Tiff R từ Krasnyy Rog, Bryanskaya oblast', Russia

stephanyreyes

04/29/2024

Dữ liệu người dùng, đánh giá và đề xuất cho sách

Tiff R Sách lại (10)

2019-11-21 23:30

Đọc Tuyên Ngôn Của Đảng Cộng Sản Thư viện Sách hướng dẫn

Sách được viết bởi Bởi:

Orgasmic! 6 stars! This book deserves an extra star! See full review at The Fairytale Nerd. MAIN CHARACTERS: This book is the story of 16 year old Portia. She has straight black hair, black eyes, thick lashes, and pale skin. (Nope, not goth, just born that way.) She is a daughter of a warlock, who is the high priest of their coven. But she didn't know about this witchy thing until she turned sixteen. Then there's Vance. Oh Vance, where do I start? Obviously, he is Portia's love/lust object in this series. Messed up dark brown hair. Blue eyes. Holey Levis. Motorcycle. You get the picture. He is a warlock, and belongs in the same coven as Portia. He is only eighteen years old, but he his powers are quite advanced for his age. In school, Vance is a loner, and has a bad boy reputation. He is under the protection of the coven as they are hiding him from his evil father. All I can say is that Vance and Portia have an INSANE physical, mental, psychological, and emotional connection with each other. BEAUTIFUL, really. An insanely beautiful connection with each other! WHAT THE BOOK IS ABOUT: The story starts with Vance's narration of when he first laid his eyes on Portia. *snap, crackle, pop!* Sparks flew! It's just too bad after he found out her name, he realized couldn't talk to her - not yet. She is the daughter of his benefactor, the warlock who had offered him protection, and he kind of promised he would stay away from her until Portia knows of her witchy heritage. Nope, this isn't one of those alternate POVs books. The rest of the book would be narrated by Portia. She was now turning sixteen. On the night of her birthday, her family informed her of her heritage. She didn't believe her at first, but as her powers start manifesting, she eventually accepted that she is a witch, and began embracing who she is. So now that she's sixteen and aware of who she really is, Vance can finally interact with her. And by interact, I mean sweep her off her feet like some knight in shining armor, or rather shiny black motorcycle. And their beautiful romance begins. One word: SOULMATES. That's what they are! ** spoilers ** Vance can read Portia's mind. They have this way of knowing what happening to the other even if they are not together. That kind of thing. But of course, what's a story without conflict? Vance's father found out about where he is, and wants Vance to be evil and join them instead. Vance was kidnapped, and Portia must do everything, and give everything to save the man she loves. ** spoilers end ** LOVE: Vance and Portia's relationship. It's characterized by selflessness, tenderness, and passion. Magical, literally. I also love Portia's grandmother. She's actually the high priestess of their coven. She's the one teaching Portia their ways. She's very understanding of Vance and Portia's magnetic connection with each other. Vance and Portia made out passionately in front of her, and all she said was they were making her blush. How cool is that? NO LOVE: The cover. It could be better. Other than that, this book is perfection! FAVORITE CHARACTER: Vance, of course! He's my new book crush. And like Portia, he swept me off my feet! He's sexy, protective, and romantic, and you can't blame me for falling in love with him! After all, I'm just a girl!

2019-11-22 01:30

Gáy Người Thì Lạnh Thư viện Sách hướng dẫn

Sách được viết bởi Bởi: Nguyễn Ngọc Tư

Some books are just bad. Maybe the writing is sub-par. Or the ideas are stale or uninteresting. These books are easy to ignore. If you stumble upon one, you feel no guilt over relegating it to a darkened corner, re-gifting it, or returning it to the library unread. Then there are books that are bad despite decent writing and interesting ideas. It is this second category that really aggravates me. Sex and Real Estate, for example, has a provocative topic: the cultural significance of 'house' as an archetype and model. Marjorie Garber can write very well. But these decent components melded together to create a monstrously annoying book. I think one of my biggest issues with Sex and Real Estate is the structure. (If you gave me a box of red pens and a pair of scissors, I could probably make this book 25% better.) Most of the chapters are organized around different metaphors: House as Mother, House as Beloved, House as History, etc. This seems like a logical way to approach such a complex topic. However, Garber never takes time to declare her scope. She does not give an indication of what time frames she wants to concentrate on. Nor does she specify which cultural contexts she will examine. It seems as though most of her examples represent US and British cultural practices, but meshing them together without any acknowledgement is just sloppy. Her case studies are equally slap dash, jumping from Victorian literature to The Housesitter (a Steve Martin movie she seems obsessed with). It becomes very difficult to sift through these disparate, and seemingly random, anecdotes and case studies. Her main points get lost in the ceaseless shuffle of arbitrary references to houses and homes. Sex and Real Estate is also structurally weak because Garber moves between discussions of architecture, furniture, and behavior as though these three areas of research are interchangeable. They are NOT. But worst of all, the actual thesis guiding this frustrating book is not revealed until the very last page. I would not let a high school student get away with that. A bright scholar who has taught at Harvard should be confined in a dingy cell for at least one afternoon for such an offense. Let me explain just why it is so problematic to have Sex and Real Estate's thesis on the final page. As previously mentioned, the book's core chapters seem to focus (if that word can even be used in reference to this book) on metaphors. Because metaphors are organizational patterns that often reflect ideological or cultural trends, this trajectory makes sense. And it was one of the few things I liked about the book. Well, on that last page, Garber states that her whole point has been to demonstrate that houses cannot be contained by metaphors: “Throughout these pages, it has been my contention that the house can be a primary object of affection and desire – not a displacement or a substitute or a metaphor” (207). Really?? Well, why didn’t you say so? The oppositional relationship between the 'reality' of the house and its metaphors was never mentioned. Was I supposed to guess that she was trying to deconstruct said metaphors, despite the fact that her case studies all seem to justify those very metaphors?? It was a baffling revelation. And one that makes me reluctant to read any of Garber's other works. It saddens me that this woman has taught and continues to teach college students how to write and conduct research. Either she is clueless, or she's a hypocrite and doesn't take her own advice. Now I have a headache.

Người đọc Tiff R từ Krasnyy Rog, Bryanskaya oblast', Russia

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.