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I’m an actor as well as a writer. I’ve spent more hours than can be counted dissecting stories and characters in order to better understand and transmit them to an audience. While standing on a stage, an actor is never unaware that they are performing for others. We may lose ourselves in a moment, in a character, in emotion, but the applause and the gasps, and the laughter always bring us back. As a writer, I spend a lot of time tapping into that feeling of ignoring-while-being-totally-aware of the fourth wall. I love books that wink at readers the way actors can at audiences.
I wrote my undergrad thesis on the migration of visual tropes from traditional Japanese theatre (Noh, Bunraku, and Kabuki) into modern art forms (Manga, Anime, Supakabuki/Anime Musicals), which was a rigorous exercise because I couldn’t just compare the tropes—I had to spend hours explaining them to my advisor. It was a fascinating (sometimes exasperating) lesson in learning to read one visual vocabulary, only to have to explain it to someone else in terms that they understood using another.
This blurred-xerox-translation-of-a-translation exercise is the central theme of Mangaman, where a Shojou-esque protagonist falls from a fantastical manga world into a comic. Visual conventions clash, where he walks the wrong way across panels, and where his speed lines accidentally stab people in the school hallway.
East meets West in this innovative and very smart graphic novel by Barry Lyga, illustrated by Colleen Doran.Sci-fi adventure meets love story—and East meets West—in Mangaman, an original graphic novel for teens. Ryoko, a manga character from a manga world, falls through the Rip into the “real” world—the western world—and tries to survive as the ultimate outsider at a typical American high school. When Ryoko falls in love with Marissa Montaigne, the most beautiful girl in the school, his eyes turn to hearts and comic tension tightens as his way of being drawn and expressing himself clashes with this different…
As a kid, I was consistently described as one who had her head in the clouds. I was far away imagining all sorts of fantastical things; dragons soaring in the sky, a witch blasting a fireball in the grocery store, a werewolf coming to eat the gym teacher, the coffee barista is actually a vampire, etc. There is something alluring about supernatural beings existing in our often mundane world; whether they are being subjected to the same life we are or are wreaking havoc for any reason.
Who hasn’t imagined the books they read coming to life in their living room or being able to dive into the fictional world? A father and daughter have a magical ability to do just that.
Unfortunately, the villain of one story was released and this sets them off on an adventure typically only available in books.
Meggie and Mo are an endearing father/daughter team while they navigate the consequences and reaches of their magic.
The first book in Cornelia Funke's internationally celebrated trilogy - magical, thrilling and mesmerising.
'I don't think I've ever read anything that conveys so well the joys, terrors and pitfalls of reading' Diana Wynne Jones
Meggie loves books. So does her father, Mo, a bookbinder, although he has never read aloud to her since her mother mysteriously disappeared. They live quietly until the night a stranger knocks at their door. He has come with a warning that forces Mo to reveal an extraordinary secret - a storytelling secret that will change their lives for ever.
I’m an actor as well as a writer. I’ve spent more hours than can be counted dissecting stories and characters in order to better understand and transmit them to an audience. While standing on a stage, an actor is never unaware that they are performing for others. We may lose ourselves in a moment, in a character, in emotion, but the applause and the gasps, and the laughter always bring us back. As a writer, I spend a lot of time tapping into that feeling of ignoring-while-being-totally-aware of the fourth wall. I love books that wink at readers the way actors can at audiences.
A gentler, kinder version of Inkheart and The Untold Tale, this novel is still thrilling. I love the idea of consuming a book as literally as we do figuratively. In this one, our protagonist absentmindedly eats a page out of his favourite bedtime story and wakes up inside it. He has to hop from story to story to get home, crossing through his sister’s horse books and many an adventure before making it safe to his own bed. I think it’s totally charming.
Norman Jespers-Vilnius is just an average eleven-year-old kid–until he absentmindedly nibbles on the edge of a page and wakes up inside his favourite book, the Undergrowth Series. Norman finds himself smack in the middle of an epic battle of animal kingdoms, where he forms a close friendship with young Malcolm, a future king. After joining Malcolm’s fight he winds up back in his own bed, dirty and in torn pyjamas. But his adventures have only just started. It soon becomes clear that Norman has been caught by a mystifying force called “Bookweird”– Norman finds himself inside books his family is…
I’m an actor as well as a writer. I’ve spent more hours than can be counted dissecting stories and characters in order to better understand and transmit them to an audience. While standing on a stage, an actor is never unaware that they are performing for others. We may lose ourselves in a moment, in a character, in emotion, but the applause and the gasps, and the laughter always bring us back. As a writer, I spend a lot of time tapping into that feeling of ignoring-while-being-totally-aware of the fourth wall. I love books that wink at readers the way actors can at audiences.
Though not a book, the film starring Will Ferrell and Emma Thompson borrowed heavily from "Niebla" by Miguel de Unamuno, a Spanish novel about a character who becomes aware he is being narrated by a writer and goes to visit the writer. This film lives rent-free in my heart because the style of self-awareness that Ferrell’s character experiences in this film is close to the way I conceived of the meta-awareness of the characters Forsyth and Kintyre in The Untold Tale. I love the idea of someone learning they are being puppeteered and breaking free of the expected, the prescribed, and the narrative laid out for them. Maybe that’s why I like the film The Truman Show so much, too.
In this strange and delightful tale, an IRS agent namedHarold Crick suddenly finds himself the subject of a narrationonly he can hear—narration that soon affects everythingfrom his work to his love life to his death. Starring WillFerrell, Maggie Gyllenhaal, Dustin Hoffman, Queen Latifah,and Emma Thompson, Stranger Than Fiction is a heartfelt film,perhaps a comedy, perhaps a tragedy, about love and literatureand death and taxes.
To be honest, and this will sound strange, but suspense is the air I breathe. I’m a pretty calm, boring human being, and the only thing that gets my heart pumping are films, TV, books, and video games in this genre. Suspense and thrillers are genres that make up ninety percent of the entertainment that I consume, and one hundred percent of the entertainment that I write.
What can I say about Annihilation? It’s a novel where the reader isn’t quite sure what is going on, nor can any two readers agree on what they just read and that’s the amazing part about it.
Hypnosis, genetic deviation, and something utterly alien make this such an intense read. And that suspense is heightened because there is a level of mystery and weirdness in Jeff VanderMeer’s world, where things aren’t quite grounded in the reality that we are used to.
THE FIRST VOLUME OF THE EXTRAORDINARY SOUTHERN REACH TRILOGY - NOW A MAJOR MOTION PICTURE WRITTEN AND DIRECTED BY ALEX GARLAND (EX MACHINA) AND STARRING NATALIE PORTMAN AND OSCAR ISAAC
For thirty years, Area X has remained mysterious and remote behind its intangible border - an environmental disaster zone, though to all appearances an abundant wilderness.
The Southern Reach, a secretive government agency, has sent eleven expeditions to investigate Area X. One has ended in mass suicide, another in a hail of gunfire, the eleventh in a fatal cancer epidemic.
I've been a student of horror since my mother first sat me down in front of the TV to watch the old monster movies with her. It's a genre for the outsiders, the underdogs, which I've certainly felt at several points throughout my life. Good horror is both an escape and a vessel to affect change in the world. Many people in my life believe horror is just boobs and blood, so I feel like it's my job to educate them. This is why I started hosting my horror movie nights, which later developed into my first cookbook. Horror is a major part of my life and I hope it gets the appreciation it deserves.
It is a beautifully gruesome story about love, desire, and greed. Though I found it to be absolutely frightening, I also found it strangely comforting.
As a young gay man in the early 00s, as the AIDS epidemic was slowing down a bit, Barker's depiction of sexuality and openness was quite refreshing. I can only imagine what it must have been like reading this story for the first time as a gay man in the 1980s.
The classic tale of supernatural obsession from the critically acclaimed master of darkness—and the inspiration for the cult classic film Hellraiser
From his scores of short stories, bestselling novels, and major motion pictures, no one comes close to the vivid imagination and unique terrors provided by Clive Barker. The Hellbound Heart is one of Barker’s best—a nerve-shattering novella about the human heart and all the great terrors and ecstasies within its endless domain. It is about greed and love, desire and death, life and captivity, bells and blood. It is one of the most frightening stories you are likely to…
Mortality, desire, memory, and time are my favourite themes, not just in my writing but in my life. I also love anything—music, art, literature—that is evocative, bizarre, and surreal. As a meditator, lover, and writer of poetry and poetic prose, I love books that expand our minds and hearts in ways that conventional acts of writing and creative expressions fail to do.
Goytisolo’s narrative is about a fictitious poet. It is also about the truth about storytelling and the fundamental nature of truth. Different perspectives also conjure up a culture of “hysteria and persecution” surrounding the poet. Can we truly ever know anyone? The book is a perfect metaphor and parable for what happens when we mistake lies for undeniable facts.
Over three weeks twenty-eight story-tellers - one for each letter in the Arabic alphabet - meet in a Marrakesh garden to tell the story of a poet, Eusebio, arrested in Melilla in the early days of the Spanish Civil War. Eusebio, a friend of Garcia Lorca and his Circle, escapes assassination and his life then escapes the control of a single destiny. Some tales embroider his shadowy life with stories from Djemaa-el-Fna - the pasha's cook, the slave-market, Aysha and the stork... Does Eusebio betray his Fascist friends by confessing in a show-trial that they indulged in orgies with the…
Mortality, desire, memory, and time are my favourite themes, not just in my writing but in my life. I also love anything—music, art, literature—that is evocative, bizarre, and surreal. As a meditator, lover, and writer of poetry and poetic prose, I love books that expand our minds and hearts in ways that conventional acts of writing and creative expressions fail to do.
Set in India, the central story traces the transformation of 80-year-old Ma, who is depressed after the death of her husband. Suddenly she decides to travel to Pakistan, confronting past traumas connected to the Partition riots. She is accompanied by Rosie, a hijra who is her best and wisest friend. The book is not just about its protagonists, but full of divertissements that tackle the meaning of relationships, memory, and time. There are also talking crows and a sequence of “performance art” when writers of the Partition take the page-as-stage.
A playful, feminist, and utterly original epic set in contemporary northern India, about a family and the inimitable octogenarian matriarch at its heart.
“A tale tells itself. It can be complete, but also incomplete, the way all tales are. This particular tale has a border and women who come and go as they please. Once you’ve got women and a border, a story can write itself . . .”
Eighty-year-old Ma slips into a deep depression after the death of her husband. Despite her family’s cajoling, she refuses to leave her bed. Her…
As a poet and a novelist, I'm fascinated by the places where these two genres meet, undo each other, and create something new again. That sounds a lot like what love can do, and whenever I read a long poem that achieves a unique aesthetic unity, I feel the writer has found a new way to love the world, to love the reader. And, as usual, both the world and the reader are challenged by that love—to grow.
Poets have many tools at their disposal in their attempt to bring aesthetic unity to a long poem, and C. D. Wright is innovative in her use of imagery and cinematic grammar to do exactly that.
This is a book to be studied for its remarkable ability to convey, in what Auden called “memorable speech,” the beautiful doom of the common heart.
Rebellious and fiercely lyrical, the poems of C.D. Wright incorporate elements of disjunction and odd juxtaposition in their exploration of unfolding context. "In my book," she writes, "poetry is a necessity of life. It is a function of poetry to locate those zones inside us that would be free, and declare them so."
C.D. Wright was born and raised in the Ozark Mountains of Arkansas. She has received numerous awards for her work, including grants from the National Endowment for the Arts, the Guggenheim Foundation, the American Academy and Institute for Arts and Letters, and the Lila Wallace-Reader's Digest Foundation.…
As a poet and a novelist, I'm fascinated by the places where these two genres meet, undo each other, and create something new again. That sounds a lot like what love can do, and whenever I read a long poem that achieves a unique aesthetic unity, I feel the writer has found a new way to love the world, to love the reader. And, as usual, both the world and the reader are challenged by that love—to grow.
I studied this book with my graduate students a few years ago, and it’s truly a remarkable achievement. If there’s a (somewhat artificial) spectrum of book-length poems ranging from fragmented lyricism to linear narration, Dawes’ Prophets is fascinating because it lives somewhere in the middle: a powerful narrative informs the lyrical intensity throughout.
I highly recommend this book to writers who want to expand their ideas of what can be done with narration.
Set in Jamaica in the late 1980s and 1990s, Prophets is a poem of rhythmic and metaphoric inventiveness that portrays the social and cultural resonances of Jamaican society along with the tension between an ebullient cynicism and a heartfelt desire for faith. As 24-hour television, belching out the voices of American hellfire preachers, competes with dancehall, slackness, and ganja for Jamaican minds, Clarice and Thalbot preach their own conflicting visions. Clarice has used her gifts to raise herself from the urban Jamaican ghetto. She basks in the adulation of her followers as they look to her for their personal salvation.…
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