May 2022

Book creator

Hunter x Hunter’s Return Could Be Bigger Than Expected

Hunter X Hunter conquered the Internet thanks to its creator resurfaced, and the buzz is only growing day by day. Yoshihiro Togashi took everyone by surprise this month when they launched a social media debut and confirmed that their manga was back in production. Moreover, it seems that its last update has extended the duration of Hunter X Hunteris back.

The update was shared with fans just recently on Twitter as usual. Togashi posted a photo of his new profile after revealing that work on Chapter Ten of the manga’s return is underway. As far as fans know, the artist only inked ten chapters for the manga before he returned to Shounen jumpbut that account has changed given her most recent photo.

As you can see above, Togashi is currently working on Chapter 12. The artist posted a photo of his manga drafts as usual, and this batch is tagged with a 12. Obviously, the update day caught Hunter X Hunter surprise fans as they didn’t expect Togashi to release more than ten chapters with this comeback. But as long as the artist is in, so are the fans.

READ MORE: Hunter x Hunter Creator shares major update on manga return after hiatus | Hunter x Hunter: what we know about the return of the series

If you haven’t followed Hunter X Hunter this month, you should know that Togashi rocked the anime fandom a week ago when a Twitter page popped up claiming to be theirs. The profile began posting numbered drafts of new Hunter x Hunter chapters, and once reports confirmed that Togashi was running the account, pandemonium erupted. Now fans are just sharing their support for Togashi online as he returns to Hunter X Hunter after four years of absence. And I hope the manga will be printed again for fans around the world to read soon.

How excited are you for Hunter X Hunter to return? What do you want to see back…? Share your thoughts with us in the comments section below or hit me up on Twitter @MeganPetersCB.

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Reading and writing

The features are fascinating to read and it’s also a logical extension for ThePrint

JToday, let’s talk about features.

No, not the ones on your face, but the ones in the media that now feature (pardon the pun) more prominently at ThePrint.

There’s a reason why “features” in journalism refer to a particular type of writing, otherwise known as “the long form.” In good feature articles, authors use their sensory perceptions to tell you a story. So you see problems in 3D perspective (honestly), you hear many differing opinions, you smell contradictions, lies, even truth, smell a rat if there is one, and sometimes even taste mangoes of the screen—although, as this story tells you, there is something “rotten” about this year’s harvest.

In feature films, the goal is to tell stories, the stories of our lives; the trick is to tell them well. At ThePrint, we are increasingly interested in telling such stories.

What kind of stories? Let me give you a random sample of features ThePrint has done over the past few months. First, there is a battle raging between Hindus and Muslims in Jammu and Kashmir over the Kashmiri language written in Devanagari instead of Nastaliq.

In Sri Lanka, the rich waste their time and money, but the poor who gamble daily have nothing to give their children.

As “black magic” casts its spell on Indians, villagers in Jewar, Uttar Pradesh, where the next major international airport looms, have been sidelined with broken promises. Young men aspiring to join the army across Rajasthan and Haryana are ‘running for their lives – and out of time’, in a last-ditch effort to join the forces and young Hindu men of Jahangirpuri in Delhi, torn by community riots, take inspiration from social media on ‘how to save Hindus’. If there was a fascinating excavation of the past, 4,200 years ago, to be more precise, in Tamil Nadu, there is a disappointing “shrinkage” in present-day India, because your package favorite cookie just got smaller.

These long articles, usually between 1,500 and 2,000 words, appear on ThePrint throughout the week. Not all top-notch writing or storytelling, but still interesting.

Why should they be written? Like I said, they’re interesting – hatke – hopefully well-researched and well-written, and because news stories don’t have time. News stories are in a rush to tell you “what” is going on, news stories can’t stop explaining how the news is unfolding on the ground, what each of the above is trying to do.

Also, mainly due to TV and social media, news has been reduced to a binary of ‘pros’ and ‘cons’ there is no room for nuance, no ifs and buts – either you believe there is a mandir buried inside Gyanvapi, or you insist that it is a masjid. But if we dig deeper, we understand why both sides can be right and wrong.

That’s what good news stories do: they uncover what is often embedded in the news.

Read also : The way we work – What ThePrint did in 2021 and why good journalism pays off

India was once obsessed with features

Feature articles are not a new idea – in the 20th century (sounds old!) newsmagazines were all the rage in India, especially between the 1970s and 1990s, the glory days.

There was India Today, Bombay, Sunday, Imprint, Debonair, Gentleman, to name a few, and Sunday newspaper supplements. In addition, two Sunday newspapers, Sunday Observer and Sunday Mail, devoted space to political and lifestyle articles.

Unfortunately, the growth and spread of mass media and 24×7 cable TV killed the appetite for long writing – and when the internet and social media took over our lives in the middle of this century , a 500-word report was considered long by editors and readers.

Ironically, the internet, which had spurred the rise of instant news, also breathed new life into feature writing by providing unlimited space – now you can type until your fingernails fall out.

And the advantage is that you can write different types of articles on any subject from A to Z: news articles, articles on lifestyle, articles on culture, sports, trends social, science (“Pure Science” at ThePrint is basically an article), and even esoteric topics like ergonomics or, say, hippotherapy.

Read also : We asked our readers why they love ThePrint. That’s what they told us

ThePrint pays attention to detail

Okay, but why is ThePrint, a niche news portal that focuses on news and “analysis, opinion on politics, politics, governance, economics, education, defense and culture”, care about features? The simple answer is two-fold, because readers want to understand the contested times we live in and because ThePrint is on a mission to explain the news.

It doesn’t always tell you “what” is going on, but it will try to spell out the “how”, the “why” and the “next step”. At a time when the past weighs so heavily over the present, I like to think that at ThePrint it’s not just about capturing instant updates, but capturing the sum of their meaning.

This means digging deeper into a topic, looking at granular details, going back in history, perhaps taking the road less traveled and discovering unique examples of how politics, politics or current affairs are playing out on the ground.

This is another reason why features are a logical step for ThePrint – it invests considerable effort in field reporting, that too across the country. So, the stories mentioned above are from different regions and even countries. From Sri Lanka in the south to Jammu and Kashmir in the north, journalists travel far and wide to see how the land is.

This is where politics is explained through individuals, where mobile addiction explains youth unemployment, and where social change manifests itself in kickboxing.

The features are the prologue and the epilogue – they are written to explain what happened before and may happen after an event has taken place. This is why ThePrint has a section called ‘PastForward’. It will allow you to see last year’s farmers’ protests from the fields of the green revolution or see burning buildings in Delhi and other cities through the smoke still rising from the cinematic tragedy of ‘Uphaar in 1997.

At its heart, good reporting forces journalists to reinvent themselves, to move from news reporting to in-depth reporting. For the first five years of my career, I was a feature writer, so I kinda know the degrees of difficulty here – writing feature films requires rigor, time and hard work, heaps of patient listening, sourcing, reading and fact-checking plus meeting people, people and more people. And oh yes, a sense of history wouldn’t be out of place.

But above all, you have to know how to write well and combine lightness of touch with depth of substance – you don’t have to be frivolous, but you don’t have to be boring either. This is the huge challenge that ThePrint continues to face.

Reporters still learn from editors to improve their writing; meanwhile, the editorial team deserves a special mention for the care and attention they lavish on these articles – their efforts have made these articles so much more readable. And we should lend a helping hand to photographers whose images often tell stories more poignantly than words.

Read also : What our ThePrint readers are saying – the good, the bad and the headlines

ThePrint’s “soft power”

There’s another category of stories for readers whose dil eats more than ThePrint’s super-specialty stuff on strategic business, politics, and the like.

This is what I call the “soft power” of ThePrint. And that comes from the decision to carry reviews of movies, TV shows and streaming channels – not only of the latest releases from Bollywood-Hollywood, but also from other parts of the country and with a star rating system .

Additionally, there are automated agency feeds from ANI and PTI, with plenty of entertainment reporting.

Don’t forget the ‘PoV’ section under Opinion where young reporters share their views, often on social media or cultural trends, or the dear old ‘Brandma’ wandering down memory lane. In addition, ThePrint features a column by respected automotive journalist, Kushan Mitra, who writes “Dashboard”, and a trained dietician, Subhasree Ray, who contributes to the nutrition column.

‘Page Turner’ offers excerpts from the most recent works of fiction and non-fiction on the market. And for sports fans, ThePrint is now playing catch-up, with more coverage of all the games Indians play.

These reports or stories usually appeal to young readers and are already gaining traction. For example, ThePrint’s review of the movie Anek was quoted on Wikipedia, which isn’t a badge of honor, but it is read.

Personally, I couldn’t be happier as I love cinema, cricket (other sports) and cars. However, a small Doubting Thomas voice inside me asks – are we diluting the essence of ThePrint? Are we spreading ourselves too thin? Are we trying to be everything for all readers rather than a targeted and specialized news portal?

Shailaja Bajpai is ThePrint’s Readers’ Editor. Please write with your opinions, complaints to [email protected]

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Writer market

Contributor: Housing crisis or housing shortage?

David Carey. Contributing photo.

Homeowners and potential buyers are not reliving the housing market crash of 2008. But there is a housing shortage that is having a butterfly effect on the property market – mortgage rates are rising daily, bidding wars are becoming the norm and many once-qualified homebuyers are left behind.

As if buying a new home didn’t come with enough stress, the shortage has raised the bar on factors like loan qualification, competition and outright availability.

But how exactly does the current housing shortage differ from the crash of 2008? The catalyst for the 2008 crash was the widespread and irresponsible deployment of flimsy loan programs and products, which enabled underqualified borrowers to obtain advanced loans. Fueled by low interest rates, easy credit and insufficient regulation, the housing bubble eventually burst and left many homeowners with mortgage payments they could not afford. These homeowners were often forced into default and homes became foreclosures, leading to the massive collapse of mortgage-backed securities markets and the economy in general.

In short, the 2008 crisis was caused by unregulated lending and irresponsible lending. There was no real control and the lender/appraiser relationship lacked valuation independence.

Today’s market volatility has a more benign root cause: people are simply not selling their homes as often as they used to, opting instead to renovate or upgrade their existing home. This trend has been exacerbated by the pandemic, which has nearly eliminated the possibility of building a custom home due to global shutdowns that have reduced the availability of building materials and caused their prices to skyrocket.

It sounds like a word problem in a math textbook: when you subtract the ability to build houses and combine it with a drastic decrease in houses available for sale, what are you left with? The answer is an alarming ratio, with buyers far outnumbering sellers.

What is the market outlook amid the housing shortage? Much like the pandemic, the housing shortage is pushing many people to make life-altering decisions, such as leaving the area for states with lower costs of living. Because the shortage has created a highly competitive seller’s market, homeowners who are ready to sell now often receive a premium price for their home.

There’s no denying that now is a fantastic time to sell, especially if your plan involves moving to states with a lower cost of living. Many residents of New York and Connecticut are selling their family homes for more than they ever imagined, trading their Northeastern roots for much cheaper but likely comparable homes in Texas or South Carolina. Those approaching retirement age are particularly well placed to take advantage of such an opportunity.

If a spontaneous move isn’t in the cards for you, you’re not alone. Maybe you are ready to sell, but not ready to retire or leave the area. In this case, downsizing to a townhouse or condo is a viable option. It’s true that homes in multi-family communities are also selling very well right now, but these properties have the potential to become income-generating in the future, should you choose to move out of the area and rent out your home.

Construction loans are also about to make a comeback, likely before the housing shortage resolves itself. The lack of housing inventory before the pandemic made building a house a fantastic option – and if you couldn’t find what you were looking for, you could build it.

Although the supply chain continues to recover and prices are still higher than before, getting a construction loan and building a house could be a great alternative as the industry continues to recover.

There’s also an important silver lining to remember when considering mortgage rates, housing shortages and rising prices: it’s all relative. When I bought my first home in the 1990s, the mortgage rate was over 9%. Compared to the 5.125% we see today, and compared to rates on other loans like student loans and auto loans, a rate of 5% suddenly doesn’t seem so stunning.

Of course, the rate at which increases are occurring is alarming, and rates will likely continue to rise throughout the coming year. But relativity is important for navigating today’s unpredictable market.

Overall, real estate is an industry in which the value of your assets almost always appreciates over time. A volatile market is always a little unnerving, but at the end of the day, the best thing potential buyers can do is find an expert to help them through the uncertainty. With an experienced lender by your side, you can take the home buying process one step at a time and ensure that you are making sound financial decisions for you and your family.

David Carey is vice president and director of residential loans at Tompkins, the financial institution headquartered in Brewster.

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Fiction publisher

The Bookseller – Commentary – Readers want translated fiction, so let’s make it easy to find

I was happy to see The bookstorefrom Translation Focus published a few weeks ago, because reading fiction in translation is a way to access the greatest literary writing available in the world. To me that’s a very attractive prospect, but the UK publishes proportionately less translated literature than most European countries and as a result readership and sales lag behind our neighbours. It’s great that the direction of the journey of these sales seems to be changing in recent years, but there’s still a long way to go. I have often wondered: is our limited readership the reason for the lack of published translations, or in fact a symptom of it?

To try to get to the bottom of this puzzle, in 2021 I conducted postgraduate research at Oxford Brookes University with the aim of identifying the challenges of publishing translated fiction in the UK . I looked at what was blocking the routes of translated titles to readers and identified ways to optimize the UK market for translated books.

Perhaps most importantly – readers being the most essential component of the book trade, yet little research has been conducted on their perceptions and attitudes – my findings have refuted assumptions that UK book buyers are not interested in translated fiction.

My research has focused on fiction translated from Spanish, but most results are applicable to fiction translated into the UK from any language. My investigations have involved reader surveys, surveys of industry professionals, analysis using metadata provided by the British Library and sales data from Nielsen BookScan, and in-depth interviews with translators , employees of UK and overseas publishers, booksellers and librarians.

One of the main conclusions was that one of the obstacles was the lack of communication between sectors and departments. This has led policy makers to act on often inaccurate assumptions about the market and other players in the translation process. This means that decisions are highly idiosyncratic and dependent on individual beliefs and experiences – less than ideal in an industry notorious for its lack of diversity. A great opportunity for development in the translation process is therefore to improve communication between departments, houses, translators, booksellers and readers.

Perhaps most importantly – readers being the most essential component of the book trade, yet little research has been conducted on their perceptions and attitudes – my findings have refuted assumptions that UK book buyers are not interested in translated fiction. I found that UK readers are not significantly less likely to read translations compared to the global average. In fact, in a public survey, 93.81% of readers said they had ever read a translated book, and only 1.03% said they would not be open to reading in translation. Additionally, when asked how their interest in reading a book would be affected if it were translated from another language, 73.2% said their interest would not be affected, 20.6% would actually be more interested in reading the book, and only 6.2%% said they would be less interested. Promising figures indeed! Narrative content and plot have proven to be more important to readers than a book’s status as a translation, but translation quality remains important, so matching a suitable translator to a book is essential.

In determining who publishes translated fiction in the UK, I found that between 2000 and 2021, a quarter of the fiction translated into Spanish in the UK was published by the Big Five publishers, while the majority (62 %) was published by independent publishers. , highlighting the important role indies play in promoting translated fiction.

Communication between independent international publishers is therefore essential; however, overseas independent publishers have reported difficulty trying to meet and connect with suitable UK publishing houses whose style aligns with their own, with opportunities to do so often limited to attending trade fairs of the book. A Valencia-based rights agent told me he thought UK publishers were more interested in selling rights than buying them. Another freelance Spanish publisher told me that he often uses guesswork to determine the type of literature UK publishers are likely to be interested in, which means their efforts to sell translation rights cannot be targeted and are more likely to be vain. Recent virtual and hybrid events have improved this situation by facilitating communication between international publishers and making it more accessible to companies with fewer resources.

For publishers with small budgets, the importance of funding cannot be overstated. Better knowledge of the funding available to support literary translation would make the prospect of translating fiction less daunting by showing how financial risks can be mitigated. The lingering consequences of Brexit and the Covid-19 pandemic will potentially limit access to EU funding and impact attendance at LBF and international book fairs, respectively. However, guest of honor positions, such as Spain’s in Frankfurt later this year, provide access to translation rights and draw international attention to foreign fiction.

In deciding how books are presented to booksellers and readers, UK publishers’ sales and marketing teams have an important task in trying to boost discoverability, particularly as marketing and advertising budgets⁠ for the most translated titles⁠—aside from a handful of stars like Jo Nesbø and Karl Ove Knausgård⁠—are not great. Until publishers are more convinced that translated fiction deserves greater marketing spend, marketers may continue to consult campaigns for translated books in their original languages ​​and territories, which provide market research free and a plan to work from.

Booksellers, of course, play a big role in the success of translated titles. RCW agent Laurence Laluyaux’s observation of the “Anglo-Saxon oddity” of treating translated books as a genre is an interesting takeaway from our Translation Focus. (In a dataset provided by the British Library, 162 translated books had their genre categorized as “Translations into English.”) This matches my research which found that the optimal place to locate translated fiction in a bookstore is among general fiction, as opposed to separate sections “Translated Fiction” or “World Literature”. Most readers expect to find translated books among genre fiction and helpfully, most retailers currently locate them there. Another opportunity is to place translated titles in prime display positions in stores alongside well-known authors (think Elena Ferrante, Haruki Murakami, Jo Nesbø, Olga Nawoja Tokarczuk and Vasily Grossman). Positioning “if you like this English-speaking author, you’ll like this international one” allows the greatest number of readers to discover it, because those who are not looking for translated fiction are more likely to come across it and give it a try.

I hope these findings will be useful in shedding light on how professionals working in the book industry approach and view translated fiction. By shedding light on readers’ under-researched opinions, this research should lead to more informed decisions about how to effectively bring translated fiction to the readers who will appreciate and benefit from it the most.

I condensed these conclusions from a 15,000 word dissertation. If anyone is interested in more information on any of my research, please feel free to email me at [email protected]

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Book creator

Instagram Creator vs Business Account – What’s the difference? Board 2022

This blog is about Instagram Creator vs Business Account – What is the difference?. We will do our best for you to understand this guide. I hope you will like this blog, Instagram Creator vs Business Account – What’s the difference?. If your answer is yes, please share after reading this.


Check Instagram Creator vs Business Account – What’s the Difference?

As Instagram becomes more complex, the different account types are more important than ever for influencers and brands looking to get the most out of their Instagram marketing strategy. While researching Instagram Creator vs Business Accounts, we found several benefits of having a business account as an influencer. But what is the difference between Instagram Business and Creator accounts? The results might surprise you! Business and Creator accounts share many similarities, but each caters to a slightly different user.

Creator accounts work well for personal brands and influencers, while business accounts are for brands and influencers who have already integrated their monetization strategy. A personal account is pretty self-explanatory, so we won’t go into too much detail here. A personal account is perfect for the average Instagram user, but it doesn’t have the bells and whistles of business or creator accounts.

Instagram business accounts are for brands and other businesses. These accounts are therefore designed with features that help businesses. With business accounts, you can add additional call-to-action buttons for visitors to book appointments, contact customer service, or even make reservations.

Instagram Creator vs Business Account: What’s the Difference?

Profile categories

Since Instagram differentiates between creators and businesses and treats them as different entities, it makes sense that the two accounts offer very different profile categories for you to tag your profile.

Creator account holders can choose titles such as Chef, Gamer, Author, or Dancer. While commercial accounts offer options such as advertising agency, resort, bakery, and shoe store. Both accounts also give you the option to hide this information if you wish.

content programming

Scheduling content through third-party scheduling tools like Hootsuite is the perfect way to stay organized, share content regularly, and another way to track your insights and analytics.

Unfortunately, the Instagram API does not currently support automatic posting of scheduled content from creator accounts via a third-party application. However, you do have access to Instagram’s Creator Studio tool, which lets you do the same things you would with a third-party app.

Contact information

Both accounts offer users the option to add their best email address and phone number so that interested employees or customers can contact you. The only difference is that business account holders have an additional option to add their location, such as: B. their home office, cafe location, or business address. Both accounts allow you to hide this information if you prefer to be contacted via DM.

call to action

The final difference is the call-to-action buttons, located on your profile below your bio and above your story highlights. These CTA buttons connect your customers to other online services you offer without leaving the app.

A business account can add CTAs for customers to order, reserve now, or reserve food. While a creator account only has the option to add the book now or reserve buttons. Again, you have the option to hide these buttons if you wish.

Final Words: Instagram Creator vs Business Account – What’s the Difference?

Hope you understand this article, Instagram Creator vs Business Account – What’s the difference?. If your answer is no, you can ask anything through the contact forum section linked to this article. And if your answer is yes, share this article with your friends and family to show your support.

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Reading and writing

Writers table notes

Is a Vineyard summer still a good time to catch up on your reading? It’s clear that the slow-dancing summers of the Kodachrome era have been replaced by the hustle and bustle of social media. The past two pandemic summers should have prompted a return to the days of literary recreation, but they felt more like flurries of masked activity. Frankly, there are so many people on the island that even the ferries can’t keep up. So what about this? Instead of attacking traffic and hyperventilating about high gas prices, let’s make a move to get back to the books!

Last summer, when I read John Hough, Jr.’s latest novel, “The Sweetest Days” (Simon & Schuster), I was bowled over by a pivotal and shocking scene from the novel which involves a pregnant high school girl. Already accepted by Bryn Mawr and considering becoming a lawyer, she makes the difficult decision to have an abortion. It was 1964 and abortion was illegal in this country. (If you think you’ve heard this story before and can imagine what happens next, trust me, you can’t.)

“The Sweetest Days” comes out this week in paperback, 49 years later Roe vs. Wade and less than a month after the famously leaked Supreme Court draft ruling reporting that a majority of justices voted to overturn deer. Not to mention a week after Oklahoma lawmakers voted to make abortion illegal during fertilization.

Hough’s book spans decades, but this section takes place when abortion was illegal, before it was legal, before the flight, before Oklahoma. I contacted Hough via email and asked him to write about a young woman who makes the decision to have an illegal abortion. He has answered, “I have tried to show, as I have always believed, that an abortion is not easy, even when the woman feels strongly that she must have it. There is doubt, even guilt. I have also tried to show that abortion on the sly, even when the provider is competent, can be very dangerous.

Hough will join us at Islanders Write for the Pitch Panel, where five writers will have the opportunity to pitch their books to industry professionals, and those of us in the audience can listen and learn.

We are thrilled to have E. Lockhart join us at Islanders Write for the first time this summer. Lockhart’s fascinating first novel, “We Were Liars” (Delacorte Press), which takes place on an island off the coast of the vineyard, was a runaway bestseller. His latest book, “Family of Liars” (also Delacorte), which is a prequel to “We Were Liars” and also takes place a short boat ride from Edgartown, has claimed the top spot for the past two weeks on the New York Times bestseller list. Lockhart will be part of a roundtable focused on sequels and prequels.

And congratulations to Philip Weinstein, a retired English teacher known to many Vineyard enthusiasts for his lessons in the classics, on the publication of his latest book, “Soul-Error.” (The Humble Essayist Press). “Soul-Error” is a kind of memory; it’s a book of personal essays with a philosophical bent in which literary characters come and go, much like friends, family, and summer guests do. Weinstein will be part of a panel discussion focusing on non-traditional memories.

As we count down to the MV Times Islanders Write event, which begins Saturday night July 30 and runs through July 31 and August 1, event producer Kate Feiffer will send out weekly dispatches from the table Writers.
For more information on Islanders Write, visit

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Writer market

Michelle Salcedo, ‘Inside Man’ Writer Russel Gewirtz Team on ‘The Body’

Michelle Salcedo will direct “The Body,” a new thriller from Catalyst Studios. The film features a script from “Inside Man” and “Righteous Kill” writer Russel Gewirtz. Salcedo previously directed “Woman of the House.”

Catalyst is the new banner of social entrepreneur Holly Levow, Mark Pennell and Paul Kampf. He was trained to produce compelling, high quality, commercial feature films. “The Body” is about a “tough, female, Detroit cop” on a mission to transport a witness across the country and arrive safely in the Motor City. “The Body” will be produced by Meg Messmer and Veronica Caicedo, along with Levow, Pennell and Kampf. Production is expected to begin in and around Belgrade in the fall of 2022, with Bandur Film providing production services. Highland Film Group handles worldwide sales.

“There is a strong demand for female voice in the market and we will focus on this tremendous opportunity,” said Levow, president of Catalyst. “The pieces are all falling into place and we are thrilled to showcase the incredible talent of our female directors and production teams.”

Kampf and Pennell said, “We are excited about Michelle’s vision for Russell’s excellent script and know that with Meg and Veronica leading our production team, we will have a great end product for the global market.” .

With a mission to invest in and cultivate a collective of promising new filmmakers, Catalyst Studios has entered into multi-picture deals with an initial slate of six feature films directed and produced by women, and centered on female protagonists. The first film on file is “Alix”, written and directed by Ana Maria Hermida (“The Firefly”). It centers around the subject of sex trafficking in the Colombian jungles. Production is expected to begin in fall 2022.

Gewirtz is represented by CAA, Untitled Entertainment and Felker Toczek Suddleson Abramson McGinnis Ryan.

Pictured: Holly Levow, Mark Pennell and Paul Kampf.

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Fiction publisher

Brouhaha by Ardal O’Hanlon review – what’s the story? | Fiction

Jthe first novel by actor and comedian Ardal O’Hanlon, 1998 the talk about the city, hinted at the emergence of a distinctive literary talent, equal parts Flann O’Brien and Irvine Welsh. Its sequel took nearly a quarter of a century to appear, and sadly the boldness of its original debut was replaced by a jarring mix of whimsy and brutality. O’Hanlon’s editor would no doubt like him to be compared to Paul Murray and Colin Bateman, but Hubbub would probably never have been published without O’Hanlon’s status.

The book is set in Tullyanna (“a small border town populated by only three thousand pinched, secretive faces”), a poverty-riddled hellhole that harbors the usual cliches: a retired detective trying to do the right thing, a journalist frustrated and the usual cast of tough men-turned-politicians, the lucky few who escaped small-town boredom and the many who never had a chance. (There are, of course, references to Springsteen to drive this point home; this is no subtle book.) All are brought together by the apparent suicide of street performer “Dove” Connolly, whose death appears to be linked to the disappearance of Sandra Mohan, last seen ten years earlier.

The novel’s biggest flaw is that O’Hanlon seems unsure of the story he wants to tell. He’s not an untalented writer and can come up with a neat sentence and amusing dialogue – I enjoyed the detective’s heartfelt complaint “What normal person could function without a decent set of illusions?” – but Hubbub careers between state-of-the-nation metaphor, dark comic thriller, and half-baked mystery, never agreeing on a cohesive tone. If O’Hanlon writes another novel, it would be well advised to return to the atmosphere of the talk about the city and to treat this disappointing book as an aberration.

Hubbub by Ardal O’Hanlon is published by HarperCollins (£16.99). To support the Guardian and Observer order your copy at Delivery charges may apply

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Book creator

Bethenny Frankel was a businesswoman before she was a real housewife

This story was originally published in The creators — a newsletter on the people who fuel the economy of creators. Receive it in your inbox.

I recently spoke to former Bethenny Frankel, an entrepreneur and star of The Real Housewives of New York. Frankel, who left Real Housewives in 2019 after appearing in eight seasons, built her business empire, which she says was her intention even before being on TV.

“I chose to change the course of my career and focus more on business and philanthropy and not entertainment, entertainment (and) dramatic antics as a business,” Frankel said.

Frankel said she initially turned down the opportunity to be on Real Housewives, but eventually accepted because she wanted to promote her business, which includes cocktail mixes and shapewear. She was also the only cast member to negotiate a deal where Bravo would not receive a share of all profits from his business.

“I immediately understood the value of using television back then as a vehicle to promote what you do,” she said. “I was a pioneer in this area…being one of the first to really monetize reality TV in this way.”

Frankel, who has a new book called Business is personal: The Truth About What It Takes To Succeed While Staying True To Yourself spoke about the decision to leave reality TV, her various ventures, and what she sees for the future of the creator economy.

“Long before any reality TV personalities, period, I had already transformed a brand, a successful cocktail brand, and landed on the cover of Forbes magazine,” she said. “I have always taken my business and my career very seriously. It always came first. It came first before salacious entertainment and drama.

Brand Bethenny

Frankel has several products that she sells to her fans. Aside from her Skinny Girl Margarita, most of her product ideas come from a desire to break into a new space or from interesting people approaching her.

“A combination of people approaching me and me wanting to do something in these spaces, but usually just good partners approaching me,” she said. “And I thought, ‘Okay, that’s a great idea. “”

New influencers

The rise of TikTok stars like Charli D’Amelio and Addison Rae is largely due to the transformation of the retail space, Frankel said. The decline of physical stores and the growing popularity of direct-to-consumer retail and e-commerce channels have created an opportunity for new influencers, she said. And as their popularity grew, they were able to bypass traditional TV production companies and stream directly to their fans.

“So now (influencers like) Charli D’Amelio…they’re going direct to consumers and creating their own TV show, it’s their own network,” she said. “‘I’m the one entertaining you, my own reality show on my terms.'”

Branded offers

While Frankel has worked with different companies in the past to promote their products, brand deals are rare for her now. She won’t work with a company unless it’s to promote a product she’s truly passionate about, like Madison Reed’s hair dye.

“I’m not on the benjamins,” she said. “I mean, I like the tweens, but it’s been proven by me walking away from multi-million bucks on TV that money isn’t what drives me.”

Income stream

Since leaving reality television, she has made money from her speaking engagements, her investments – which include real estate – brand promotions and her licensing business. Frankel has no agent and makes most of her business decisions herself, although she sometimes consults with her editors or her fiancé, who is also an investor.

Frankel said she doesn’t regret leaving Real Housewives, but she could return to television in a completely different way.

“I don’t regret leaving the Housewives. I have every chance of going back if I want to. The door is open there,” she said. “I honor the time that I lived there and I thank Bravo for the platform and the launchpad, and I never forget where I came from, but I don’t want to go back and I’ll probably be on TV again , but not in the way I’ve been on TV before.

This interview originally appeared in The Creators, a newsletter about the people who power the creator economy. Get it in your inbox before it goes live.

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Reading and writing

The Port Arthur LNG sponsored Butterfly Habitat at Thomas Jefferson Middle School in Port Arthur aims to inspire students, the community

The courtyard of Thomas Jefferson Middle School in Port Arthur ISD will soon be a stopover for monarch butterflies on their annual migration south.

Thanks to a grant from Port Arthur LNG Environmental Champions, sixth- and eighth-grade science teacher Asther Reyes says relatively unused space on the Jefferson campus can now be a place for positive environmental impact. as well as a place where students can have hands-on activities. Research experience.

The grant will fund a monarch butterfly preservation habitat and associated study area located in the schoolyard, eventually creating a Port Arthur stopover station for the butterflies as they migrate south for the winter.

RELATED: Port Arthur School Board is full again

There will be a grand opening at the habitat site at 8am Saturday at Thomas Jefferson Middle School in Port Arthur.

“The yard was unused,” said Reyes, who wrote the grant application. “It was only used as a way to go to the cafeteria, but you don’t stay there. But we noticed how much the kids love it.”

Reyes said she and other science teachers came up with the idea of ​​using the space for educational purposes, giving students who have been locked down for the past two years due to the pandemic a chance to learn. outside.

The project will also give students a better understanding of how the environment works, Reyes said.

RELATED: Photos: Have you been “seen” at the Shangri La butterfly release

“Our main motivation is to bring them something fun,” she said. “And at the same time, they see themselves playing an active role in raising awareness and protecting the environment.”

When monarch butterflies migrate to Mexico each fall, one of the paths they take is through central and southeast Texas, Reyes said.

“According to research, seven out of 10 (butterflies) will survive (the migration),” she said. “Butterflies are like barometers of our environment. If the environment or area is polluted, they don’t come, they don’t visit.”

The new garden will consist of milkweeds, annuals and perennials and should facilitate the growth of the monarch butterfly population.

RELATED: Texas Butterfly Sanctuary closes for safety reasons

“We’re going to do the (butterfly) garden. Once we’ve done the garden, it’s a breeding ground,” she said. “Monarchs have a way of communicating to each other that there is a feeding station.”

Reyes said they would start by putting butterfly larvae in the garden and tagging them as they grow to calculate the number of butterflies breeding there.

“If they fly from one area to another, we could keep that energy going and keep going,” she said. “Their feeding process is going to feed our flowers, our plants, our vegetables, our trees and that feeds the environment. Children don’t understand that – yes, it’s just a butterfly, but do you know how many pollination they do (who) gives us vegetables, the food you eat? That’s how we survive as humans.

Reyes said it was important to her as an educator, but also as another living person on the planet, that her students understand the environment and the impact humans have on it.

RELATED: Pest Control in Your Southeast Texas Garden

“They can see themselves as, ‘I helped on this, I did something for our planet, I did something for our home,’ which is bigger than me, bigger than what I learned in class. It’s not very big, but I think it’s a way of giving back what nature has given us.”

The adults in the students’ lives will also benefit from their learning, Reyes said.

“Monarch butterflies don’t come if there’s so much pollution and we’re aware of what’s going on around us,” she said. “If adults can see that, then adults become more responsible for kids. If kids can stand up for what their future home is, what their home is (now), I think adults would help too.”

Reyes said she hopes the habitat will be completed by August, just in time for the new school year.

RELATED: Port Arthur refinery averaged double EPA benzene limit last year

“We have a STEM class here and the STEM class will focus on (studying) how plants (in the garden) affect (butterflies),” she said. “We’re going to do the tagging of the monarchs and send the data to Monarch Watch at the University of Kansas. We want to teach kids to do more in-depth research.”

Students entering sixth grade are already aware of the cycle of life, Reyes said. But having this habitat on campus will allow students to see it in action and understand all the factors that can affect it.

“These butterflies are the ones that will provide us with flowers that will nourish our vegetables, our plants, our food, our trees and nature itself,” she said. “They maintain the balance of nature. If they don’t come, it’s a warning. It’s a warning that something is happening. If we see them, we see hope. They are an indicator that, ‘Oh, you get it’s true.'”

Thomas Jefferson Middle School principal Kristi Lewis said the world has moved beyond traditional learning time and teachers need to find ways to engage their students.

RELATED: Pandemic prompts Port Arthur ISD to buy air purifiers

“They must have something to look forward to,” she said. “I push clubs and organizations on campus because not everyone is going to be an athlete. Not everyone’s niche is basketball, football or volleyball. Some kids are in the sciences, or, we have a Dungeons and Dragons (club), anime — anything that they want to be here because it’s their home away from home.”

Being involved in the lifecycle in this way will hopefully empower and inspire students, Reyes said.

“If they see there is hope, no matter how bad your situation is, hope is something you cling to,” she said. “This place is always devastated by storms, by many things. But if you see hope, it’s a spark, isn’t it?”

Learning must be relevant to real life, Reyes said.

“They will see that what (they) learn in the classroom comes to life by applying it in the research that we are going to do,” she said. “It’s reading, writing, math, science – putting it all together. And if we can encourage children to write, to draw a butterfly, to see the beauty in exterior, it is a transcended education.”

Reyes hopes this will inspire students to love the outdoors.

“I grew up in Asia, chasing butterflies, trapping dragonflies and I don’t see that (now),” she said. “It’s heartbreaking to see kids stuck playing video games, staring at their screens. There’s something more beautiful than the screen, something alive out there. We want them to see that. .”

[email protected]

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Writer market

Nine films to watch for the 2022 Cannes Film Festival

After Sun

Like, right before I head to the airport, I post this brief list of movies we have Director are especially excited to see at the 2022 Cannes Film Festival, cinema’s most prestigious annual event is already having a bumpy opening, with a new (for those who haven’t experienced its debut on the low-key edition from last year’s mid-pandemic) ticketing system returning all sorts of “504 Gateway” errors and obscure messages, some of which contain their own blunt poetry: “View status validation failed… Objective , goal…” (Press has seen some relief as these badges are now being redirected to a new server, while market and festival attendees in general are still having issues.) Hope the movies are better than the tech – and that we can see them – are Vadim Rizov, Blake Williams and I, who will all be reporting on the festival in these pages in the coming days. With the atypical opening night of the festival (the zombie satire of Michel Hazanavicius final cut) in progress, here are nine movies we suggest you watch.

Scarlet. Transplanting Jack London’s Novel to the 20th Century, 2019 Martin Eden significantly raised the international profile of Italian director Pietro Marcello. A pleasantly understated musical documentary (For Lucia) and co-directed the non-fiction dispatch “The State of the Italian Nation” (Futura) later, Marcello’s highly anticipated narrative sequel is adapted (loosely, all synoptic material promises) from the short story by Russian writer Aleksandr Grim. The film, the opening night of this year’s Directors’ Fortnight, also marks his first collaboration in French. —Vadim Rizov

After Sun. The ability of memory to obscure or re-reveal – as well as to indict or possibly heal – is the subject of Charlotte Wells’ feature debut, After Sun. The raw elements of the film’s story, which I summarized to close my profile of Wells in DirectorThe list of the 25 new faces of 2018 is simple: “After Sunabout a young father’s vacation trip with his daughter to a resort, [is] inspired by his own vacation trips with his father. What this synopsis lacks is the current perspective of the film, which allows the innocence of a child’s vacation to be charged with a multitude of meanings and turbulent emotions. Having made a number of acclaimed short films, including Blue Christmasa brilliant portrayal of a fractured family Christmas, and with Pastel’s Adele Romanski and Barry Jenkins among the producers of that first film, Wells is set to receive major recognition when his film premieres at Critics’ Week . —SM

Pacification. We’re lucky to have even one shit-stirrer in the main competition at Cannes these days, and Albert Serra’s latest film, the longest-running new film that isn’t a mini-series of the entire festival, is a good bet to tick that box, especially if it’s like an Albert Serra painting at all. Features a grimacing Benoît Magimel as “a calculating man of impeccable manners”, includes at least one shot of fluorescent lights, and appears to be set after the 18th century – this is new ground for Serra, and the one of the rare films screened in this Cannes of the year where I can say that I have an idea of ​​what awaits me. —Blake Williams

Super 8 year olds. Annie Ernaux has spent years writing about thematically separate parts of her life in books on subjects ranging from various love stories to biographies of her mother and father; the recently published Happening is adapted from her account of obtaining an illegal abortion in 1963 in France. 2008 Years gathered his whole life into a grand synoptic picture, swapping first person singular for first person plural. Today, in collaboration with his son David, Ernaux, an openly cinephile writer, is co-directing his first feature film, which promises to re-examine his life from another point of view: his family films. — VR

To show up. After what is arguably his best film, first cow, Kelly Reichardt returns to Cannes with a new film reuniting longtime collaborators (including actress Michelle Williams, co-writer Jon Raymond, DP Chris Blauvelt, producers Anish Savjani and Neil Kopp) as well as new faces ( actor Andre 3000) in what is relatively underpopulated midlife drama subgenre: the film “gallery artist preparing a new show”. One of my favorites in this category is the screenplay by Richard Price life lessons, directed by Martin Scorsese, in which Nick Nolte’s Neo-Expressionist painter demands all forms of emotional drama to complete his final canvases. I expect something quite different from Reichardt, who, with his patient gift for the process of capture, is uniquely adept at dramatizing the ways in which life and art intertwine. —SM

De Humani Corporis Fabrica. The fourth feature film collaboration between Véréna Paravel and Lucien Castaing-Taylor, two anthropologist-artists whose collaborative work in the mediums of film, video and photography has secured Harvard’s Sensory Ethnography Lab its own chapter in all the future history of documentary film. Their navigation Leviathan (2012) and, uh, gustatory Caniba (2017) have approached the limits of what Laura U. Marks has called haptic visuality, that is, the tactile connection that viewers weave with “the skin of the film”, and their latest, which focuses on five Parisian hospitals and the bodies therein, promises to literally dig under said skin. It should be nothing if not sensual, and there will undoubtedly be blood. —BW

Short films in competition. Shorts are always relegated to lower profiles, but Cannes’ only program dedicated to new shorts not made by student filmmakers (whose work benefits from four separate shorts programs) can reliably contain promising works of emerging global filmmakers who will do important work in the years to come. to come. This year’s edition comes with a highlight: a new short film by Bi Gan, his first work since 2018’s semi-3D Long day trip into night.–VR

Christophe… Definitely. Between the recording of the music of Bruno Dumont’s stellar France (2021) and the film’s premiere in Cannes main competition last year, French singer Christophe died of complications with COVID-19. Videographers Dominique Gonzalez-Foerster and Ange Leccia now offer this portrait of the pop musician back on stage in 2002 after a 28-year hiatus, composed from what appears to be delightfully saturated video documentation. Christophe’s voice is one thing, but 10 seconds watching Leccia’s 1991 video The sea was enough to make it essential. It will be screened at the festival’s Cinéma de la Plage, just after sunset; I would pray for no rain, but that probably wouldn’t be out of place. —BW

God’s Creatures. Writing about Anna Rose Holmer Sections for DirectorIn the Spring 2016 cover story, I called the microbudget’s debut “authentically joyous and startlingly weird,” praising its resistance to over-explaining its narrative mysteries. I also noted its “solidarity, fluid, collaborative” production model, in which certain fixed hierarchies were upset. So, six years later, it’s great to see Holmer again, this time directing alongside Saela Davis, who edited Sectionsand again dealing with a mystery of motivation and intent within a small community. —SM

Irma Vep. 1996 by Olivier Assayas Irma Vepin which a struggling director, René Vidal, attempts to revive his career with a remake of Louis Feuillade’s silent classic, The vampires, and starring Hong Kong star Fish Out of Water (Maggie Cheung) in the lead role, was both a satire of the French film industry as well as, in part, an experimental ode to young cinephilia in general. . I remember the ripple of excitement when this bold, cheeky and even dreamy film, sandwiched between two other Assayas classics (Cold water and End of August, beginning of September) landed in the United States, its punchlines resonating within the American indie scene as well. So it’s a shock to realize that now, in 2022, Irma Vep is, at its core level, “IP” – an existing property ready to be redesigned for HBO Max and today’s streaming landscape. Among other things, this means that instead of a 99-minute feature, it’s a nearly eight-hour series. The actor-director Vincent Macaigne replaces Jean-Pierre Leaud in the role of Vidal, and the interlocutor of the plate is this time Alicia Vikander, incarnating an American star of the blockbuster. In his essay “Cinema in the Present”, Assayas writes: “When one seeks to identify the place of a reformulation of cinephilia today, it is impossible not to situate it on the Internet and in the redefinition by that both modes of viewing cinema and the way in which we travel through its history. So it will be fascinating to see how Assayas’ deep thought and witty self-reflexivity cut through what I’m sure will be a very entertaining take on the struggles of authoring, uh, content in 2022. —SM

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Fiction publisher

German Non-Fiction Prize to Offer NFTs with Creatokia Marketplace

In a pilot program with Bookwire’s Creatokia, the Börsenverein is offering NFTs linked to the German Nonfiction Prize.

Image: Creatokia

By Porter Anderson, Editor | @Porter_Anderson

“Literature and the ‘metaverse’ go together”

AAs you may remember, on March 29, German Bookwire introduced its new Creatokia platform to many people in a program called “All About Blockchain”. Creatokia is the company’s new marketplace for non-fungible tokens, or NFTs.

Today (16 May), the Börsenverein des Deutschen Buchhandels, the German association of publishers and booksellers, announced that the German Non-Fiction Prize has entered a pilot program with Creatokia to nominate the winner of the previous year and four titles nominated as NFTs, starting May 23.

“On May 30”, says the information message of the Börsenverein, “this year’s prize will be awarded not only during the Humboldt Forum in Berlin Castle (Humboldt Forum at the Berlin Palace) but also in a virtual space.

“The digital certificate for the best non-fiction book of the year will be registered on a blockchain.

“With Creatokia…the German NonFiction Prize allows publishers to try out the technology around non-fungible tokens. For starters, four of the non-fiction books nominated for this year’s prize, along with the winning title of 2021″—Hegel’s world (Rowohlt, Aug 17, 2020) – “already exist in special digital editions as NFT now”.

John Ruhrmann

In a prepared statement, Bookwire and Creatokia co-founding CEO John Ruhrmann is quoted, saying, “At Creatokia, we bet on the idea that literature and the ‘metaverse’ go hand in hand. Or, in other words, in reality, literature is already a full-fledged metaverse.

“This representative project now opens a bridge for authors, readers and publishers… connecting these worlds.

“I was an enthusiastic reader of last year’s winning novel, Hegels welt by Jürgen Kaube.

“It’s something special and certainly a milestone in blockchain technology in the publishing industry, documented by the award. It’s great that the German Nonfiction Prize has embarked on this collaboration.

Anne-Mette Noack

And at the Börsenverein, Anne-Mette Noack, Head of Marketing and Cultural Projects, says: “The German Non-Fiction Prize aims to help us better understand the times in which we live.

“The impetus for this comes not only from the nominated non-fiction books themselves, but also from our desire as organizers to explore new forms and technologies.

“The field of NFTs was and remains largely uncharted territory for us and for participating publishers, and we are curious to see how the use of blockchain technology in the book and literature industry develops. what we would like to set in motion and discover through this pilot project with Creatokia »

Here are the works listed as being available as NFTs:

  • Alice Bota: Die Frauen von Belarus: Von Revolution, Mut und dem Drang nach Freiheit [The Women of Belarus: On Revolution, Courage and the Yearning for Freedom] (BerlinVerlag)
  • Stephane Creuzberger: Das deutsch-russische Jahrhundert. Geschichte einer besonderen Beziehung [The German-Russian Century. History of a Special Relationship] (Rowohlt Verlag)
  • Samira El Ouassil & Friedemann Karig: Erzahlende Affen. Mythen, Lügen, Utopien—wie Geschichten unser Leben bestimmen [Narrating Monkeys: Myths, Lies, Utopias—How Stories Determine Our Lives] (Ullstein Verlag)
  • Stephan Malinowski: Die Hohenzollern und die Nazis: Geschichte einer Kollaboration [The Hohenzollern and the Nazis: History of a Collaboration] (Propylaen Verlag)
  • Jurgen Kaube: Hegels welt [Hegel’s World] (Rowohlt Berlin) named first non-fiction book of the year 2021 program

Interested readers can now view the special editions in a digital showroom and, from May 23, can acquire the NFTs via a microsite using tokens or euros. From this date, for a period of one week, until shortly before the announcement of the Non-Fiction Book of the Year on May 30, 10 special limited editions of the Non-Fiction Book Award of each of these titles will be available for purchase.

These digital originals include the title ebook with fitted cover, digital signature, and jury statement, plus at least one other digital content chosen by the publisher.

Among all the buyers of these NFTs, the German Nonfiction Prize will draw a name to receive an invitation for two to the award ceremony in 2023.

In addition to the award ceremony in Berlin, the German non-fiction prize will be digitized as a digital certificate through its registration on a blockchain, in a unique and non-reproducible form, for the winner.

This is the 92nd awards report from Publishing Perspectives published within 95 days of the start of our 2022 operations on January 3.

More about us on Bookwire is here, more about digital publishing is here, more about IDs is here, and more about publishing conferences is here.

Publishing Perspectives is a media partner of Bookwire’s All About Blockchain conference.

To learn more about Publishing Perspectives on the coronavirus pandemic and its impact, click here.

About the Author

Porter Anderson

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Porter Anderson is a non-resident member of Trends Research & Advisory, and was named International Business Journalist of the Year at the London Book Fair’s International Excellence Awards. He is editor of Publishing Perspectives. He was previously associate editor of The FutureBook at The Bookseller in London. Anderson was a senior producer and anchor for, CNN International and CNN USA for more than a decade. As an art critic (National Critics Institute), he has collaborated with The Village Voice, the Dallas Times Herald and the Tampa Tribune, now the Tampa Bay Times. He co-founded The Hot Sheet, a newsletter for authors, which is now owned and operated by Jane Friedman.

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Book creator

Kyle Starks on Creating Horror From Everything Scary in ‘I Hate This Place’

Welcome to another week of the AIPT Comics podcast, with special guest Colin Moon! We discuss the biggest news of the week, recap our favorite comics, and creator Kyle Starks joins us as well. We discuss the new Starks book I hate this place from Skybound/Image on May 18. We’re talking about creating horror and his plans for the series to showcase all the horror under the sun – or is it the Blood Moon?

You can stream the AIPT Comics podcast below or find it at Apple podcast, Spotify, Amazon Musicor wherever you get your podcasts.

In comic book news, we express our deep sadness at the passing of comics Legend George Perez. Rest in peace, George.

In other comic book news, Substack has launched a “Free Substack Comic Day”, Marvel has something SURPRISING coming (all the details here), the Edge of Spider-Verse limit the series was announced to feature new Spidey characters and more, IDW adds three editorial including Jamie S. Rich, and Die: The RPG launches and achieves its objectives in 16 hours! Oh, and how could we forget the ppeople who have a lot of opinions on the new Standard Comic Script (SCS) model! ? All this and more in the news.

Pick AIPT Comics Podcast of the Week:


  1. The Sandman Universe: Nightmare Country #2 (James Tynion, Lisandro Estherren, Andrea Sorrentino)
  2. Eight Billion Geniuses #1 (Charles Soule, Ryan Browne)


  1. The Sandman Universe: Land of Nightmares #2
  2. X-Men #11 (Gerry Duggan, Pepe Larraz)

Exceptional KAPOW moment of the week:

Colin – Nightmare Country – Library Scene

DC Comics

Dave – Eight Billion Geniuses #1 (Charles Soule, Ryan Browne)

AIPT Comics Podcast Episode 171: Kyle Starks on Creating Horror From Everything Scary In

Picture Comics

In our Judging by the Cover segment, we pick our favorite cover art next week! Dave chose Spider-Punk #2 variant cover by Juni Baand Colin loved catwoman #43 by Jenny Frison. Check them out below!

Become a patron today to get exclusive perks, like access to our exclusive Discord community and monthly comic club, ad-free browsing on, a physical paperback mailed to you every month, and more!

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Reading and writing

Mississippi poet laureate wants to share the joy of writing

Catherine Pierce tries to start each of her lessons with a question.

Something like, but not specifically, “Would you rather be a spy shepherd – a shepherd who’s also a spy, not to be confused with shepherd’s pie – or a super agent who’s a dog but really bad at math? “

This particular question came from Pierce’s son, Sam. She jotted it down several years ago, along with other interesting questions he’s asked over the years, and posed it to her middle school students in poetry at Mississippi State University at the start of a recent course.

“My questions are getting stranger and stranger. Today felt like the weirdest yet,” she said. “To their great credit, they just rolled with it.”

The creative spirit that Pierce brings to the class also serves him well when writing. She is the current Mississippi Poet Laureate and co-director of the Creative Writing Program at MSU, where she tries to share her knowledge and love of poetry with others.

“I think poems work best when they come from a place of openness and willingness to try things rather than having to feel like ‘I have to do just that, and if I don’t exactly this way, then it does not fit. be good,” Pierce said.

She believes that poets should be “aware of and open to the joys and pleasures of language”.

“At the end of the day, writing should be fun in some way,” Pierce said.

From an early age, Pierce read anything he could get his hands on.

“I’ve always really loved words, whether they’re in poems or not,” Pierce said. “Language, in general, is always something that has been magical for me.”

Pierce grew up in Delaware and lived there until she went to college. In second grade, her class learned haiku, a type of shorthand poetry that originated in Japan.

“I remember being so thrilled,” she said. “It was so fun to be able to make a picture out of words.”

Since then, she has been writing poems and stories.

Her career in poetry and teaching happened naturally.

She majored in English with a focus on creative writing during her undergraduate studies at Susquehanna University in Pennsylvania, followed by a master’s degree in poetry from Ohio State University and eventually a Ph.D. from the University of Missouri.

While at Ohio State, she worked as a teaching assistant. Although early in her life Pierce hadn’t planned on becoming a teacher – it wasn’t even on her radar – as soon as she walked into the classroom as an instructor, she knew she wanted to keep doing it.

As a teacher, one of Pierce’s great joys is sharing poetry with students she affectionately calls “poetry skeptics” — those who think they don’t like or understand everything just not poetry. Or maybe they’ve been told “that’s what you have to do with a poem” and they feel like they can’t crack the code.

These days, Pierce teaches an introductory creative writing course covering poetry and fiction at MSU, as well as higher-level poetry courses like intermediate poetry and poetry craft.

She and her husband, Michael Kardos, moved to Starkville to work in Mississippi State in 2007. Along with Pierce, Kardos serves as co-director of MSU’s creative writing program and is also a professor of fiction. The couple have two sons, Sam, 11, and Wyatt, 8.

In his classes, Pierce guides students through contemporary poems, separating them to examine from within how language and imagery are used, while reflecting on the many purposes poetry can serve.

In higher grades, Pierce focuses on helping students develop their aesthetic bravery when writing and reflect on their own voices as writers. She helps them discover what attracts them and what style they naturally gravitate towards.

Between teaching and raising a family, there are days when Pierce is too busy to sit down and write.

“There are days when I plan ahead to prioritize writing, and there are days when I plan ahead and say, ‘This is the day I’m just jotting down student work and taking my kids to the dentist,'” Pierce said.

It’s all about finding the right balance. Giving herself permission to have days without writing helps her focus her attention solely on writing when the time comes.

Pierce found that teaching poetry helped him with his own writing. Class discussions are linked to what she writes and vice versa.

“I try to make teaching a conversation as much as possible,” Pierce said. “We’re all figuring things out.”

Since Pierce moved to Mississippi 15 years ago, the state’s natural beauty has crept into his writing.

“I’m really drawn to the lushness of Mississippi and the intensity of the natural world here,” Pierce said. “Everything is kind of dialed up to 11 in terms of nature in Mississippi.”

On walks with his children and their dog, Roxy, Pierce pays close attention to the seasons, the flowers on the trees, and the chirping of birds that echo above their heads. From pruning insects to rapidly growing lawns in the spring, Pierce has an eye for nature. But she is particularly interested in weather and climate.

Her third book is titled “The Tornado is the World” and her most recent book, “Danger Days”, is a collection of poetry to “celebrate our planet while bearing witness to its collapse”.

“Like a lot of people who live here, it’s something I’m very concerned about,” Pierce said of the weather, which has increasingly affected his daily life, like that of all Mississippians.

In April 2021, Pierce was named Mississippi Poet Laureate. In this honorary position, she will serve as the state’s ambassador of poetry and literary arts through 2025.

“Poetry is for everyone” serves as something of a mission statement for her work.

“My goal is to try to increase access to poetry for Mississippi residents in a way that is meaningful to them,” Pierce said. “I want to highlight a range of poems, poets and writers in general that we have in the state, that we have had in the state. We have such an amazing literary landscape here and I think it’s really inspiring for people to know that.

As part of his role as Poet Laureate, Pierce hosts The Mississippi Poetry Podcast. Each episode features a different Mississippi poet — like Aimee Nezhukumatathil or C. Liegh McInnis — reading a poem, sharing what inspired them to write it, and offering advice to budding poets.

Each 15-minute episode is paired with an additional resource for educators and community groups.

“Podcasts are meant to be friendly, fun and lively and to help everyone, but especially young people in our state, see that poetry is written by Mississippians,” Pierce said. “Poetry is for everyone.”

She also writes a monthly column called “Poetry Break”, with the aim of providing people with tools to try their hand at writing poetry.

“A lot of times people feel cut off from poetry or think ‘Well, this isn’t really something I want to try or this isn’t something I should really try. I’m not going to be good at that,” Pierce said. “I think a lot of times all people need is a track to race on. They just need a place to start.

Pierce is also working with Tracy Carr, assistant director of library services for the Mississippi Library Commission, to organize “poetry walks” for Mississippi libraries where people can come out and read a poem while doing it.

Pierce describes it as “a way to bring poetry into people’s daily lives so that it doesn’t feel like something in a dusty book on a very tall shelf”.

Poetry is everywhere, she says, for those who simply look and listen.

“It’s something that’s right here; this is for all of us,” she said. “It’s in the garden when we walk, it’s in the newspaper; and it’s just around.

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Writer market

10 best new summer books that shed light on today’s most pressing issues

End of Hollywood: Harvey Weinstein and the culture of silence
By Ken Auletta (Penguin Press)
Long before Harvey Weinstein was charged with rape, forced oral sex and other charges in April 2021, his violent and bullying behavior was an open secret in Hollywood. Still, it took the breakthrough #MeToo movement, as well as investigations by the New Yorker and New York Times, to knock him down. In Auletta’s excellent biography, the notions that Weinstein was both a known rapist and a champion of amazing cinema are not in conflict. Miramax, the company he founded with his brother Bob, distributed The crying game, pulp Fiction, Shakespeare in loveand Chicago, among other critically acclaimed films; through them, Weinstein made himself too great to be knocked down. The world turned a blind eye, says Auletta, largely because of the perception that Weinstein’s contributions to the industry outweighed his transgressions. July 12

Can legal weed win? The harsh realities of the cannabis economy
By Robin Goldstein and Daniel Sumner (University of California Press)
The legalization of marijuana in the United States sparked a gold rush based on the idea that a legal market could grow to $100 billion in less than a decade. Lawmakers trumpeted the passage from a social justice standpoint — for decades black people have been incarcerated for possession of small amounts of pot at disproportionately higher rates than white people — as well as from a economic: taxes, they argued, would help fund schools and infrastructure. Several years later, revenues have not come close to projections. Why? Economists Goldstein and Sumner argue that government bureaucracy has made legal pot expensive to grow and sell, encouraging illegal operations instead. Legal weed, their puny, airy book shows, can only win if “legal” isn’t an anti-competitive word. June 14

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Fiction publisher




WA, Perth, May 11, 2022, Sarah, Duchess of York is a global humanitarian, businesswoman, historical novelist and children’s book author, speaker, producer and wellbeing advocate. Today, in conjunction with Serenity Press, The Duchess announces, Demon’s Land, The Southport Series, a series of three books for young adults co-written with Michelle Worthington. The book is out June 31, 2022.

Demons Land is the Duchess’s latest venture into young adult fiction, with this novel part of a 22-book deal with Australia-based book publisher Serenity Press.

The Duchess has published over 70 books, including two autobiographies and titles dealing with health, empowerment, history, art, as well as children’s novels and stories. Her historical debut novel Her Heart as a Compass by Harper Collins was released worldwide on August 3 and is on the Sunday Times bestseller list. Her second historical novel is due for publication by Harper Collins in January 2023, along with her latest book, Demons Land, a series of three books for young adults co-authored with Michelle Worthington.

Sarah, Duchess of York says: “Young adults are perhaps the fastest growing category of new fiction today. There’s just something about adolescence – with all of its incredible triumphs and heartbreaking failures – that makes it the perfect backdrop for powerful storytelling. I wanted to share my story of growing up with anxiety and an eating disorder, while witnessing firsthand the effects of generational trauma. For me, it’s still present and it all started with the loss of my mother.With my charity work, I am in constant contact with young people and I have so much empathy for everything they have been through in the last two years. They are a capable and compassionate generation and their help as consultants on this book to ensure that we capture the essence of what it is to be a teenager today has been instrumental in book writing.

Co-author, Michelle Worthington adds: “I was honored to have been asked to be part of this project and have always enjoyed my brainstorming and writing sessions with the Duchess. I very much appreciate her warmth, professionalism and greatly appreciate her advice based on extensive research into her YA audience. She went out of her way to articulate and clarify exactly the messages she wanted to share on the show based on her personal experiences and took the time to listen to mine. Her personalized approach challenged me to improve the manuscript and become the best possible support for his vision, and this series is a testament to his courage.

Demon’s Land, Sarah Ferguson

The Southport Series: Volume 1 of 3

Presentation :

Jude loved photography. He captured the truth. He brought to light what was hidden. It proved that every day wasn’t the same, even if it was like that. All. Slim. Day.

That is, until CeCe comes into his life. Could this mysterious beautiful girl from the other side of the world be right about his potential as a professional photographer or should he listen to his best friend Abel and not rock the boat?

A poignant coming-of-age story set at the end of the world in the remote fishing village of Southport, Australia’s southernmost township. The first book in the Southport series deals with ancestry, legacy and generation-defining trauma.

Released June 31, 2022 by Serenity Press

Pages: 118

Paperback: $12.95

Hardcover: $22.95 AUD

Gender: Young adult

Themes: Coming of Age / Rural Australia / Teen


If you would like an extract, an interview or the flip book, do not hesitate to contact us.

Media Contact:

Candice Meisel

[email protected]

0481 369 484

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Book creator

Celebrity gossip account TwoMe lands HBO Max adaptation ahead of book release

Anon, please. TwoMe, the most popular celebrity gossip page on social media, is getting its own TV adaptation, just weeks after the Instagram account announced its first novel.

According to DeadlineHBO Max has given a script-to-series order at Anonymous pleasewhich will be based on DeuxMoi’s first novel of the same name.

The book, which will be released in November, follows Cricket Lopez, a personal assistant to a celebrity stylist who decides one drunken night to rebrand her fashion Instagram page into a celebrity gossip blog. When the account grows overnight, Lopez must contend with the challenges of anonymous fame, juicy gossip, and juggle a love interest that creeps into her DMs. The book’s description reads: “But as the account grows and becomes more and more famous, she must ask herself: is this – fame, insider access, escape from real life – really worth losing everything she has?”

What do we know about the anonymous DeuxMoi?

Self-proclaimed “pop culture conservatives” have more than 1.5 million subscribers on Instagram. The account isn’t just followed by regular Joes looking to see if their submission has been featured in TwoMe’s “Sunday Sightings” series. Celebrities such as Dua Lipa, Gigi Hadid and a collection of C-list Bravo stars also follow the page, in case they need to shut down unfounded gossip about them.

The DeuxMoi Instagram account took off in 2020 as people were isolated indoors with nothing better to do than scroll through their social media feeds. The account survives on “blind posts”, in which salacious details are revealed about celebrities, but their identities are not.

Hundreds of submissions are sent to TwoMe daily, each beginning with the greeting “Anon, please”. Then, the eponymous DeuxMoi selects some screenshots to share on his Instagram story.

The gossip account became the go-to for breaking celebrity news, only to be confirmed a few days later by PR reps or major news outlets. From Camila Cabello and Shawn Mendes’ breakup to Harry Styles meeting Olivia Wilde, TwoMe was first.

While the identity of its elusive founder remains anonymous, DeuxMoi has conducted several anonymous interviews for publications including The New York Times, vanity loungeand more recently Marie Claire and Interview magazine. According to vanity lounge, DeuxMoi is actually run by a woman who looks to be in her 20s and 30s and has made a career out of fashion. The creator of the account even revealed her voice on the weekly podcast of DeuxMoi, Two U.

It’s safe to say that TwoMe is the real-life version of Gossip Girl.

The upcoming book Anonymous pleasewritten by DeuxMoi with New York Times bestselling author Jessica Goodman, will be published Nov. 8 by William Morrow, a division of HarperCollins. Warner Bros. Television and Berlanti Productions secured the rights to the book.

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Writer market

Stocks end a turbulent week with their fifth consecutive weekly decline

People wearing face masks walk past a bank's electronic board showing the Hong Kong stock index in Hong Kong, Friday, May 6, 2022. Asian stocks followed Wall Street lower on Friday as fears spread that hikes in US interest rates to fight inflation could dampen economic growth.  (AP Photo/Kin Cheung)

People wearing face masks walk past a bank’s electronic board showing the Hong Kong stock index in Hong Kong, Friday, May 6, 2022. Asian stocks followed Wall Street lower on Friday as fears spread that hikes in US interest rates to fight inflation could dampen economic growth. (AP Photo/Kin Cheung)


A turbulent week on Wall Street ended Friday with further losses and the stock market’s fifth consecutive weekly decline.

The latest pullback came as investors balanced a strong U.S. jobs report against fears the Federal Reserve could cause a recession in its bid to halt inflation.

The S&P 500 ended with a loss of 0.6%, after coming back halfway from a bigger loss of 1.9%. About 70% of the companies in the benchmark fell. Technology stocks weighed the most on the index.

The Dow Jones Industrial Average fell 0.3%, while the Nasdaq slipped 1.4%. Both indexes also pared some of their losses earlier in the day.

Investors focused Friday on new data showing that U.S. employers are continuing to hire rapidly and workers are getting relatively large increases, albeit below inflation. The market reaction reflected investors’ worries that the high numbers would keep the Fed on track for strong and steady interest rate hikes to correct inflation, analysts said.

The S&P 500 fell 23.53 points to 4,123.34. The Dow fell 98.60 points to 32,899.37. The Nasdaq fell 173.03 points to 12,144.66.

Small businesses fell more than the overall market. The Russel 2000 slipped 31.58 points, or 1.7%, to 1,839.56.

Friday’s choppy trading followed even wilder gyrations earlier this week as all sorts of markets, from bonds to cryptocurrencies, grapple with a new market order where the Federal Reserve moves aggressively to pull supports for the economy put in place during the pandemic.

The Fed hopes to raise rates and slow the economy enough to stifle the highest inflation in four decades, but it risks stifling growth if it goes too far or too fast. The Fed raised its main short-term interest rate this week by half a percentage point, the biggest such increase since 2000. It also said more increases of this size were likely on the way. .

Higher interest rates not only drag down the economy by making it more expensive to borrow, they also put downward pressure on the prices of all kinds of investments. Beyond interest rates and inflation, the war in Ukraine and the ongoing COVID-19 pandemic are also weighing on markets.

Stocks nevertheless soared on Wednesday afternoon, after clinging to a glimmer of hope from comments by Federal Reserve Chairman Jerome Powell following the latest rate hike. He said the Fed was “not actively considering” an even bigger jump of 0.75 percentage points at its next meeting, which markets had taken as a virtual certainty.

Jubilation was the immediate market reaction, with the S&P 500 climbing 3% on its best day in nearly two years. It calmed down the next day, however, amid acknowledgment that the Fed is still willing to hike rates aggressively in its fight against inflation. The S&P 500 lost all of its gains from the day before, plus some more, on Thursday in one of its worst days since the early 2020 plunge caused by the coronavirus pandemic.

That may be why stocks faltered on Friday after data showed hiring is still strong and pressure remains high on companies to raise workers’ wages.

“These data do not change the Fed’s policy outlook; the trajectory of rates remains to the upside in the near term,” wrote Rubeela Farooqi, chief U.S. economist at High Frequency Economics, in a note.

Many of the factors pushing inflation higher could persist well into 2022, said Sameer Samana, senior global markets strategist at Wells Fargo Investment Institute. The latest market swings could mean investors are getting closer to better adjusting to the Fed’s aggressive policy shift, Samana said.

“Powell’s lecture didn’t change anything; there is still a lot of inflation,” he said. “You’re probably getting to the point where the Fed at least won’t be as much of a market mover anymore.”

Treasury yields also fell sharply after the release of the jobs report.

The two-year Treasury yield, which moves with Fed policy expectations, initially hit 2.77% earlier in the morning. But it then slipped to 2.70%, from 2.71% on Thursday evening.

The 10-year Treasury yield jumped to 3.13% shortly after the data was released, slipped slightly and then climbed back up to 3.14% by late afternoon. That’s still close to its highest level since 2018 and more than double where it started in 2022, at just 1.51%.

The swings came as economists pointed to some possible signs of a spike in the labor market, which could be an early signal that inflation may be moderating. That could ultimately mean less pressure on the Federal Reserve to raise rates with as much force.

While workers’ wages were 5.5% higher in April than a year earlier, in line with economists’ expectations, average hourly wage growth from March levels was slightly lower than expected. The slowdown in wage gains is disheartening for workers, but investors see less upward pressure on inflation.

BlackRock’s chief investment officer for global fixed income, Rick Rieder, pointed to surveys showing companies’ ability to hire is getting easier and other signs that some slack may be building in the labor market. in full swing.

“This raises the question of whether the Fed could slow down its tightening process at some point over the next few months due to these expected trends, but while this is possible, recent data will not provide markets with much comfort. as to what will happen anytime soon,” Rieder said in a report.

So far, expectations of higher interest rates have hit high growth stocks particularly hard.

This is largely due to the fact that many of them are considered the most expensive years after dominating the market. Many tech-focused stocks have been among the market’s biggest losers this year, including Netflix, Nvidia and Facebook’s parent company Meta Platforms.

Nearly half of Nasdaq stocks are recently down at least 50% from their 52-week highs, according to a BofA Global Research report from chief investment strategist Michael Hartnett.


AP Business Writers Joe McDonald and Damian J. Troise contributed. Veiga reported from Los Angeles.

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Reading and writing

A History of Indigenous Persistence in the Great Lakes Region

Q Can you see lessons for the struggles of some Métis Americans today in the challenges of Métis Anishinaabeg members that you write in See red?

A. After the American Revolution, Anishinaabeg Métis had to fight to be included in the republican social contract as citizens. Until the 20th century, registered members of Indigenous nations did not automatically obtain US citizenship. Yet they also had to fight for their rights and status as Indigenous peoples. Citizenship is no longer an issue for Anishinaabeg peoples, Métis or not, but the struggle to preserve Indigenous sovereignty continues.

Q What books have you read recently that you would recommend, and why?

A. I read and taught Samantha Seeley Race, deportation and the right to remain: migration and the making of the United States, a brilliant history of the first American republic. I also recently read Louise Erdrich The night watchmanthe 2021 Pulitzer Prize for Fiction Winnerand a beautifully written story about his family’s fight against the US government’s attempt to end the Turtle Mountain Ojibwe reservation community in North Dakota in the mid-20th century.

Q What do you read when working on a book and what type of reading do you avoid when writing?

A. I always read fiction when I write; it helps me think about the art of writing. There really isn’t anything that I don’t specifically read when working on a project.

Q What are you teaching this semester?

A. I teach a lecture course, The Battle for North America: An Indigenous History of the Seven Years’ War, the American Revolution, and the War of 1812, and an undergraduate seminar, Indians and Empires in North America.

Q You are hosting a dinner party. Which three scholars or scholars, dead or alive, would you invite, and why?

A. I invite WEB Du Bois, Trinidadian historian and journalist CLR James, and Native American activist and writer Zitkala-sa, as I would like to hear their collective perspective on the last decade or so of history and politics the United States.

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Writer market

The former North County family is turning to a zero-waste lifestyle

On a residential street in mid-San Diego lined with attractive mid-rise homes with well-maintained facades, the property of former Encinitas residents Fredrika and James Syren stands out.

Like a green thumb.

From front to back, the open space that surrounds their property in San Diego’s Talmadge neighborhood flourishes with food-producing flora.

They grow 17 kinds of fruits and berries and 33 different vegetables and herbs, but not all of them at the same time.

“Grass has been a thorn in my side since I got here,” Fredrika said. “You can’t eat the grass, but you can eat the garden.”

The parents and their three children grow much of what they eat, which does not include meat. They supplement their vegetable production with purchases at local farmers’ markets and in stores where they can buy grain in bulk.

All the interest of their approach? Zero waste. They run a household with no reliance on materials that will end up in landfill and contribute to environmental contamination.

It’s one of the reasons they moved from northern coastal county, where James grew up, to live in a more urbanized community in San Diego.

“We thought we had a little more space and lived closer to downtown and farmers markets,” James said. “We go to the farmers markets weekly to buy what we don’t grow here and the Hillcrest Farmer’s Market is one of the best in town.”

The cover of “A Practical Guide to Zero Waste for Families” by Fredrika Syren

(Elena Shur

The family’s pursuit of this lifestyle led to a book, “A Practical Guide to Zero Waste for Families”, written by Fredrika Syren, a professional writer specializing in the environment.

The second edition of the book was published by BBL Publishing, an imprint of Build.Buzz.Launch, based in Dallas, Texas. Media and publishing.

A book launch and signing was scheduled for Sunday, May 1 at the Warwick Bookstore in La Jolla.

Another appearance follows on May 15, from 2-4 p.m., at the Mighty Bin, 2855 El Cajon Blvd., Suite 4, San Diego.

Information on how to obtain the book as well as other Syrens products and advice on topics such as zero waste, composting and gardening can be found on their website,

The 191-page volume covers many topics in detail, including how to go zero waste with shopping, cooking and cleaning, parties, laundry, school supplies and travel.

“It’s the guide I wish I had when I started that would have helped me,” said Fredrika Syren. “I want to help others reduce their waste. This way they have a reference book to consult and research anything.

It features one chapter, “Zero Waste: Confessions of a Teenager”, written by Isabella Syren, their eldest child. She and her brothers Noah and Liam play key roles in the mini-farm.

“Our garden is a classroom for our children,” said Fredrika Syren. “They learn math and science there and they learn patience. If you want to teach a child to do miracles, start a garden.

James Syren added: “It’s amazing when they’re planting the seeds how much more committed they are to the watering. And when it springs from the ground, they are so excited.

Holding a book signing at the Mighty Bin, which bills itself as San Diego’s Zero Waste grocery store, is a great example of why the Syrens chose to leave North County.

The bustling El Cajon Boulevard store is about 10 minutes from their home.

Also, at the time, there was better access to foods sold in bulk so that they could be purchased and collected in reusable cloth bags rather than plastic bags and containers.

In recent years, North County has seen more and more opportunities for households to strive for zero waste.

The Syrens, however, remain grounded in San Diego, not only because it better enabled their eco-friendly outlook. Their children attend the Waldorf School of San Diego, an independent institution with campuses located near their homes.

However, even the school’s program is in line with the family approach since it offers courses on the environment and gardening.

Their lifestyle and ultimately the book are the culmination of a quest started by Fredrika Syren in 2006, when she decided the family should start reducing their carbon footprint.

“Once I became a mom, I realized that climate change is an issue that actually needs a lot of attention because it affects my children’s future,” said Fredrika, a professional environmental writer. . “It made me do a lot of research and I realized that individual action is actually very important.

“So I slowly started making some changes because I became a stay-at-home mom and had a bit more free time. I decided I would do this no matter what.

In 2015, while living in Sweden, where she was born and raised, the couple found the changes saved money. James Syren pioneered the idea of ​​going completely zero waste.

“That’s when we started finding alternatives for whatever we were buying or just stopped buying so we could go on this journey,” he said. “It took several years, but we finally got there.”

Returning to other United States and settling in San Diego, they continued to refine their methods, increasing their independence from mass production culture.

Family techniques have evolved. They use several different methods of composting, including worms and yard waste, while fertilizing with chicken manure and eggshells.

“Composting is so important,” said James Syren, who works in the software industry. “When you throw food scraps in the trash, people think that when they go to landfill, they’re composted and it’s not. It turns into methane gas, which is a terrible greenhouse gas.

Chicken waste comes from about half a dozen poultry that share the outdoor space with a rabbit and a pet dog, and various other creatures attracted to the garden ambiance, such as bees, hummingbirds, lizards, praying mantises, butterflies and garden snakes.

“We coexist with nature,” said Fredrika Syren. “They always say if you don’t have snakes, lizards or bees in your garden, you’re gardening the wrong way.”

Neighbors supported their gardening, they said. Residents bring in their yard waste for composting, while the Syrens and other gardeners swap out excess produce.

The Syrens hope that the book, their example and their awareness encourage others to pursue zero waste.

As Fredrika Syren states in the introduction to her book, “Although zero waste was challenging and often required creativity, we always knew the outcome would be worth it. I knew reducing our waste to next to nothing would benefit the planet, but we were surprised at how much money our zero waste lifestyle saved us.

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