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#91 | |
Grand Sorcerer
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#92 | |
Grand Sorcerer
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I haven't gotten to it but I'm pretty sure I have it around. That whole "what does the hero do after saving the world" theme is one of the things that hooked me on Heinlein. (Second book of his I ever read was BEYOND THIS HORIZON. I really identified with his protagonist on that one. ![]() |
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#93 | |
Maria Schneider
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#94 | |
Wizard
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As for awards, they say a lot more about the people who give them out than they do about the authors they give them to. |
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#95 | |
No Comment
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Maybe because writing was clearly a job to him, and not a means to becoming a special snowflake (see I brought it back on topic!). |
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#96 |
No Comment
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#97 |
Grand Sorcerer
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#98 |
Philosopher
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Publishers are in the business of selling books, not in curating art. If you want to work with them, they have a degree of power. They can tell you what to change, and drop you if you won't change it. Of course, if you don't want to give them that power, then you can keep that power for yourself and self-publish. Your choice.
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#99 |
PHD in Horribleness
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#100 |
Zealot
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Back to those damn lists: I think if one was to draw a list of writers who could dramatize political themes in fiction effectively, then - on the basis of three or four of her works - Le Guin would have to come near the top.
I'd also include Tolstoy and Victor Serge in that list. It is a rare gift, and in her best works, Le Guin demonstrated it. |
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#101 | |
Grand Sorcerer
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#102 | |
PHD in Horribleness
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Heinlein (when he isn't being a perv)? |
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#103 |
Grand Sorcerer
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Dickens' Tale of Two Cities. This is one I really should read but never have.
Arthur Koestler. And a boatload of Soviet dissedent writers from Solzhenitsyn on down. I used to read them with fascination when the Soviet Union existed, but lost some interest when the novels become purely, or mostly, of historical interest. |
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#104 |
Fanatic
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#105 |
Wizard
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