorial to Willie Redmond, younger brother of John Redmond. Wexford's success as a seaport declined in the 20th century because of the constantly changing sands of Wexford Harbour.
By it had become unprofitable to keep dredging a channel from the harbour mouth to the quays in order to accommodate the larger ships of the era, so the port closed. The port had been extremely important to the local economy, with coal being a major import and agricultural machinery and grain being exported. The port is now used exclusively by mussel dredgers and pleasure craft. The woodenworks which fronted the quays and which were synonymous with Wexford were removed in the s as part of an ambitious plan to claim the quay as an amenity for the town as well as retaining it as a commercially viable waterfront.
Despite the bankruptcy of the contractor, the project was a success. In the early 20th century, a new port was built, about 20 kilometres 12 mi south, at Rosslare Harbour, now known as Rosslare Europort. This is a deepwater harbour unaffected by tides and currents. All major shipping now uses this port and Wexford Port is used only by fishing boats and leisure vessels. Wexford's Theatre Royal opera house was recently replaced by the Wexford Opera House and it hosts the internationally recognised Opera Festival every October.
Dr Tom Walsh started the festival in , and it has since grown into the internationally recognised festival it is today. The Wexford Arts Centre hosts exhibitions, theatre, music and dance events. Various concerts are held in St. Iberius's Church Church of Ireland. Until the mid-nineteenth century the Yola language could be heard in Wexford, and a few words still remain in use. The food of Wexford is also distinct from the rest of Ireland, due to the local cultivation of seafood, smoked cod being a token dish in the region. The National Lottery Skyfest was held in Wexford in March , providing a formidable fireworks display and a pyrotechnic waterfall on the towns main bridge spanning m.
Wexford has witnessed some major developments such as the Key West centre on the Quays, the redevelopment of the quayfront itself, White's Hotel and the huge new residential development of Clonard village. Proposed developments include the development of a large new residential quarter at Carcur, a new river crossing at that point, the new town library, the refurbishment of Selskar Abbey and the controversial redevelopment of the former site of Wexford Electronix. Notable churches within the town include St. A former Quaker meeting hall is now a band room in High Street. These churches can be seen from any part of Wexford and in celebrated their th anniversary.
This was a huge event for the churches. Joe Kinsella is the caretaker of Rowe St. Coca-Cola operates a research plant employing up to Eishtec operates a callcenter for British mobile operator EE employing Jack n Jones,Pamela Scott and A-wear other retailers operate in the town. In May an official web portal for Wexford was launched which encompassed local government, Wexford Tourism, and the Wexford Means Business website, aimed at promoting the value proposition of Wexford as a business destination.
The Irish National Heritage Park at Ferrycarrig includes various exhibits spanning years of Irish History, allowing the visitor to wander around re-creations of historic Irish dwelling including crannogs, Viking houses and Norman forts. The Wexford Wildfowl Reserve is a Ramsar site based on mudflats, known locally as slobland , just outside Wexford.
This causes the events in the story to unfold. But nevertheless her actions influence the movie and she chooses to carry them out leading Scotties to. I thought she was beautiful, furious, strong, and smart. She was captivated and use her good look in seductive scenes to go undercover exploring her mission and capturing bad guys. The Angels have special skills; for instance, they can fight, jump of cars, and even mentally manipulated men with their.
She did it quick and as painless as she could, yet the mark still remains to taunt her. While it could be argued that she made the right choice, the child would obviously take on a very biased perspective. Beloved desires a very different type of revenge, she thrives to make her mother and younger sister Denver suffer in a prolonged similar way to her. Throughout a majority of the novel, Morrison makes it clear how revenge is a dish best served by oneself. With the tone she ridicules the antics of Beloved, it is easy to unveil her bias to the plot.
In the course of the play Haemon presents himself as a defender of Antigone 's actions and sense of morality which involves her determination to bury her deceased brother, Polyneices who has been sentenced as a traitor by Creon. The death of his family ultimately lead to Creon 's insanity at the play 's climax. Sophocles wanted to show, regardless of whether you believe in the archaic gods, monotheism, or even if you believe that the rules laid down by the king of the city should be the only rules your actions in this life will always have consequences.
In Trifles by Susan Glaspell, Mr. Wright 's murder never gets solved. That is because Mrs. Hale and Mrs. Peters unite against the county attorney, Mr.