Author of the article: Airdrie Public Library - Library Links
Publishing date: Feb 16, 2021 • February 16, 2021 • 1 minute read •
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Some people get through winter by reading an epic science fiction or fantasy series, while others hold onto their faculties by engaging in engrossing murder mysteries, steamy romances, or tell-all biographies.
Whichever route you take to get through these days on our way to the first hints of Spring (yay!), we here at Airdrie Public Library (APL) are eager to offer a helping hand.
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Wednesday, Feb. 17 was I Read Canadian Day.
Library links - The freedom to read Canadian highrivertimes.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from highrivertimes.com Daily Mail and Mail on Sunday newspapers.
The title of this post is my considered response to Arthur C. Clarke’s
Childhood’s End. It was my response when I first read it at twelve, and it’s still my response reading it today.
Childhood’s End was published in 1953. It’s a truly classic science fiction novel, and a deeply influential one, and one of the books that makes Clarke’s reputation. It’s also a very
very strange book. It does as much as any half dozen normal books, and all in 218 pages, and it does it by setting up expectations and completely overturning them, repeatedly.
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INTRODUCING BUTLER TO NEW READERS. Elizabeth Connor describes the work of “repackaging the Patternist Series for the Mother of Afrofuturism” in “How to Give Octavia Butler the Covers She Deserves” at
Literary Hub.
…After some back and forth and plenty of discussion with the editor acting as mediator we determined that by elegant, they likely meant more stylized human forms in more sophisticated poses, as well as a textural or brushy quality to the art (as there had been on the Parable books), that lent an air of being hand-drawn rather than machine-made. As for dynamic, we soon understood that the symmetry of the earliest comps was what the agent and estate were reacting against. By simply breaking the vertical axis and giving each cover a certain degree of asymmetry even as the figures revolved around a central “moon” shape that remained static they felt much more alive. The designer came back with revisions and, in relatively quick succession,