Eduardo Lages từ San Carlo Canavese TO, Italy

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11/21/2024

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Eduardo Lages Sách lại (10)

2018-06-25 16:30

131 bài làm văn chọn lọc PTTH 12 Thư viện Sách hướng dẫn

Sách được viết bởi Bởi: Hương Trà

It’s not every day you see a burning man fall out of the sky. When Theia Alderson witnesses that exact sight she almost convinces herself it was all a dream….or more like a nightmare, because there’s a huge scorch mark on her lawn the next morning from where he landed. From that moment there’s a shift in the air, announcing something strange and wrong is starting to take place at Serendipity Falls. When Theia dreams that night of a beautiful boy at a party accompanied by skeletons, serenaded by faceless musicians, she couldn’t have been more shocked to find that same boy, Haden, at her school the next day. But what does he want with Theia? What is it about him that makes Theia want to be with him so badly. She knows it’s dangerous, but she can’t help herself… Falling Under is a novel that in the end I had a love/hate relationship with. There was a lot in it that I found very interesting. The world of Under – where Theia would meet Haden in her dreams, was completely fascinating in a dark twisted kind of way and excellently creepy. It made me think of Alice in Wonderland, Tim Burton style but even darker. I also really loved the concept of the demons and the travelling between worlds (which was done so well), and was very relieved that there wasn’t a love triangle in sight (phew). The writing was easy to read and drew me in to the story, meaning that even when I put it down I was still thinking about it, itching to get back, wanting to know what would happen next. What disappointed me were the two main characters. I just wasn’t sold on their “love” for each other – their attraction was based on…I don’t know? Haden was spying/stalking Theia for a while before travelling to her world to find her, and Theia likes Haden based on the rush of emotions she feels when she sees him. This is despite his hot/cold emotions or that he’s kind of ass to her for a lot of the book in an attempt to push her away. It also felt a bit too Twilight for me. From Haden calling Theia ‘lamb’, to the need to hold back on affection, the (I’m paraphrasing here) ‘you should stay away from me if you were smart’ and ‘I’m a bad guy but I can’t stay away from you’, among other things. Heck, at one point even Theia acknowledges the conversation is heading in a Twilight direction, with even a bit of New Moon seen later on in the book. Although, let me tell you their kissing scenes were excellent. You’ll probably need to stop and fan yourself for a minute because their sexual tension practically sizzles on the page. Theia, we’re often told, is level headed and rational thanks to her strict upbringing from her cold father, but all we see is Theia making totally irrational choices when it comes to Haden. Other than dating a guy who came to this world to do her harm (which she doesn’t seem to factor in), she basically knows nothing about him since he’s perpetually being cryptic and mysterious, at least when he’s not busy being jealous or an ass. Yet in a short space of time she’s in love and willing to lay down her soul for him. Why?? Other than give you attention and a fuzzy feeling in your gut, what’s this guy actually done for you lately Theia? She should’ve shown Haden the door and gone for someone like Gabe. Anyway, enough with the negativity, as the storyline throws in an interesting twist at the end it really gets things going and we’re left with quite a cliffhanger. Even though Mara is the bad guy in the story, she’s a total badass and I was quite interested by how her mind worked and what her next move will be. Falling Under is a dark and twisted love story and if you’re a hopeless romantic, you’ll probably love it. If you’re a bit pickier with your love affairs, this might not be to your liking. Only one way to find out…

2018-06-25 22:30

ETS - 6 Chiếc Mũ Tư Duy Thư viện Sách hướng dẫn

Sách được viết bởi Bởi: Edward de Bono

~Reprint from March 2006~ NONFICTION BOOK REVIEW © Jenn Sommersby Young ~ 2006-2011 SIN AND SYNTAX: How to Craft Wickedly Effective Prose by Constance Hale Pub. Broadway ISBN 0767903099 / 978-0767903097 2011 update: available for Kindle There are three absolutes for the reading writer upon his/her decision to ingest Constance Hale’s Sin and Syntax: (1) Buy your own copy. Do not borrow the library’s edition, my friend, because you will not be able to resist the urge to dog-ear, highlight, scribble, or underline the imperatives dished out as canapés before the brandy. Wordsmiths rejoice and pedants repent, Hale lays out the rules and then rips wheelies all over them. (2) Read through the book once, allowing your pen to merely fondle the text, consenting to only sporadic gratification with the occasional “*” or “!” Savor the book. Force yourself to pay attention. Don’t be scared or intimidated by Hale’s genius. (Thank heavens there is SOMEONE who understands direct objects, participles, dangling whatzits and thingamajigs). And don’t get caught up on the sentence diagramming stuff or else you might scurry away in terror, leaving your poor pen unfulfilled and frustrated. (3) Read through a second time and take as many notes as possible before writer’s cramp tangles your fingers. Your pen will bask in the afterglow and might even buy you dinner. Adroitly constructing her tower block by block, Hale pours the foundation in the sections she calls Bones (a bit of a remedial in grammar school tedium) and Flesh (explaining the connection between the grammar and the prose). But if you snooze, you lose. Hale quickly moves past the snore-a-thon “sermonettes” and dives headlong into the power tools you need to fortify your writing, progressing ever onward and upward to the higher stratum that will house the plumbing and ventilation systems of colorful, imaginative prose. Hale is a stylistic seductress. The most delicious pieces of each chapter, Cardinal Sins and Carnal Pleasures (honestly, who could resist flipping past the teachy-preachy parts to sneak a peek into the book’s naughty bits?) give context to the earlier lessons by exploiting real world examples of bumbled goober-speak. One of Hale’s favorite targets is President Bush Sr., though she doesn’t discriminate—politicos, academics, and pompous “purple prose” authors are fair game. And once she demonstrates why, it becomes so obvious! Hale warns against treading in “The Danger Zone” the Stuffed Shirts seem to frequent, or you’re risking grammatically inept, slobbery writing—and that’ll do nuthin’ but make yuh sound dumb (or Texan). But Hale doesn’t just make fun of stumbling speakers and ballooned blowhards. She regularly injects examples of Mark Twain’s spirited prose to illustrate her maxims, inducing a few ‘So-that’s-what-she-means!’ sorta moments. Even Thoreau was a wordy fella and often mucked through six or seven rewrites before lighting on a final version. “You’d be surprised how little you need to get your points across. Strip sentences down. Clear out the clutter,” Hale writes. ‘Nuff said. Hale dispels some common controversies in written English (Never end a sentence with a preposition, Never split infinitives) and shovels advice on the proper use of grammatical Malvolios (who vs. whom, bad vs. badly, and the English preoccupation with and chronic abuse of the word ‘like’). Though she diagrams sentences with wild abandon and laces the boudoir with antecedents, high energy verbs, and saucy nouns, Hale’s kindler, gentler side entices writers to find the Music, Voice, Lyricism, Melody, and Rhythm in their work. Grammatical accuracy, while a noble objective, should not overrule the natural voice and rhythm in your writing, especially if your characters speak in dialects or distinctive language sets. If I had more room, I would eagerly compile lists of Hale’s Do’s and Don’ts, the words to politely avoid and words to torch at all costs, and the multiple examples of beauty risen from the swamps. The writer who absorbs Hale’s opus will, at first, wrestle in fits and starts with old habits fighting for their last sucks of oxygen. Let them suffocate. Sin and Syntax is a style manual for the modern writer, a diuretic for written bloat, preoccupied with a sole objective: truth in prose.

Người đọc Eduardo Lages từ San Carlo Canavese TO, Italy

Người dùng coi những cuốn sách này là thú vị nhất trong năm 2017-2018, ban biên tập của cổng thông tin "Thư viện Sách hướng dẫn" khuyến cáo rằng tất cả các độc giả sẽ làm quen với văn học này.