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by Stephenie Meyer
Jimmy, I hear you plead, you’re the bard of the beachfront, the Wordsworth of the waves. You once released an album called License to Chill; you write songs about delicious cheeseburgers. Why kick things off with a harrowing, full-bore descent into the savage, blood-spattered heart of our long-dead modern dream?
Everyone has had a close relationship that works better as a friendship than as a romance, and at some half-drunken moment of intimacy, everyone has wondered why. “New Year’s” seems a story poised to answer this very human question, and then, for some reason, it simply doesn’t.
How do you teach writing to students who watch movies and television instead of reading?
You see, Reader, I still don't plan on self-publishing my first novel, though I don't deny the positive aspects of that choice.
The Real World may be the most important show of a generation. Its first two seasons contain the seeds of all reality television, as well some elements that would find their way into today's most successful scripted programming.
Tender Morsels argues for language and its salvific possibilities, and explores the relationship between trauma and the imagination, between sex and fantasy. It is the best kind of book: a book that makes you want to write, but pins you to your chair and demands that first you finish it.
Matt and Kim's "5K" video speaks much more intelligently of our culture's resurgent love of vampires than does the idiotic and thieving Twilight series.
Sometimes I read a novel that drags and before long I have spurned books in favor of internet television, Calvin and Hobbes, and puerile blogs.