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Comic Relief 1.) Bossypants by Tina Fey (2 copies Overdrive, 2 copies Libby) 2.) Where’d you go, Bernadette by Maria Semple (13 copies Overdrive, 13 copies Libby) 3.) Fear and Loathing in Las Vegas by Hunter S. Thompson (1 copy Overdrive, 1 copy Libby) 4.) Catch 22 by Joseph Heller (3 copies Overdrive, 1 copy Libby) 5.) Naked by David Sedaris ( 3 copies Overdrive, 3 copies Libby) 6.) Yes Please by Amy Poehler (19 copies Overdrive, 19 copies Libby) 7.) Born a Crime by Trevor Noah (29 copies Overdrive, 10 copies Libby) 8.) Dear Girls by Ali Wong ( 5 copies Overdrive, 5 copies Libby) 10.) Is Everyone Hanging Out With Me? By Mindy Kaling (25 copies Overdrive, 25 copies Libby) 11.) Paddle Your Own Canoe by Nick Offerman (1 copy Overdrive, 1 copy Libby) Available only as an eAudiobook: A Confederacy of Dunces by John Peter Toole (2 eAudiobooks Overdrive) Pulitzer Prize Winners 2015-2019 Fiction 2015. All The Light We Cannot See by Anthony Doerr. (7 copies Overdrive, 7 copies Libby). 2016. They Sympathizer by Viet Thanh Nguyen (22 copies Overdrive, 22 copies Libby) 2017. The Underground Railroad by Colson Whitehead. (66 copies Overdrive, 66 copies Libby) 2018. Less by Andrew Sean Greer (27 copies Overdrive, 27 copies Libby) 2019. The Overstory by Richard Powers (27 copies Overdrive, 27 Libby) Nonfiction 2015. The Sixth Extinction by Elizabeth Kolbert. (1 copy Overdrive, 1 copy Libby) 2016. The Black Flags: The Rise of ISIS by Joby Warrick (5 copies Overdrive, 5 copies Libby) 2017. Evicted: Poverty and Profit in the American City by Matthew Desmond. (11 copies Overdrive, 11 copies Libby) 2018. Locking Up Our Own: Crime and Punishment in the American City by James Forman Jr. (copies on order) 2019. Amity and Prosperity: One Family and the Fracturing of America by Eliza Griswold. (2 copies Overdrive, 2 copies Libby) .

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The Pulitzer Prizes 2020 Winne
WINNERS AND FINALISTS 1917 TO PRESENT TABLE OF CONTENTS Excerpts from the Plan of Award ..............................................................2 PULITZER PRIZES IN JOURNALISM Public Service ...........................................................................................6 Reporting ...............................................................................................24 Local Reporting .....................................................................................27 Local Reporting, Edition Time ..............................................................32 Local General or Spot News Reporting ..................................................33 General News Reporting ........................................................................36 Spot News Reporting ............................................................................38 Breaking News Reporting .....................................................................39 Local Reporting, No Edition Time .......................................................45 Local Investigative or Specialized Reporting .........................................47 Investigative Reporting ..........................................................................50 Explanatory Journalism .........................................................................61 Explanatory Reporting ...........................................................................64 Specialized Reporting .............................................................................70
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Form As Theme in Richard Powers' the Overstory
“The tree is saying things in words be- fore words”: form as theme in Richard Powers’ The Overstory di Pia Masiero* Abstract: Richard Powers’ 2019 Pulitzer Prize-winning book, The Overstory, is a very ambi- tious work which purports to raise the awareness on the life of trees proposing an eco- centered way of being revolving around the enlargement of the concepts of agency and crea- tivity. This article focuses on the formal ways in which Powers has strived to give voice to the-other-than human. Specifically, it presents the structuring of the plot according to the ex- tended metaphor of the tree and its rhetorical functioning according to the parabolic form. These macro principles are translated into two micro choices – the positing of a nonhuman narrator and the present as the dominant tense – that sustain and mirror the novel’s thematic concerns. The close readings of the existential trajectories of two female characters open up to a reflection on Powers’ gender politics. Richard Powers’ 2019 Pulitzer Prize-winning book, The Overstory, contains the ingredients that according to the foundational book by Lawrence Buell, The Envi- ronmental Imagination, “comprise an environmentally oriented work” (7), namely, 1. The nonhuman environment is present not merely as a framing device but as a presence that begins to suggest that human history is implicated in natural history. 2. The human inter- est is not understood to be the only legitimate interest. 3. Human accountability to the envi- ronment is part of the texts’ ethical orientation.. 4. Some sense of the environment as a pro- cess rather than a constant or a given is at least implicit in the text.
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100 Best Last Lines from Novels
100 Best Last Lines from Novels 1. …you must go on, I can’t go on, I’ll go on. –Samuel Beckett, The Unnamable 22. YOU HAVE FALLEN INTO ARt—RETURN TO LIFE –William H. Gass, (1953; trans. Samuel Beckett) Willie Masters’ Lonesome Wife (1968) 2. Who knows but that, on the lower frequencies, I speak for you? –Ralph Ellison, 23. In your rocking-chair, by your window dreaming, shall you long, alone. In your Invisible Man (1952) rocking-chair, by your window, shall you dream such happiness as you may never feel. –Theodore Dreiser, Sister Carrie (1900) 3. So we beat on, boats against the current, borne back ceaselessly into the past. –F. Scott Fitzgerald, The Great Gatsby (1925) 24. Go, my book, and help destroy the world as it is. –Russell Banks, Continental Drift (1985) 4. …I was a Flower of the mountain yes when I put the rose in my hair like the Andalusian girls used or shall I wear a red yes and how he kissed me under the 25. It was the devious-cruising Rachel, that in her retracing search after her missing Moorish wall and I thought well as well him as another and then I asked him with children, only found another orphan. –Herman Melville, Moby-Dick (1851) my eyes to ask again yes and then he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down to me so he could 26. The knife came down, missing him by inches, and he took off.
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What Happens When the Bird and the Fish Fall in Love?
Faculty of Arts and Philosophy 2006-2007 WHAT HAPPENS WHEN THE BIRD AND THE FISH FALL IN LOVE? A thematic exploration of identity and racial issues in Richard Powers’ The Time of Our Singing Supervisor: Dissertation submitted in partial fulfilment of the Prof. Dr. Kristiaan Versluys requirements for the degree of ‘Licentiaat in de Taal - en Letterkunde: Germaanse Talen’ by Tessa De Smet ACKNOWLEDGMENTS This dissertation could not have been written without the help and support of a few people. I am particularly grateful to my supervisor, Professor Dr. Kristiaan Versluys, for his encouraging words, helpful comments and constructive feedback. Thanks also go to Romanie for introducing me to the work of Richard Powers, to Froya, Jordi and my parents for their support and unconditional trust (thanks Dad for proofreading!) and to all my friends in Bruges, Ghent and elsewhere for making spare time as carefree and enjoyable as possible! Thank you all! Tessa Ghent, May 2007 CONTENTS INTRODUCTION 1 PART 1 : Theoretical Framework 4 CHAPTER 1: Race 5 What’s in a Name: The Many Meanings of Race 5 A Historical Framework: Past and Present Race Theories 8 A Future Beyond Race? America’s Hopeful Dream 12 CHAPTER 2: Identity (& Race) 16 2.1 Who is it that can tell me who I am? Identity m/Matters 16 2.2 The Persistent Effects of Colour Labelling: Racial Identity 22 2.3 Neither Black nor White yet Both: Crossing Racial Boundaries 28 PART 2 : Literary Analysis 35 CHAPTER 3: Characterisation: A Composition in Black & White 36 3.1 Interracial Literature: A Literary Tradition 37 3.2 The Portrait of a Family: Fish or Bird? 41 3.3 Racial Identity: The Theoretical Models applied 49 CHAPTER 4: Grand Novels have Grand Ideas: Race, Culture & History 55 4.1 Culture: Who Gets to Sing What? 55 4.2 History: Uncanting the can’t 60 4.3 Race: Older Than History and Build to Outlast It 67 CONCLUSION 74 REFRENCES 76 INTRODUCTION Richard Powers, sometimes characterised as ‘the greatest author you’ve never heard of’ (in Flanders §1), was born in Illinois, in June 1957.
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OLLI Spring 2020 the Novels of Richard Powers: an Overview
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English III AP Summer Reading
Summer Reading for English III AP 2019-2020 Welcome to English III AP! In this course, we will read, write, and analyze a variety of nonfiction texts. In the process, you will become more informed about issues in the world. (An issue is an important topic or problem for debate or discussion.) We look forward to meeting you! Purposes: ● To educate yourself about an issue in the world ● To read a nonfiction book over the summer that you both enjoy and that challenges you ● To have a choice about what you read Directions: As you read, notice how the author presents information about the issue, and mark things in the text that seem to be important. You might use the questions below to guide your annotations, but you are not limited to marking only these things. ● Does the text seem to be purely informational, or does the author seem to be making an argument? ● Which parts of the text cause you to feel something about the people or events in the book? ● Which parts of the text help you to trust the writer of the book? ● Which parts of the text make a logical case for something? ● How does the author develop the text? ● Does it tell a story? ● Does it use description and detail? ● Does it compare and contrast? ● Does it explain cause and effect? ● What other modes of development do you notice? ● How is the book structured or organized? ● How does the book challenge or support what you knew or thought you knew about the issue before you started reading the book? During the first week of school, you will write a response to this book and share what you have learned with a small group.
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Addition to Summer Letter
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