Litary Wed, 28 Sep 2022 05:42:05 +0000 en-US hourly 1 Litary 32 32 The Best Fiction Books That Can Boost A Child’s Self-Confidence – The Upcoming Tue, 27 Sep 2022 22:43:33 +0000

The Best Fiction Books That Can Boost A Child’s Self-Confidence

September 27, 2022


Having self-confidence can help a child make friends, do well in school, and cope well with the various challenges they may encounter in their daily lives. However, there is a worrying increase in self-esteem issues in children, as research from the Center for Longitudinal Studies indicates that low self-esteem, as well as depression and anxiety in children, are at their peak. highest level in a decade. Some factors that are believed to affect UK children’s self-esteem include cyberbullying, negative labeling and the pandemic, among others.

Finding ways to boost a child’s self-confidence and mental health should be every parent’s priority, and one of the best ways to do this is to encourage children to read for fun. There is scientific evidence that shows that reading can help improve self-esteem. Some books can even help boost a child’s self-confidence because the characters in these novels demonstrated tenacity and perseverance in the face of adversity, as well as the importance of being true to yourself. Here are some of the best fiction books that can help boost a child’s self-esteem.


A UK study found that spending just 30 minutes a day reading for pleasure can improve self-esteem, as readers are 10% more likely to be confident than non-readers. Additionally, readers can also form stronger connections with friends and have greater empathy for others. These are the reasons why giving children a head start in reading is crucial, so take the time to teach your children to read and develop a love for reading. You can do this by setting an example so that your children are encouraged to pick up a book. You can also provide fun books that will inspire your child to be their best self, such as Roald Dahl’s classic, Matilda.

In the book, Matilda, who is a bookworm herself, is not only an outsider in her family, but also faced oppression at school from a figurehead. authority. But Matilda remained kind and faced her problems head-on, and she also learned to control her emotions by channeling them into her special powers. Best of all, despite being young and burdened with problems, she exudes confidence as she makes it her business to stand up for herself, whether faced with negativity or abuse. Matilda teaches children that no matter what cards you face in life, you can make decisions that can change your life for the better.

Pippi Longstocking

Pippi Longstocking, who is the main character in a series of children’s books by Astrid Lingren, is a very independent, playful and imaginative child, and she also knows that it’s okay to be yourself and to be yourself. to like. In one of the books, Pippi walks into a store to ask about a sign advertising a certain product because she can’t read very well. It turns out the sign is for a jar of freckle ointment, and when the shopkeeper points out that Fifi is freckled, implying that she needs it, the girl tells him that they don’t bother her at all and that she likes her freckles a lot. In a world of ever-changing beauty standards, Pippi teaches everyone that there’s nothing wrong with how you look.

Anne of Green Gables

Lucy Maud Montgomery’s feisty heroine, Anne Shirley, is a longtime inspiration to young readers. Although she has a tragic past, she refuses to be a victim of her past and instead focuses on all that is good in her life. Also, she has no problem speaking her mind if she feels someone has wronged her. Anne also showed readers that it’s okay to be passionate about the things you love. It teaches children that even if they take up hobbies that may not be popular among others, or dress differently than their peers, they should be proud and not hide who they are.

Books can be a young person’s refuge during difficult times. Certain novels and the characters in them can also become inspirational as they can uplift the spirit and inspire confidence and strength in readers. Consider letting your children read one of these books to build their confidence so they can thrive and be happier as they grow.

Editorial unit

]]> The animated film adaptation of the 12th century poem “The Knight in the Tiger’s Skin” will be released at the Laemmle Theater Tue, 27 Sep 2022 20:59:01 +0000

A new animated film “The Knight in Tiger Skin” by Mirza Davitaia of GI-Films will be released at the Laemmle Theater on October 7, 2022. It is the first adaptation of Shota Rustaveli’s medieval poem.

The poem “The Knight in the Panther’s Skin” is one of the greatest pieces of world literature and is considered by many historians to be one of the most important poems in the history of medieval literature.

“I am a visual artist and filmmaker who moved from Eastern Europe to the United States eight years ago. I come from a very ancient and unique culture. For centuries, Georgia has been at the crossroads of civilizations and has been influenced by the East as well as the West. Many compelling stories originated in the Caucasus region and are still waiting to be discovered by Western audiences,” says writer and director Mirza Davitaia .

“Some scholars have suggested that Rustaveli’s poem ‘The Knight in Panther’s Skin’ as well as Gorgani’s ‘Vis and Ramin’ may have influenced the legend of Tristan and Iseult and even Romeo and Juliet.

“My mission is to bring this incredible story to a wider audience. Even so, I have changed many things to make it more relevant to a contemporary audience, the main plot remains the same as in the poem.”

The film was made with an experimental approach by combining rotoscope, traditional 2D and 3D animation techniques.

Mirza Davitaia is a filmmaker who has been writing, directing and producing animated and live-action films since 1993.

In 2016, Mirza created the graphic novel “The Knight in the Tiger’s Skin” (AKA Prince of India). The book was published by top Georgian publisher “Artanuji” and was nominated by the Georgian public broadcaster as the best literary work of 2016 for the “Best of the Year Award”.

In previous years, Mirza has produced and written several live-action films, including 2021’s ‘The Narrow Bridge’, 2020’s ‘The Last Fortress’ and 2019’s ‘Anton’ which was directed by the Oscar winner and the Golden Globe-nominated director, Zaza Urushadze. In 2010, Mirza produced an action thriller “5 Days of War” starring Andy Garcia, Rupert Friend, Val Kilmer and other top Hollywood actors. In 2013, he co-produced a comedy “Jacky in Women’s Kingdom”, with Charlotte Gainsbourg and Michel Hazanavicius.

Mirza Davitaia was born and raised in Georgia. Between 2004 and 2012, he was a Member of Parliament, Chairman of the Parliamentary Committee, Deputy Minister of Culture and Protection of Monuments, as well as Minister of State for Diaspora Issues.

From 1992 to 2000, Mirza studied animation, illustration, graphic design and fine art at the fine arts academies of Tbilisi, Georgia and Nuremberg, Germany.

Link to the trailer: “The Knight in the Tiger Skin” – Trailer – YouTube –

Learn more about GI-Films at:

Tickets:®id=9& BWW2022&utm_medium=referral&utm_campaign=article&utm_content=bottombuybutton1

Whistler Writers Fest Celebrates Literary Arts in Fall Colors — Stir Tue, 27 Sep 2022 19:10:14 +0000

Much like a book club, the festival launch events are sure to spark conversation and camaraderie. Highlights of October 13 include the opening night at the Squamish Lil’wat Cultural Center featuring Canada’s top independent writers. A brand new event follows; Sharing Traditions: An Evening of Oral Storytelling features Tsawaysia Spukwus (Squamish Nation), Tanina Williams (Lil’wat Nation) and eight local storytellers. Don’t miss this opportunity to learn and experience the beautiful tradition of oral storytelling, historically practiced in winter when people had more time to relax and share stories.

The beloved Book Lover’s Literary Fair on October 14 brings that same community feeling to the mountainside festival. Journalist and author Marsha Lederman will provide a thoughtful conversation about her recently published memoir, Embrace the Red Stairs: The Holocaust, Once Suppressedwith festival founder Stella Harvey.

On October 14, it’s time to raise a glass at the Cabaret Littéraire: We’re Back, Live Baby!. Hosted this year by local scribe and musician Stephen Vogler, this favorite festival features readings from some of Canada’s most beloved and emerging authors, including Amber Cowie, Joseph Dandurand, Norma Dunning, Gary Geddes, Tamar Glouberman, Hasan Namir, Mari -Lou Rowley, and Shyam Selvadurai, all accompanied by live music from the West Coast Front Band. Winners of the Whistler Independent Book Awards will also be announced just before the literary cabaret begins.

Sharing Stories Together: A festival celebration and fundraiser come together over light bites, wine and live music on October 15. That same day, the festival’s flagship gala, on Saturday evening, offers an unmissable conversation between the authors Méira Cook (The complete disaster) and Iain Reid (we spread). These brilliant minds will talk about everything from community and relationships to identity and art, giving attendees something to sleep over.

For a relaxing start to the day, there’s The Sunday Book Talk: Coffee and Conversation on October 16. With fresh breakfast pastries, coffee or tea, and fascinating insight into what makes great authors tick, it’s a leisurely way for guests to reawaken their bodies and minds. Moderated by Wayne Grady, the all-new session features Cody Caetano (Half-Bads in White Regalia), Lisa Moore (That’s how we love), Heather O’Neill (When we lost our minds), and Jamal Said (My way to Damascus).

Vikram Vedha box office prediction: Hrithik-Saif movie to replace Ponniyin Selvan 1 in North, set to open at Rs 15 cr on day one Tue, 27 Sep 2022 11:05:49 +0000 The audience showed up for Ranbir Kapoor’s Alia Bhatt and Brahmastra, giving a bollywood under siege a little hope. The question now is whether they will again vote with their feet for Vikram Vedha by Hrithik Roshan and Saif Ali Khan and Mani Ratnam Ponniyin Selvan 1 this Friday. Film pundits are confident that this week’s releases will bring in big bucks at box offices, but in their respective markets, Vikram Vedha in the North and Ponniyin Selvan 1 in the South.

What puts Vikram Vedha above Ponniyin Selvan 1 in the northern circuit are its lead actors, Hrithik and Saif, who have greater appeal to Hindi-speaking audiences. Film exponent Akshaye Rathi noted: “Hrithik is the last real blue superstar we had in hindi cinema fraternity. There is a possible audience that comes to cinemas just because Hrithik’s face is on the bill. This does not happen to the young actors who followed him. His presence in the film and his arrival on the big screen right after War almost four years ago is certainly something most people are excited about.

If things go as film trade pundits expect, we’re looking at a Rs 15 crore opening for Vikram Veda. But film producer and trade expert Girish Johar thinks that number could very easily have been Rs 20 crore if the makers had come up with a better marketing strategy. He said, “I thought Vikram Veda’s promotions would be going full steam ahead, but the marketing push is a bit below expectation. Advance reservations are a bit above average, but nothing out of the ordinary. However, he is “optimistic” about a good collection for the first day of the film.

Compared to Vikram Vedha, Ponniyin Selvan 1 doesn’t have as much buzz in the North although it is planning a “historic” opening to the South. Akshaye Rathi felt that the film was not of interest to northerners because “it is a historical piece of Tamil literature. It is a story that all children in Tamil Nadu know.

He said that Ponniyin Selvan is one of iconic works of Tamil literature. But, in his opinion, “both movies should work really well to bring joy to the movie industry.” According to Girish Johar, Ponniyin Selvan 1 could open at around Rs 2 crore in Hindi-speaking states.

One factor that will help both Vikram Vedha and Ponniyin Selvan 1 to hit the bucks is reduced ticket prices, courtesy shows during the National Cinema Day celebration. Cinema tickets were priced at Rs 75 across all cinema chains to celebrate national cinema day. Rathi said, “The price in cinemas is not what it was for National Cinema Day, but it has been kept very reasonable to make it accessible to the widest possible audience. These are the factors that will allow Vikram Vedha and Ponniyin Selvan 1 to do extremely well.

Girish Johar added, “After the celebration of National Cinema Day, ticket prices have been reduced by 10-15%. I think it gave exhibitors a certain feeling that you can’t charge more and that you have to be realistic in the field. Now, after the success of Brahmastra, this weekend’s box office result will give a clearer picture of the mood of moviegoers nationwide.

Six books that explore loss through poetic means ‹ Literary Hub Tue, 27 Sep 2022 08:56:12 +0000

When my father committed suicide in December 2009 and I felt lost in grief, I found myself reading many books to better understand my experience. In the middle of reading, I also started writing. The work I did in this first period became Sinkhole: A Legacy of Suicideeven though it took me a few years to conceive the book and many more to finish it.

Over the next ten years, I studied grief as both a reader and a writer. Grieving is a messy and complicated process, which is not easy to tell. In my own writings, I was often bewildered by the task. As a reader, I was sometimes frustrated with how certain books made the story arc too slick, too sentimental, too melodramatic, or too wordy. As a first-time poet working in prose, I wanted to cling to lyricism, I wanted to embrace brevity, and I wanted to express emotion in as succinct form as possible.

Here are six books by writers with similar goals, books that explore loss through poetic means, and books in which I have found solace, inspiration, and profound instruction.


Catherine Savage, Frosted glass: a test
(coffee press)

In this highly lyrical and nuanced book-length essay, Kathryn Savage mourns her father’s death from gastric cancer as she searches for answers in the trash of a polluted industrial site in Minneapolis where she grew up. What begins as a personal investigation quickly broadens into a fuller ecological investigation conducted by a writer with a fierce and painstaking attention to language. Savage uses extensive research and journalism to study brownfields and the Superfund site in his commentary, but much of the book’s power points inward, giving readers an intimate insight into the flexible, authoritative spirit of the writer.

Mourning sequence

Prageta Sharma, Mourning sequence
(Vague Books)

Mourning sequence, Sharma’s third collection, traces her husband’s short-lived battle with cancer and the year after his death. Sharma sifts through the rubbish of her lost marriage with surprising candor, revealing both anger and anxiety at her husband’s absence. Although the book marks the stages of Sharma’s grief, time is confused in the narrative and grief is depicted as a complicated and fluid state. “I was a fringe cord stuffed with storytelling,” Sharma writes at the start of the book, “and with sensitive throbbings of sentimentality in search of a plunger: I probed each lyrically tangled course, unfeminine but finding solace in her sewing.”

Me, the beyond: Essay on the time of mourning

Krista Prevallet, Me, the beyond: Essay on the time of mourning
(Test press)

Written over a period of six years after the death of his father by suicide, Krista Prevallet Me, beyond is an unflinching look at the grief and confusion often felt by those who have committed suicide. Prevellat, known for her experiments with form, builds in this work a narrative from fragments, alternating between the language of a police report and the lyricism of poetry, embodying the entanglements to which Prevallet refers in his definition of the elegy: “The afterlife is a tidy bundle that presents a simple truth,” she writes. “Elegy is the complexity of what is actually left behind.”

Sorrow is the thing with feathers

Max Porter, Mourning is a thing with feathers: a novel
(Graywolf Press)

The beginnings of Max Porter Sorrow is a thing with feathers– part fable, part novel, part essay – chronicles the years following the tragic death of a woman from the alternate viewpoints of her children, her husband (a scholar of Ted Hughes) and a crow who enters the home and helps guide the family through their lives. sadness. Crow speaks in a sort of poetic verse and ties together this weird and fantastical story, which also happens to be an in-depth examination of heartbreak. Insanely inventive and difficult to characterize, this book will be of particular interest to readers who are fans of gender experimentation.

Chimamanda Ngozi Adichie, Notes on bereavement

Written in the wake of the death of Chimamanda Ngozi Adichie’s father in 2020 (at the height of the COVID-19 pandemic), this stripped-down, meditative book focuses on the early and acute stage of bereavement, which is often difficult to understand and deal with. describe. Adichie approaches the subject of her father with the eye of a novelist – painting a vivid and loving portrait of her father both as a character and as a man – but she also employs lyricism in her search for the language of her pain “How is it that the world goes on”, she writes, “inhaling and exhaling without change, while in my soul there is a permanent dispersion?

Victoria Chang, Dear Memory: Letters on Writing, Silence and Grief

Victoria Chang, Dear Memoir: Letters on Writing, Silence and Mourning
(Milkweed Editions)

In her first non-fiction work, poet Victoria Chang Dear memory explores the connections between grief and memory in a collection of found letters, poems and collages. Chang writes about his mother’s death, his father’s dementia, and his family’s struggle to talk about trauma, racism, or their past. Chang’s letters question this inherited silence by directly addressing the ancestral dead of Chang. She writes to ask questions that have become urgent following the death of her mother. Chang’s text is interspersed with striking collages that use family photographs, handwritten documents and dialogues that make for an unforgettable reading experience.



Sinkhole: A Legacy of Suicide by Juliet Patterson is available through Milkweed Editions.

]]> Earth Matters: Picture books can help us talk to kids about climate change Mon, 26 Sep 2022 16:35:44 +0000

Talking to kids about the climate crisis can feel overwhelming. Where do I start? What if I worried them?

The Picture Books take major events and otherwise chilling subjects and bundle them into approximately 32 pages of art, context, and connections that we share together. Picture books – along with novels and comics – are incredible tools for generating empathy and can help in climate conversations by keeping us focused on facts, empowerment and action.

In his essay, “Mirrors, Windows, and Sliding Glass Doors,” education professor Rudine Sims Bishop explains, “Literature transforms human experience and reflects it back to us, and in that reflection we can see our own lives and experiences as part of the greater human experience. Children see literature as a means of self-affirmation – as mirrors of themselves, windows to other worlds, and sliding glass doors that invite you into those worlds.

When we feel connected, empathy tends to come more easily. Like windows, mirrors and sliding glass doors, picture books teach compassion for the most marginalized on our planet whose lives are already upended by the climate crisis: the underserved and homeless, the children of world, even endangered animal populations.

When looking for climate books, look for titles from Indigenous creators and activists who do the work, and lead conversations with compassion. Do not be afraid that climate change affects us and will affect us all, and that we all deserve a safe and healthy future.

Choosing climate change picture books may seem simple – just go to the science or nonfiction sections and pick up books with lots of text and data. But it’s not that simple: each reader has a privileged balance between text and image that allows them to surrender to a story and get carried away.

Data-rich picture books like “What a Waste” (French) and “A Kid’s Book about Climate Change” (Artis/Greenspan) work well for children who sit with books for long hours. Others will be drawn to Rahele Jomepour Bell’s vibrant illustrations in “To Change a Planet” which author Christina Soontornvat wrote to “explain climate change to [kids] with truth and also with hope.

Children struggling with anxiety and older readers may find it easier to approach climate change through the sliding glass door: escaping to alternate futures and worlds to learn more about their own. Graphic novels “AstroNuts” (Scieszka/Weinberg) and “CatStronauts: Mission Moon” (Brockington) send hilarious heroes to seek out other planets to support human life. “The Marrow Thieves” (Dimaline) and the Island Book series (Dahm) question and condemn the colonization of “new” lands, challenging readers to uncover their past and refuse to repeat it.

Once they know how and why the world is changing, readers can understand why its beauty is worth saving.

“The Bear Report” (Heder), “Many: The Diversity of Life on Earth” (Davies/Sutton), “Where’s Rodney? (Bogan/Cooper) and “My ocean is blue” (Lebeuf/Barron) share the majesty of the outdoors and bring children closer to our planet’s biodiversity. The child characters of “Hoot” (Hiaasen), “Zonia’s Rainforest” (Neal) and “Luz Sees the Light” (Davila) are inspired by and involved in environmentalism.

The future of humanity depends on abandoning the perfection and individualism demanded by white supremacy and capitalism and building a society based on mutual aid.

Mutual aid is the exchange of resources for mutual benefit – taking responsibility for community care to change political conditions. Books like “We Are Water Protectors” (Lindstrom/Goade), “I Have the Right to Save My Planet” (Serres) and “Green Green: A Community Garden Story” (Lamba/Lamba/Sanchez) remind readers that the change starts with us.

Young people may not feel empowered because they can’t vote or run for office, but they can change the world by speaking out against injustice and sharing food with a neighbour. “The Queen on Our Corner” (Christopher) and “Our Little Kitchen” (Tamaki) challenge children to share resources and see the value in everyone around them, including those who have less than ‘them.

“Milo Imagines the World” (Robinson/de la Pena) and “Dessert Island” (Zhu) teach readers how privilege and prejudice can dictate and distort our view of the world. “Better Than New / Mejor Que Nuevo” (Broder/Buckley) and “I Like Old Clothes” (Hoberman) are about reducing, recycling and seeing the potential of used items. If adults leave children a planet to grow old on, children can build a more hopeful society that prioritizes the collective good.

Picture books about respecting and unpacking big feelings can better prepare us for difficult conversations and practicing empathy. “The Girl and the Wolf” (Vermette/Flett) and “What do you do with a problem? (Yamada/Besom) shows children that they have courage and strength within them that will only grow stronger as they grow. “Here and now” (Denos/Goodale) and “Your mind is like the sky” (Ballard/Carlin) can guide this growth through mindfulness. “After the Storm” (Stmple/Yolen) reminds us that hard times are over and our loved ones are there to help.

Our younger generations inherit what we leave behind: be it love and respect for the natural world, and the tools to build communities of care and hope. And picture books are here to help!

Allie Martineau (she/they) is the communications and marketing coordinator at the Hitchcock Center for the Environment, and an artist and book reviewer with a master’s degree in children’s writing from Simmons University. She thanks Friends of the Eric Carle Museum Bookstore for their help in compiling the list of books for this article, which you can find in its entirety at along with works cited.

Earth Matters has been a project of the Hitchcock Center for the Environment for 13 years. Amid the pandemic, the Hitchcock Center has adapted its programming and has a sliding scale fee structure for families facing financial hardship. To help the Hitchcock Center during this difficult time, consider making a donation at

Waste Wrapping Films Market Trends 2022 and Key Players Analysis 2028 – Trioplast, Coveris Holdings, Reo-Pack, Cross Wrap – The Colby Echo News Mon, 26 Sep 2022 05:17:36 +0000

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Slow-Motion Crime Thriller Smells Boredom E! News UK Mon, 26 Sep 2022 04:59:12 +0000

Language: German with audio options and English subtitles

A cop desperate to regain his sense of smell is ready to take the help of a mysterious perfumer, whose obsession with creating the perfect perfume will drive him to any extreme. Writer-director Nils Willbrandt’s German thriller, titled Der Parfumeur in the original language, is inspired by Patrick Suskind’s classic fantasy novel Perfume: The Story Of A Murderer, which has already seen several adaptations on big and small screens, including Tom Tykwer’s 2006 psychological thriller of the same name and the 2018 streaming series Perfume starring Friederike Becht.

Willbrandt and co-writer Kim Zimmermann drew more directly from the 2018 series than from Suskind’s novel. Since Le Parfumeur tells more or less the same story in 96 minutes as the series did with a lot more nuance over six episodes, you wonder if the film was necessary and, more importantly, why was it dropped on the same OTT platform where the series is available in India.

The challenge for a filmmaker adapting a novel is often to judge how much of the book’s tone he should retain for the screen and how far he should stray from it to create an idiom suitable for the visual medium. Suskind’s original work had a deeply introspective tone, with character-defining psychological undercurrents and suspenseful drama. This would have made exact reproduction on film difficult. While Parfum the series used its many runtime episodes to impressively explore the idea of ​​the story, Le Parfumeur is far less notable as it contains a half-baked plot and unconvincing protagonists in its execution. The film fails to recreate the gripping dark vibes of the source material and struggles to balance suspenseful drama with the raw emotions that underpinned the novel.

Willbrandt and Zimmermann also try to add novelty by looking at the heavily filmed story through the gaze of the protagonist cop rather than the perspective of the antagonistic perfumer. The idea boomerangs because it robs the story of its sinister side, which was to unravel the mind of a master criminal. While the screenwriting duo focuses too much on the police detective, who appears in the film simply as Sunny, the titular perfumer is left behind.

A serial killer is on the loose and Sunny (Emilia Schule) is solving the case as she doesn’t mope about her anosmia, which is so acute she can swallow a tall glass of sugar-laden schnapps extra, strawberries and tangerine in one sip without feeling anything. Sunny’s love life isn’t happy either. She has an affair with her colleague Juro (Robert Finster), a married man with two children. Probably because the original story is only too well known, the scenario avoids wasting a lot of time revealing the identity of the killer, which, in any case, is not the point of the story. The culprit is a young perfumer named Dorian (Ludwig Simon) and the murders are rooted in his obsession with procuring raw materials to create the perfect perfume. Sunny is drawn into the dark world of Dorian when she discovers his amazing talent. She begins to realize that he might be her only hope of regaining her lost sense of smell.

The films start off on an interesting note before losing the audience’s attention due to slow storytelling. The lack of urgency is a major setback because it means you invariably start to figure out most plot twists long before they actually happen. Sunny becomes pregnant at one point, for example, and the resulting turn of events is hardly surprising. The lazy pacing also affects attempts to return an emotional core to the story because boredom outweighs any intention to infuse sensibility. Sunny’s soliloquy about a baby’s scent being a form of chemical communication between mother and child is meant to convey to you her sadness at not being able to connect with the child when it’s born. Instead, lackluster dialogue and scene execution leave you indifferent.

Willbrandt and Zimmermann actually exaggerated the use of soliloquies. Throughout the film, Sunny is constantly in first-person voice-over mode, spelling out details about her state of mind, her observation of things, mostly talking to her unborn child. The idea was perhaps to capture the introspective structure of the novel. The bursts of storytelling, however, only serve to prevent continued plot movement, which would be necessary to maintain audience interest.

The Perfumer also wants to be in love, because Sunny is constantly looking for a sense of belonging to escape her innate loneliness. We learn that she had a neglected childhood, the psychological impact of which explains her loss of smell. Somehow, she also subconsciously blames her sensory deficiency for the failures in her love life. Dorian, too, is in search of the essence of love because he is convinced that love in its purest form is the only ingredient that can bring the perfect perfume to life. The emotional play triggered by these characters could have added to the drama, but the script fails to create a single poignant moment using them.

The essentially fantasy tale has an element of magic about it. Dorian talks about cedarwood, ammonia, oxblood, and thyme as important ingredients in creating his dream scent. He can smell Sunny’s pregnancy week correctly and talks about six basic scents in the world and how all the scents that exist are basically combinations of these. Yet Willbrandt’s direction fails to bring this enchanting aspect of the story to life. The mood darkens a few shades after the halfway point, but the narrative just can’t shake the boredom. There is no smoldering impact from being lifeless, such directorial execution only affects characterization. In turn, almost all the actors look annoyed with everything that’s going on.

“Smells are feelings, memories,” Dorian tells Sunny as his olfactory senses feel nothing. The movie has that kind of impact on all of your senses. It doesn’t let you feel anything.

Rating: * * (two stars)

Vinayak Chakravorty is a Delhi-NCR based film critic, columnist and journalist.

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Apple App Store Nft Listing Startups Avoid Ignoring Strict High Commission Rules Mon, 26 Sep 2022 04:13:07 +0000

San Francisco: Non-fungible token (NFT) trading startups don’t want to sell their offerings through the Apple App Store because a 30% commission on in-app purchases and other strict rules will bleed them. According to a report by The Information, Apple insists that its usual 30% commission on in-app purchases should also be paid on all transactions. This has prevented NFT startup Magic Eden from offering transactions on its app, even after Apple cut its commission to 15% for businesses earning less than $1 million a year.

“So far, however, most see some hurdles, including up to 30% commission fees that Apple charges on in-app purchases, as well as difficult-to-enforce pricing conventions for volatile digital assets,” says The report.

A typical NFT market only charges 2-3% of the transaction.

However, according to Apple’s App Store policies, NFT startups will lose heavily on every transaction.

Also, since app store in-app purchases must be made in dollars or other currencies, it does not accept cryptocurrency.

Arthur Sabintsev of Blockchain company Pocket Network was quoted as saying that it “makes the price really difficult because you have to program all these values ​​dynamically.”

“It seems like the position is that Apple doesn’t really want (App Store) users to be able to buy or sell NFTs,” said Alexei Falin, CEO of NFT startup marketplace Rarible.

ALSO READ: How India can emerge as a leader in the NFT market

Apple said its 500 reviewers review 90% of apps within 24 hours. The company, however, has not commented on NFT startups’ criticisms of the App Store.

According to Juniper Research, the global number of NFT transactions is expected to grow from 24 million in 2022 to 40 million by 2027.

The report states that metaverse-related NFTs will be the fastest growing NFT segment over the next five years, growing from 600,000 transactions in 2022 to 9.8 million by 2027.

(This report was published as part of the auto-generated syndicate newsfeed. Other than the title, no edits were made to the copy by ABP Live.)

Disclaimer: Crypto products and NFTs are unregulated and can be very risky. There may be no regulatory recourse for any loss arising from such transactions. Cryptocurrency is not legal tender and is subject to market risk. Readers are advised to seek expert advice and carefully read the offering document(s) and important related material on the subject before making any type of investment. Cryptocurrency market predictions are speculative and any investment made will be at the sole cost and risk of the readers.

What the Great Books Teach Us About People Fleeing Persecution Sun, 25 Sep 2022 19:26:07 +0000

Robert Barsky is a Guggenheim Scholar and Professor at Vanderbilt University. His multidisciplinary research combines social justice, human rights, border and refugee studies with literary and artistic insights into the plight of vulnerable migrants.

Below, Robert shares 5 key insights from his new book, Claiming Legal Protection: What the Great Books Teach Us About People Fleeing Persecution. Listen to the audio version – read by Robert himself – in the Next Big Idea app.

1. Even those who resent undocumented migration most negatively may have exceptions.

Usually these are people they know well, like their roofer or the people who take care of their lawn or babysit. If we get to know someone who falls into a category we have negative feelings about, like the undocumented category, we may be willing to make an exception for them.

Similarly, we already know Dracula. We already know Dante and Alice in Wonderland. What if we imagine that they live lives that resemble those of contemporary refugees? If we sympathize with a character like Alice, we say, “Wow! What an incredible adventure,” then think, “It’s not unlike an adventure an undocumented migrant or refugee might face. Maybe these refugees are not just here to steal our country’s great resources. Maybe they’re no different from those characters I love.

2. We have a special feeling in our hearts for canonical literary characters.

We love Alice. We admire Dracula. Well, maybe “admiring” is a heavy word for someone like Dracula, but we certainly think of him as some kind of gentleman with some terribly odd habits. And if we considered him as someone particularly fascinating? When placed in a coffin and floated across the channel to England, it is a migrant, migrating from France to England, but it actually does in the soil of Transylvania. He can only travel when sleeping on his own ground. What does it say? What does that mean? If you imagine him migrating, there is something fascinating there.

“He can only travel when he sleeps on his own soil. What does it say?”

Let’s also think of Milton’s lost paradise. At the beginning of the story, Satan is a friend of God, but he is expelled from paradise after a war caused by his uprising against the rule of God. Heaven is kind of a perfect place, so we can think that he left a perfect place and now he has to find his way to a very imperfect place known as Hell. Is this going to make us think differently about people who come to our country, whatever our country is? They wake up in a whole new setting, look around and say, “Oh my God, this is unfamiliar. It’s a place without my language, without my culture, without my friends. Is it really that different from someone who was, say, driven out of Ukraine by Russian soldiers?

3. The canon has an ongoing and ongoing role in our world.

Of course, we are inundated by TikTok and Facebook and Instagram. Yes, people are more likely to see snippets of stories in YouTube videos than to delve into hundreds of rhyming verses in Virgil’s writings. And yet these texts, I think, keep their value and their importance. They maintain a sort of awakened credibility in our imaginations. Don’t we all remember when we read the standard works? Of course, canonical works may include Peter Pan, Hansel and Greteland much more recent texts, such as Beloved by Toni Morrison. These texts keep their importance because they are a known currency.

Even if we haven’t read all of Dante – let’s say we’ve only read Hellor we have only heard Hell— we know that this Dante the Pilgrim descends into hell, where he encounters punished characters. And maybe we never read the Odyssey, but we know this ancient Greek story of this heroic warrior who returns home after seven years of battle at Troy. And from there, maybe we have some degree of sympathy. Maybe we are interested. We reflect on what it means to leave a war-torn area to return home. Well, it’s often the story of a contemporary refugee. So maybe we learn something, even if we haven’t read the book itself, about contemporary refugees.

4. The idea that “we are all migrants” has not really changed the landscape of political thought.

We always hear this sentence: “We are all migrants, so we should be sympathetic towards migrants”. Well, that doesn’t seem to go very far. It also doesn’t go very far to hear that one story from that person that you’ve never heard of in a discussion about someone fleeing, say, Yemen. It takes so much commitment, so much effort to know this person.

“[Canonical works] keep a kind of credibility awake in our imaginations.

When in fact we already know many migrants. In fact, we might know these fictional characters better than we know ourselves. We not only know their challenges and the obstacles they face when traveling from place to place, we also know what they are thinking.

Imagine Frankenstein’s Monster, for example, from the work of Mary Shelley which is considered the best-selling novel in the history of the world (or certainly among them). We know the incredible challenges the monster faces due to its creation, due to its well-known and well-described ugliness, having been stitched together by Dr. Frankenstein from many different body parts. But he is also a refugee; he flees after committing a murder. He flees Geneva and goes up to the Alps in France. There, he himself is a refugee, but he also takes care of a family of refugees. And he has to do it in secret because he looks so terrifying that he’ll scare the people he’s trying to help.

5. Many of the authors who write about the challenges faced by vulnerable migrants, such as refugees or undocumented migrants, are refugees themselves.

Take, for example, Lord Byron. Lord Byron fled England because of his early habits, as he was convicted for his homosexuality. So he runs away. Crossing Europe, he writes Childe Harold’s Pilgrimagethen he writes the great masterpiece Don Juan. And Don Juan is a lot like Byron, fleeing because of his precocity, because of his blind disregard for authority. Lord Byron travels as he describes his traveler, and his traveler continues to get into trouble for not respecting local customs. (And because he’s extraordinarily handsome, people can’t seem to resist him, which, of course, gets him into more trouble.)

“How do you get into the minds of people who suffer from the pain of displacement? Maybe it’s going back to the big books.

In 1816 Lord Byron met Percy Shelley, then Mary Shelley in the summer of the same year. Percy and Mary had fled England because they couldn’t stand the customs, morals and laws. And 1816 was an interesting year; it was abnormally cold in Europe due to a massive eruption the previous year near Java. Dust was sent into the atmosphere, bringing temperatures down as far as Europe. So it wasn’t just a migration story as we think of it Frankenstein Where Don Juan. It is also the story of authors who are themselves migrants. Mary Shelley, Percy Shelley and Lord Byron were traveling through Europe during an exceptionally cold summer. In other words, climate change has caused them to move.

How can we better understand the crises we hear about today in Afghanistan, Yemen and Ukraine? How do you get into the minds of people who suffer from the pain of displacement? Perhaps it’s by returning to the great books, which are filled with characters who, while not always lovable – as in the case of, say, Dracula – are nonetheless endearing and dear to us. Perhaps thinking about these great characters will make us think differently about the real people who have been displaced by violence, suffering, want, need or even wanderlust, and who are now among us.

To listen to the audio version read by author Robert Barsky, download the Next Big Idea app today:

Hear key information in the next big idea app