#author: ferris o’connell

[believemenatalie]

and if you’re giving up, would you tell me?

about me —

ziggy / ferris

20

he/she, bi (gender & sexual!)

transmasc

autistic

“you big into writing?” “don’t even joke, lad.”

main: @yellowjackets96 / twitter: @adambrodyluvr & @shaunastaissa / ao3: @ thefavourite / pinterest: @shorttermtwelve

prioritized projects at the moment:

Those Who Trespass Against Us: A rag-tag band of small town Catholic priests and one ordinary teenage boy face an incomprehensible evil. (Religious Horror; Novel)

Dark Influences: Ingrid Jessup, an orphaned savant with the inexplicable ability to perfectly imitate people, gets caught up in a classic cat-and-mouse game with a serial killer. (Psychological Horror-Thriller; Novel)

Senseless Depravity: A perpetually-exhausted veteran detective finds themself paired up with an optimistic, by-the-numbers rookie, after a series of cold cases related to family annihilation are reopened. (Mystery/Psychological Horror-Thriller, containing Body Horror elements; Novel)

Dealt at the Deadline: Follows a fictionalized version of the Washington Nationals as they build a dynasty, as well as all the bumps along the way. (Satirical Sports Dramedy; Television Series)

There Will Be No Intermission: What could go wrong when you cast a headstrong, seasoned actress, alongside a full-of-himself, newly-crowned, “It Boy,” as romantic leads in a revival of one of the most famous plays of all time? (Erotic Comedic Thriller; Novel)

Ahead in the Count: When James Fox announces his retirement from Major League Baseball, the last thing he expects is to form a life-changing bond with his biggest fan, autistic 13-year-old Nellie Moss. (Coming-Of-Age Dramedy/Slice of Life; Screenplay)

check back for more, because, i promise, there will always be more.

i wanna keep this love, if you let me.

[pinehub]

The Sights of North Dublin | 10 Must-See Attractions Beyond Temple Bar

By Megan Schrader

              Dublin is a vibrant, lively city, a destination high on the bucket-list of many world travelers. However, there is more Ireland’s great capital than O’Connell Street and, of course, the iconic Temple Bar. To anyone planning a visit to Dublin in the near future, make sure to get away from the busy city centre with a visit to one of the many incredible sites of the northern city.

 Phoenix Park

          A classic destination for locals and visitors alike, Phoenix Park has all the makings of a fun family day out. The park is full of history and culture, from the prominent Wellington Testimonial to the vast People’s Garden. Or for those interested in a more leisurely approach, Phoenix Park offers playgrounds, picnic space and near boundless greenery among which, if you’re lucky, you can soak up the sun.

Website: http://phoenixpark.ie/what-to-see/

Image Source: http://phoenixpark.ie/what-to-see/#jp-carousel-505

            Another feature of Phoenix Park? The 28-hectacre Dublin Zoo, located within the park grounds, is a personal favourite.

Website: https://www.dublinzoo.ie/

Image Source: https://www.independent.ie/irish-news/news/want-to-go-see-the-red-pandas-dublin-zoo-tickets-are-half-price-for-next-four-weekends-37357943.html

  Botanic Gardens

          The Botanic Gardens at Glasnevin are another Northern Dublin experience sure to astound.  The greenery and life that comprise this garden are almost criminally gorgeous, and the free admission is an absolute steal. Get the most out of your visit with a ticket for the guided tour and a stop by the Garden Tearoom before the end of your trip.

Website: http://botanicgardens.ie/glasnevin/the-tearoom/

Image Source: http://botanicgardens.ie/glasnevin/glasshouses/#jp-carousel-1751

  Howth

          For the outdoorsman, Howth is a must-see. After scenic hikes, boating and even scuba diving to get your adrenalin pumping, slow down with a round of golf or a calm Ferry ride around Dublin Bay. Add the village and castle to your agenda to complete your visit.  

Website: https://www.visitdublin.com/hooked-on-howth-dublin

Image Source: https://lovindublin.com/best-of/perfect-day-howth-10-things-do-see-eat

  Tayto Park

          Part theme park, part zoo, all fun for the family. Though technically not within County Dublin, Tayto Park’s assortment of colourful, unique, memorable attractions made this a destination we couldn’t  pass over. The park is an easy, straight-forward drive, reachable in less than hour from the very heart of Dublin. Have time to spare during your Dublin experience? Stop by Tayto Park for an affordable afternoon that the entire family will enjoy.

Website: http://www.taytopark.ie/

Image Source: http://www.taytopark.ie/

  St. Doulagh’s Church

          This medieval church, dating back to the 7th century, is another destination worth your time. St. Doulagh’s Church is not imposing to the naked eye, but houses the history of the anchorite St. Douglah. To anyone looking for a glimpse of Ireland’s rich and lengthy history, St. Douglah’s Church is the site to visit.

Website: http://www.megalithicireland.com/St%20Doulagh's%20Dublin.html

Image Source: http://www.megalithicireland.com/St%20Doulagh's%20Dublin.html

  Skerries Mills

          Skerries Mills is the epitome of Irish charm. These historic mills, only one DART-ride away from city centre, combine historic allure and quaint countryside vistas seamlessly. Visualise history on the guided tour, then stop by the café for tea and coffee overlooking the town. Afterwards, take in the beautiful scenery of Skerries with a walk to the shore.

Website: https://www.skerriesmills.ie/

Image Source: https://www.skerriesmills.ie/portfolio/the-great-windmill/

  Malahide Castle and Gardens

          Kids will adore the sweet fun of the Fairy Trail. Adults will be awed by the centuries of history. There’s much to discover within the grounds of the Talbot family home, from the impressive walls of Malahide Castle to the serene mystique of the Walled Garden and Ireland’s only Butterfly House. Experience for yourself the drama and intrigue surrounding old Ireland’s nobility with a trip to Malahide Castle and Gardens.

Website: https://www.malahidecastleandgardens.ie/castle/

Image Source: https://www.grayline.com/tours/dublin/malahide-castle-northern-coast-from-dublin-am-tour-5860_3_12130_787/

  North Bull Island

          Bull Island is a nature reserve just outside of Dublin, ideal for those wanting to take in Ireland’s wildlife. Get away from the busy city with a peaceful walk through the lush ecosystem of North Bull Island, or visit popular seaside events during the summer.

Website: https://www.visitdublin.com/see-do/details/bull-island

Image Source: https://www.irishtimes.com/life-and-style/travel/walk-for-the-weekend-north-bull-island-dublin-1.3384951

  Farmleigh House

          A historic estate from the Edwardian period, Farmleigh House is a glimpse into the period with its unique collection of art and texts. Learn about life in the 18th century by walking in the footsteps of Edward Cecil, a descendant of the renowned Guinness family. The guided tour will take you around this incredible estate and seep you in the history of Farmleigh House.

Website: http://farmleigh.ie/

Image Source: http://farmleigh.ie/event/open-house-dublin-2019/?instance_id=300

  Glasnevin Cemetery

          Though perhaps not the happiest of North Dublin’s sights, Glasnevin Cemetery is a space that truly needs to be experienced first-hand. The museum will introduce you to the individuals who make up the cemetery and to the city’s long history of grave robbing. A walk around this enormous site is a powerful reminder of those who have made Dublin what it is today.

Website: https://www.glasnevinmuseum.ie/

Image Source: https://www.glasnevinmuseum.ie/

  Can you think of any North Dublin destinations that we missed? Let us know by leaving a comment or by emailing community@pine-hub.com.

About the Author

         Megan Schrader is a writer and content creator for Pine Hub. She graduated with honours from St. Mary’s College of Maryland, receiving her BSc in Psychology in 2018. Megan has since emigrated to Ireland and settled in Dublin, where she enjoys discovering the local culture. She is passionate about writing, art, coffee and all things psychology.

[detective-pulp]

La route semée d’embûches des Eisner Awards 2020 vers un palmarès admirable

Les Eisner Awards (Will Eisner Comic Industry Awards de son nom complet) récompense depuis 1988 la crème de la crème de l’industrie du comics book. La cérémonie se tient chaque année conjointement à la San Diego Comic Con. Elle rend hommage au pionnier américain Will Eisner. Il est notamment le créateur de A Contract With God, considéré comme le premier roman graphique, ou encore du personnage de Spirit.

Tout comme la SDCC, les Eisner Awards ont connu une édition 2020 tumultueuse à cause de la pandémie. Les organisateurs de la cérémonie ont dû s’adapter à la tendance actuelle en se servant du numérique. Cependant, comme leur partenaire, cela n’a pas été sans son lot d’incidents.

Le processus de vote du jury officiel a été mis à mal par les restrictions sanitaires, le site de vote était défectueux et une polémique autour du manque de diversité a éclaboussé la présidence. Cependant, tout est bien qui a bien fini, la cérémonie et le palmarès de cette édition ont été un vrai succès.

Elire en période de pandémie

La liste des nommés aux prix a été publiée début juin, incluant les publications du 1er janvier au 31 décembre 2019.

Jackie Estrada, administratrice de la cérémonie depuis 1990, s’est exprimée sur le défis que représentait le processus de vote mis en place en raison du COVID 19 :

« Normalement, les juges se rencontrent à San Diego. Pendant quatre jours, ils échangent entre eux dans une pièce pleine des comics et livres soumis au vote. Avec le confinement, ils ont dû rester chez eux et communiquer via émail, réseaux sociaux et Zoom. Des colis de livres ont été transbahutés dans tout le pays ».

Elle poursuit en précisant :

« Heureusement, nous avons pu travailler avec les gens de comiXology et la plupart des éditeurs pour que tous les juges aient une version digitale des centaines de comics en lice».

Ajoutant :

« Le processus a prix deux mois de plus que d’habitude, la fenêtre de vote a été significativement raccourcie comparée aux années passées. »

A la base, les votes devait être clôturés le 18 juin, ça n’est arrivé que le 30. En cause, une vague de problèmes techniques concernant le site de vote.

Une brèche dans la matrice

Plusieurs professionnels de l’industrie du comics ont détecté des anomalies concernant le site de vote des Eisner Awards. Ils ont constaté la modification de leurs informations personnelles et potentiellement celle de leurs votes. Un problème délicat quand on sait que pour s’authentifier sur le site, il fallait entrer toutes sortes d’informations privées (nom, adresse postale, numéro de téléphone et rôle dans l’industrie).

David Glanzer, Chef de la Communication et de la Stratégie de la San Diego Comic Con, s’est exprimé chez Newsarama :

« Nous avons fermé les votes et lancé une investigation pour éclaircir la situation. Nous ferons une annonce dès que nous aurons des informations supplémentaires. Nous sommes désolés pour la gêne occasionnée aux votants. »

Jackie Estrada a envoyé un mail le 24 juin pour apporter les conclusions de l’enquête :

«En se fiant au résultat de notre investigation concernant les récents reports de problèmes avec le site de vote des Eisner Awards, il semble que ce n’était pas un acte malveillant, mais une erreur informatique de la plateforme. Notre examen du dossier nous mène à croire que le problème était minime et nous n’avons aucune preuve d’altération des votes. Pour plus de précautions, nous avons décidé de refaire les votes sur une plateforme sécurisée. »

Pour plus de précisions, les comptes des participants étaient interconnectés. En modifiant leur compte, ils modifiaient celui des autres et ainsi de suite.

Un imbroglio pas possible poussant à remettre les votes à zéro. Cependant, un bon nombre de votants n’ont pas accédé au second tour, car ils n’ont pas reçu le mail de relance.

En conséquence, des professionnels se sont dédouanés des résultats, voir ont remis en question la légitimité de leur prix, car il est difficile de savoir à quel point les votes ont été biaisés lors de cette édition.

Le vote blanc

Si le comité des Eisner Awards a évolué dans le bon sens pour inclure plus de diversité dans la sélection des nommés, ce n’est pas le cas au sein du jury qui préside.

Le site américain Comic Book Resources a dénoté un manque répété de créateurs de couleur au sein de la présidence. Chaque année, l’équipe de juges est majoritairement composé de « caucasiens ». Exception faite cette année, grâce à la présence du journaliste Simon Jimenez. Jamie Colville, Martha Cornog, Michael Dooley, Alex Grecian, et Laura O'Meara sont les autres membres du jury. On notera une tentative de parité ratée avec la participation de deux femmes sur six.

Pour en avoir le cœur net, j’ai vérifié par moi-même la composition du jury des Eisner Awards de ces cinq dernières années. Et le constat est indéniable. Un schéma évident de sous représentation est répété. Jamais complètement blanc, le jury est toujours composé d’un membre issu de minorité. Coïncidence ou préméditation ?

Une solution simple serait d’augmenter le nombre de juges, tout en faisant un effort sur la sélection des professionnels, en introduisant plus de travailleurs marginaux afin de croiser les expertises.

La cérémonie et le palmarès

La 32ème cérémonie des Eisner Awards s’est tenue le 24 juillet dernier sur Youtube. Elle a été présentée par Phil LaMarr, acteur (Marvin dans Pulp Fiction) et surtout doubleur spécialisé dans les séries animées (Futurama, Justice League, Star Wars Rebels…).

Cette édition a fait la part belle aux éditions indépendantes, tout en respectant une parité exemplaire. Le Big Two (DC et Marvel), sans être absent du palmarès, n’ont pas brillé en comparaison du nombre de publication en 2019. Le palmarès a une portée symbolique, comme une bouteille à la mer, invitant les lecteurs à se pencher sur des travaux moins mainstream.

Les grans gagnants de cette édition sont Mariko Tamaki et Rosemary Valero-O’Connell avec leur roman graphique Laura Dean Is Breaking Up with Me (Mes Ruptures avec Laura Dean en VF, disponible aux éditions Rue de Sèvres), raflant les prix de la Meilleure Publication pour Adolescents, Meilleure Scénariste, Meilleur Dessinatrice/Encreuse.

Retrouvez ci-dessous le palmarès complet des Eisner Awards 2020 (en gras les gagnants + l’éditeur qui le publie en France) :

Meilleure histoire courte

Hot Comb, Ebony Flowers (Drawn & Quarterly) 

How to Draw a Horse, Emma Hunsinger, The New Yorker 

The Menopause, Mira Jacob, The Believer 

Who Gets Called an 'Unfit' Mother?, Miriam Libicki, The Nib 

You're Not Going to Believe What I'm About to Tell You, Matthew Inman, The Oatmeal

Meilleur single/one-Shot

Coin-Op No. 8: Infatuation, Peter and Maria Hoey (Coin-Op Books) 

The Freak, Matt Lesniewski (AdHouse) 

Minotäar, Lissa Treiman (Shortbox) 

Our Favorite Thing Is My Favorite Thing Is Monsters, Emil Ferris (Fantagraphics) 

Sobek, James Stokoe (Shortbox)

Meilleure sérien en cours 

Bitter Root, David Walker, Chuck Brown, Sanford Greene (Image, HiComics en VF) 

Criminal, Ed Brubaker, Sean Phillips (Image) 

Crowded, Christopher Sebela, Ro Stein, Ted Brandt (Image) 

Daredevil, Chip Zdarsky, Marco Checchetto (Marvel) 

The Dreaming, Simon Spurrier, Bilquis Evely (DC) 

Immortal Hulk, Al Ewing, Joe Bennett, Ruy José (Marvel)

Meilleure série limitée 

Ascender, Jeff Lemire, Dustin Nguyen (Image) 

Ghost Tree, Bobby Curnow, Simon Gane (IDW) 

Little Bird, Darcy Van Poelgeest, Ian Bertram (Image, Glénat en VF) 

Naomi, Brian Michael Bendis, David Walker, Jamal Campbell (DC) 

Sentient, Jeff Lemire, Gabriel Walta (TKO)

Meilleure nouvelle série

Doctor Doom, Christopher Cantwell, Salvador Larocca (Marvel) 

Invisible Kingdom (HiComics en Octobre)  , G. Willow Wilson, Christian Ward (Berger Books/Dark Horse)

Once & Future, Kieron Gillen, Dan Mora (BOOM! Studios) 

Something Is Killing the Children, James Tynion IV, Werther Dell’Edera (BOOM! Studios) 

Undiscovered Country, Scott Snyder, Charles Soule, Giuseppe Camuncoli, Daniele Orlandini (Image)

Meilleure publication pour les plus jeunes (- de 8 ans) :

Comics: Easy as ABC, Ivan Brunetti (TOON) 

Kitten Construction Company: A Bridge Too Fur, John Patrick Green (First Second/Macmillan) 

The Pigeon HAS to Go to School!, Mo Willems (Hyperion Books) 

A Trip to the Top of the Volcano with Mouse, Frank Viva (TOON) 

¡Vamos! Let's Go to the Market, Raúl the Third (Versify/Houghton Mifflin Harcourt) 

Who Wet My Pants?, Bob Shea, Zachariah Ohora (Little, Brown)

Meilleure publication pour les enfants (de 9 à 12 ans) :

Akissi: More Tales of Mischief, Marguerite Abouet, Mathieu Sapin (Flying Eye/Nobrow) 

Dog Man: For Whom the Ball Rolls, Dav Pilkey (Scholastic Graphix) 

Guts (Courage,chez Akileos), Raina Telgemeier (Scholastic Graphix) 

New Kid, Jerry Craft (Quill Tree/HarperCollins) 

This Was Our Pact, Ryan Andrews (First Second/Macmillan) 

The Wolf in Underpants, Wilfrid Lupano, Mayana Itoïz, Paul Cauuet (Graphic Universe/Lerner Publishing Group)

Meilleure publication pour adolescents

Harley Quinn: Breaking Glass, Mariko Tamaki, Steve Pugh (DC) 

Hot Comb, Ebony Flowers (Drawn & Quarterly) 

Kiss Number 8, Colleen AF Venable, Ellen T. Crenshaw (First Second/Macmillan) 

Laura Dean Keeps Breaking Up with Me (Mes Ruptures avec Laura Dean chez Rue de Sèvres), Mariko Tamaki, Rosemary Valero-O'Connell (First Second/Macmillan) 

Penny Nichols, MK Reed, Greg Means, Matt Wiegle (Top Shelf)

Meilleure publication humoristique

Anatomy of Authors, Dave Kellett (SheldonComics.com) 

Death Wins a Goldfish, Brian Rea (Chronicle Books) 

Minotäar, Lissa Treiman (Shortbox) 

Sobek, James Stokoe (Shortbox) 

The Way of the Househusband, vol. 1 (La voie du Tablier chez Kana), Kousuke Oono, traduit par Sheldon Drzka (VIZ Media) 

Wondermark: Friends You Can Ride On, David Malki (Wondermark)

Meilleure Anthologie

ABC of Typography, David Rault (SelfMade Hero) 

Baltic Comics Anthology ! #34-37, édité par David Schilter, Sanita Muižniece (kuš!) 

Drawing Power: Women’s Stories of Sexual Violence, Harassment, and Survival, édité par Diane Noomin (Abrams) 

Kramer’s Ergot #10, édité par Sammy Harkham (Fantagraphics) 

The Nib #2–4, édité par Matt Bors (Nib)

Meilleur adaptation d’une histoire vraie

Good Talk: A Memoir in Conversations, Mira Jacob (One World/Random House) 

Grass, Keum Suk Gendry-Kim, traduit par Janet Hong (Drawn & Quarterly) 

Kid Gloves: Nine Months of Careful Chaos, par Lucy Knisley (First Second/Macmillan) 

Moonbound: Apollo 11 and the Dream of Spaceflight, par Jonathan Fetter-Vorm (Hill & Wang) 

My Solo Exchange Diary, vol. 2 (suite de My Lesbian Experience with Loneliness), par Nagata Kabi, traduit par Jocelyne Allen (Seven Seas) 

They Called Us Enemy (Nous étions les Ennemis chez Futuropolis), George Takei, Justin Eisinger, Steven Scott, Harmony Becker (Top Shelf)

Meilleur album original

Are You Listening? (Sur la Route de West chez Galliamrd) ( , Tillie Walden (First Second/Macmillan) 

Bezimena, Nina Bunjevac (Fantagraphics) 

BTTM FDRS, Ezra Claytan Daniels, Ben Passmore (Fantagraphics) 

Life on the Moon, Robert Grossman (Yoe Books/IDW) 

New World, David Jesus Vignolli (Archaia/BOOM!) 

Reincarnation Stories, Kim Deitch (Fantagraphics)

Meilleur album de réimpressions (TPB)

Bad Weekend, Ed Brubaker, Sean Phillips (Image) 

Clyde Fans, Seth (Drawn & Quarterly) 

Cover, vol. 1, Brian Michael Bendis, David Mack (DC/Jinxworld) 

Glenn Ganges: The River at Night, Kevin Huizenga (Drawn & Quarterly) 

LaGuardia, Nnedi Okorafor, Tana Ford (Berger Books/Dark Horse) 

Rusty Brown, Chris Ware (Pantheon)

Meilleure adaptation d'un autre médium

Giraffes on Horseback Salad: Salvador Dali, the Marx Brothers, and the Strangest Movie Never Made, Josh Frank, Tim Hedecker, Manuela Pertega (Quirk Books)

The Giver, Lois Lowry, P. Craig Russell (HMH Books for Young Readers) 

The Handmaid’s Tale: The Graphic Novel, Margaret Atwood, adapté par Renee Nault (Nan A. Talese) 

HP Lovecraft’s At the Mountains of Madness, vols. 1–2, adapté par Gou Tanabe et traduit par Zack Davisson (Dark Horse Manga) 

The Seventh Voyage, Stanislaw Lem, adapté par Jon Muth, traduit par Michael Kandel (Scholastic Graphix) 

Snow, Glass, Apples, Neil Gaiman, Colleen Doran (Dark Horse Books)

Meilleure édition américaine d'une oeuvre internationale

Diabolical Summer, Thierry Smolderen, Alexandre Clerisse, traduit par Edward Gauvin (IDW) 

Gramercy Park, Timothée de Fombelle, Christian Cailleaux, traduit par Edward Gauvin (EuroComics/IDW) 

The House (La Maison chez Delcourt), Paco Roca, traduit par Andrea Rosenberg (Fantagraphics) 

Maggy Garrisson, Lewis Trondheim, Stéphane Oiry, traduit par Emma Wilson (SelfMadeHero) 

Stay, Lewis Trondheim, Hubert Chevillard, traduit par Mike Kennedy (Magnetic Press) 

Wrath of Fantômas, Olivier Bouquet, Julie Rocheleau, traduit par Edward Gauvin (Titan)

Meilleure édition américaine d'une oeuvre asiatique

BEASTARS, Paru Itagaki, traduit par Tomo Kimura (VIZ Media) 

Cats of the Louvre (Les Chats du Louvre chez Futuropolis), Taiyo Matsumoto, traduit par Michael Arias (VIZ Media) 

Grass, Keum Suk Gendry-Kim, traduit par Janet Hong (Drawn & Quarterly) 

Magic Knight Rayearth 25th Anniversary Edition, CLAMP, traduit par Melissa Tanaka (Kodansha) 

The Poe Clan, Moto Hagio, traduit par Rachel Thorn (Fantagraphics) 

Witch Hat Atelier (L'Atelier des Sorciers chez Pika), Kamome Shirahama, traduit par Stephen Kohler (Kodansha)

Meilleur travail d'archive pour les comic strips

Cham: The Best Comic Strips and Graphic Novelettes, 1839–1862, David Kunzle (University Press of Mississippi) 

Ed Leffingwell’s Little Joe, Harold Gray, édité par Peter Maresca et Sammy Harkham (Sunday Press Books) 

The George Herriman Library: Krazy & Ignatz 1916–1918, édité par R.J. Casey (Fantagraphics) 

Krazy Kat: The Complete Color Sundays (chez Les  Rêveurs), par George Herriman, édité par Alexander Braun (TASCHEN) 

Madness in Crowds: The Teeming Mind of Harrison Cady, Violet et Denis Kitchen (Beehive Books) 

Pogo, Vol. 6: Clean as a Weasel, Walt Kelly, édité par Mark Evanier et Eric Reynolds (Fantagraphics)

Meilleur travail d'archive pour les comic books

Alay-Oop, William Gropper (New York Review Comics) 

The Complete Crepax, vol. 5: American Stories, édité par Kristy Valenti (Fantagraphics) 

Jack Kirby’s Dingbat Love, édité par John Morrow (TwoMorrows) 

Moonshadow: The Definitive Edition, J. M. DeMatteis, Jon J. Muth, George Pratt, Kent Williams (Dark Horse Books) 

Stan Sakai’s Usagi Yojimbo: The Complete Grasscutter Artist Select, Stan Sakai, édité par Scott Dunbier (IDW, chez Paquet en VF) 

That Miyoko Asagaya Feeling, by Shinichi Abe, traduit par Ryan Holmberg, édité par Mitsuhiro Asakawa (Black Hook Press)

Meilleur scénariste

Bobby Curnow, Ghost Tree (IDW) 

MK Reed et Greg Means, Penny Nichols (Top Shelf) 

Mariko Tamaki, Harley Quinn: Breaking Glass (DC, chez Urban en VF); Laura Dean Keeps Breaking Up with Me (First Second/Macmillan); Archie (Archie) 

Lewis Trondheim, Stay (Magnetic Press); Maggy Garrisson (SelfMadeHero) 

G. Willow Wilson, Invisible Kingdom (Berger Books/Dark Horse); Ms. Marvel (Marvel) 

Chip Zdarsky, White Trees (Image); Daredevil, Spider-Man: Life Story (Marvel); Afterlift (comiXology Originals)

Meilleur auteur/dessinateur

Nina Bunjevac, Bezimena (Fantagraphics) 

Mira Jacob, Good Talk (Random House); “The Menopause” dans The Believer (June 1, 2019) 

Keum Suk Gendry-Kim, Grass (Drawn & Quarterly) 

James Stokoe, Sobek (Shortbox) 

Raina Telgemeier, Guts (Scholastic Graphix) 

Tillie Walden, Are You Listening? (First Second/Macmillan)

Meilleur dessinateur/encreur

Ian Bertram, Little Bird (Image) 

Colleen Doran, Snow, Glass, Apples (Dark Horse) 

Bilquis Evely, The Dreaming (DC) 

Simon Gane, Ghost Tree (IDW) 

Steve Pugh, Harley Quinn: Breaking Glass (DC) 

Rosemary Valero-O'Connell, Laura Dean Keeps Breaking Up with Me (First Second/Macmillan

Meilleur peintre ou dessinateur en numérique

Didier Cassegrain, Black Water Lilies (Europe Comics) 

Alexandre Clarisse, Diabolical Summer (IDW) 

David Mack, Cover (DC) 

Léa Mazé, Elma, A Bear’s Life, vol. 1: The Great Journey (Europe Comics) 

Julie Rocheleau, Wrath of Fantômas (Titan) 

Christian Ward, Invisible Kingdom (Berger Books/Dark Horse)

Meilleur artiste de couverture

Jen Bartel, Blackbird (Image Comics) 

Francesco Francavilla, Archie, Archie 1955, Archie Vs. Predator II, Cosmo (Archie) 

David Mack, American Gods, Fight Club 3 (Dark Horse); Cover (DC) 

Emma Rios, Pretty Deadly (Image, chez Glénat en VF) 

Julian Totino Tedesco, Daredevil (Marvel) 

Christian Ward, Machine Gun Wizards (Dark Horse), 

Invisible Kingdom (Berger Books/Dark Horse)

Meilleur coloriste

Lorena Alvarez, Hicotea (Nobrow) 

Jean-Francois Beaulieu, Middlewest, Outpost Zero (Image) 

Matt Hollingsworth, Batman: Curse of the White Knight, Batman White Knight Presents Von Freeze (DC); Little Bird, November (Image) 

Molly Mendoza, Skip (Nobrow) 

Dave Stewart, Black Hammer, B.P.R.D.: The Devil You Know, Hellboy and the BPRD (Dark Horse, Delcourt en VF); Gideon Falls (Image, Urban Comics en VF); Silver Surfer Black, Spider-Man (Marvel, chez Panini Comics)

Meilleur lettrage

Deron Bennett, Batgirl, Green Arrow, Justice League, Martian Manhunter (DC); Canto (IDW); Assassin Nation, Excellence (Skybound/Image); To Drink and To Eat, vol. 1 (Lion Forge); Resonant (Vault) 

Jim Campbell, Black Badge, Coda (BOOM Studios); Giant Days, Lumberjanes: The Shape of Friendship (BOOM Box!); Rocko’s Modern Afterlife (KaBOOM!); At the End of Your Tether (Lion Forge); Blade Runner 2019 (Titan); Mall, The Plot, Wasted Space (Vault) 

Clayton Cowles, Aquaman, Batman, Batman and the Outsiders, Heroes in Crisis, Superman: Up in the Sky, Superman’s Pal Jimmy Olsen (DC); Bitter Root, Pretty Deadly, Moonstruck, Redlands, The Wicked + The Divine (Image); Reaver (Skybound/Image); Daredevil, Ghost-Spider, Silver Surfer Black, Superior Spider-Man, Venom (Marvel) 

Emilie Plateau, Colored: The Unsung Life of Claudette Colvin (Europe Comics) 

Stan Sakai, Usagi Yojimbo (IDW) 

Tillie Walden, Are You Listening? (First Second/Macmillan)

Meilleure antenne de presse sur les comics

Comic Riffs blog, Michael Cavna 

The Comics Journal, édité par Gary Groth, RJ Casey, et Kristy Valenti (Fantagraphics) 

Hogan’s Alley, édité par Tom Heintjes (Hogan’s Alley) 

Inks: The Journal of the Comics Studies Society, édité par Qiana Whitted (Ohio State University Press) 

LAAB Magazine, vol. 4: This Was Your Life, édité par Ronald Wimberly et Josh O’Neill (Beehive Books) 

Women Write About Comics, édité par Nola Pfau et Wendy Browne

Meilleur ouvrage lié au sujet des comics

The Art of Nothing: 25 Years of Mutts and the Art of Patrick McDonnell (Abrams) 

The Book of Weirdo, Jon B. Cooke (Last Gasp) 

Grunt: The Art and Unpublished Comics of James Stokoe (Dark Horse) 

Logo a Gogo: Branding Pop Culture, Rian Hughes (Korero Press) 

Making Comics, Lynda Barry (Drawn & Quarterly) 

Screwball! The Cartoonists Who Made the Funnies Funny, Paul Tumey (Library of American Comics/IDW)

Meilleur design pour un album

Grunt: The Art and Unpublished Comics of James Stokoe, Ethan Kimberling (Dark Horse) 

Krazy Kat: The Complete Color Sundays, Anna-Tina Kessler (TASCHEN) 

Logo a Gogo, Rian Hughes (Korero Press) 

Madness in Crowds: The Teeming Mind of Harrison Cady, Paul Kopple et Alex Bruce (Beehive Books) 

Making Comics, Lynda Barry (Drawn & Quarterly) 

Rusty Brown, Chris Ware (Pantheon)

Meilleure publication sur le design

Grunt: The Art and Unpublished Comics of James Stokoe, designed by Ethan Kimberling (Dark Horse)

Krazy Kat: The Complete Color Sundays, by George Herriman, designed by Anna-Tina Kessler (TASCHEN)

Logo a Gogo, designed by Rian Hughes (Korero Press)

Madness in Crowds: The Teeming Mind of Harrison Cady, designed by Paul Kopple and Alex Bruce (Beehive Books)

Making Comics, designed by Lynda Barry (Drawn & Quarterly)

Rusty Brown, designed by Chris Ware (Pantheon)

Meilleure série en digital

Afterlift, Chip Zdarsky, Jason Loo (comiXology Originals) 

Black Water Lilies, Michel Bussi, adapté par Frédéric Duval et Didier Cassegrain, traduit par Edward Gauvin (Europe Comics) 

Colored: The Unsung Life of Claudette Colvin, Tania de Montaigne, adapté par Emilie Plateau, traduit par Montana Kane (Europe Comics) 

Elma, A Bear’s Life, vol. 1: The Great Journey, Ingrid Chabbert et Léa Mazé, traduit par Jenny Aufiery (Europe Comics) 

Mare Internum, Der-shing Helmer (comiXology; gumroad.com/l/MIPDF) 

Tales from Behind the Window, Edanur Kuntman, traduit par Cem Ulgen (Europe Comics)

Meilleur webcomic

Cabramatta, Matt Huynh 

Chuckwagon at the End of the World, Erik Lundy 

The Eyes, Javi de Castro   

Fried Rice Comic, Erica Eng 

reMIND, Jason Brubaker 

Third Shift Society, Meredith Moriarty

[bookclub4m]

In this episode, Non-Fiction Audiobooks! Join us as we discuss the power of narrators, the problems of technology, and what to do while you’re listening to an audiobook. Also: We actually enjoy things!

You can download the podcast directly, find it  on Libsyn, or get it through iTunes, Stitcher, Google Play or your favourite podcast delivery system.

In this episode

Anna Ferri | Meghan Whyte | Matthew Murray | Jessi

Recommended

Green River, Running Red by Ann Rule, narrated by Michele Pawk (6 hr edition, which Jessi listened to) or narrated by Barbara Caruso (19 hour edition, if you prefer unabridged)

In Cold Blood by Truman Capote, narrated by Scott Brick

Information Doesn't Want to Be Free: Laws for the Internet Age by Cory Doctorow, narrated by Wil Wheaton

Welcome to the Goddamn Ice Cube: Chasing Fear and Finding Home in the Great White North by Blair Braverman, narrated by the author

Read/Listened

The Skinny Rules: The Simple, Nonnegotiable Principles for Getting to Thin by Bob Harper and Greg Critser

The Dorito Effect: The Surprising New Truth about Food and Flavor by Mark Schatzker, narrated by Chris Patton

Cults, Conspiracies, and Secret Societies: The Straight Scoop on Freemasons, The Illuminati, Skull and Bones, Black Helicopters, The New World Order, and many, many more by Arthur Goldwag, narrated by Fred Sanders

Perv: The Sexual Deviant in All of Us by Jesse Bering, narrated by the author

Did Not Finish (DNF)

The Witches: Salem, 1692 by Stacy Schiff, narrated by Eliza Foss (Recommended)

Paddy Whacked: The Untold Story of the Irish American Gangster by T.J. English, narrated by David Colacci (Recommended)

Over the Edge of the World: Magellan's Terrifying Circumnavigation of the Globe by Laurence Bergreen, narrated by the author (maybe try the 6 hour abridged version instead of the 15hr unabridged version Matthew tried)

Meghan’s Many DNFs

Formula 50: A 6-Week Workout and Nutrition Plan That Will Transform Your Life by 50 Cent and Jeff O’Connell, narrated by Cary Hite

Daring Greatly: How the Courage to Be Vulnerable Transforms the Way We Live, Love, Parent, and Lead by Brené Brown, narrated by Karen White

Rising Strong by Brené Brown, narrated by the author

The Midnight Assassin: Panic, Scandal, and the Hunt for America's First Serial Killer by Skip Hollandsworth, narrated by Clint Jordan

My Stroke of Insight by Jill Bolte Taylor, narrated by the author

Links and Stuff

Humble Bundle

LibriVox - free public domain audiobooks read by volunteers

Audible is one of many sites where you can buy MP3 audiobook downloads

A Study in Emerald by Neil Gaiman

Audie Awards

Beaver butt (i.e. Castoreum) has been historically used in perfumes and as “natural flavour” in foods

Stacy Schiff has won a lot of awards (including a Pulitzer for a biography of Vladimir Nabokov's wife, Vera) (Wikipedia)

Questions

Do you listen to audiobooks?

How important is the narrator to your enjoyment?

What do you do while listening to audiobooks?

Check out our Pinterest board and Tumblr posts for all the Non-Fiction Audiobooks people in the club read (or tried to read), follow us on Twitter,  and join our Facebook Group!

Join us again on Tuesday, May 2nd for our semi-regular “things we read that aren’t for the podcast (except now they are)” episode.

Then come back on Tuesday, May 16th, when we will inflict upon you the genre of Westerns!

[lostpensioner]

Late Life Crisis

I have noticed that since I have, recently, retired, I have been spending a lot of time and psychic energy on comparing myself to people who seem to have made more of a success of their lives than I have.  I know that comparisons are odious and that this newly acquired habit is, at least, unfruitful and, at worst, corrosive of my ego.  But I can’t seem to stop doing it.

 This recent tendency seems to represent the flip-side of an older and more useful habit I acquired in childhood, and which used to stand me in good stead.  I am, of course, talking about the habit of using role models to help me to become the man I wanted to be.  As a boy, and well into manhood, I would consciously pick out role models from the ranks of the famous and from among real people I actually knew.  By compositing the positive traits of those I admired I copied and pasted a prototype for the man I hoped to one day be. That man was tall and handsome in the manner of Sean Connery, witty and charming in a Cary Grant sort of way, Ghandi-like in his ability to lead his fellow men into the path of righteousness, with the sporting prowess of George Best, the musical talent of all four Beatles, the scientific genius of an Einstein….  You get the picture.

 I’m sure there is nothing unusual about the kind of project I set for myself as a boy.  And I am equally sure that there is nothing unusual about my recent feelings of disgust with myself for falling so far short of my projected self. There comes a time in all men’s lives, and for me it seems to be now, when we look at ourselves and see what it is we’ve actually become.  I can, alas, no longer escape the fact that when I look in the mirror what I see is a little, fat, baldy aul’ fella, with yellow teeth and droopy features.  I’d like to be able to tell you that I’d become that man because my exciting and very successful life left me with little time to pay attention to my physical aspect.  But the reality is that my current outer appearance rather mirrors the life I have led.  It’s been disappointing.  I feel disappointed by myself, and the few people who were ever appointed by me in the first place, are now very disappointed in me.

 So far, as you can see, there is nothing unusual about my story.  Lots of people embark on life full of hope and plans, and end up disembarking full of regrets and self-loathing.  We don’t really need another story about that.  But what I think I could do, which might be useful, would be to examine my life (or lack of a life) with a view to identifying some of the key causes of failure. There are lots of books out there which can tell us of the habits of successful people.  But what of the habits of unsuccessful people?  Might it not be worth our while to take a look at those in the hope that those who come after us could learn some of the traps they should avoid?

 Just off the top of my head I can think of some of my own habits which more than likely have led me to the inglorious place I am in now.  For, instance, I have never taken the time to acquire any talents, I have never actually applied myself in a concerted way to realising any of my dreams, I have disliked the whole 98% perspiration theory, I have resorted to blaming my family for all of my shortcomings and imagined lack of opportunities, I have often been frozen by a fear of failure, etc. etc.

 Now I could examine all those traits and bad habits of mine in terms of how they have impacted on all aspects of my life.  But that would not make for pleasant reading.  It could all too easily turn into a long, self-pitying, self-loathing list of failures.  I really can’t see any entertainment value in reading about how yet another aging man comes to terms with his unextraordinariness.  If I want to wallow in self-pity (and I do) I should do so in the privacy of my own disappointing little world and not foist all of my shortcomings on a public who have never harmed me.

 So instead I will zone in on one small but important aspect of my life in which I have failed, and try to analyse the reasons for my failure.  Basically, over the forthcoming pages, I intend to examine the reasons why I have never gotten around to writing a book.  This was something that, for a large part of my life, I believed I would achieve sooner or later.  In fact, I believed I would do it many times over without having to sacrifice quality in the interest of being prolific.

 Before I go on to discuss why I have not turned out to be a writer, I think I ought to devote some time to explaining why I ever got it into my head that I could become one.  This seems only reasonable.  If, for instance I had told you that I had always believed that I would one day become a professional rugby player you would make certain assumptions about my earlier life.  It would not be unreasonable for you to expect that, as a teenager, I had been of exceptional size and strength.  You would also assume that I had, at an early age, shown signs of sporting talent, signs which had been noted by talent scouts from the top rugby clubs in Europe. That would be a fairly typical back story for a successful rugby player.

 But why is it that for so many people who have dreamt of becoming writers, their ambition is predicated on very little evidence of talent.  Writing seems to be one area of endeavour where huge numbers of people believe they can excel for absolutely no apparent reason.  I think that part of the problem may be that, unlike in areas such as sport, writing talent doesn’t have any obvious physical manifestations.  Let us go back to our rugby analogy to illustrate this point.  Once I happened to walk past Paul O’ Connell, the Munster and Ireland rugby star.  I was, of course, completely in awe of his physical presence.  The man is a giant, and an obviously athletic giant at that.  Even if I had not recognised who he was it would not have been unreasonable of me to surmise that he could have been a rugby player. There was strong physical evidence to suggest this possibility.  Now, on another occasion, I happened to see Seamus Heaney on the Rosslare to Le Havre ferry.  Unlike in the Paul O’Connell illustration, there was nothing in this man’s physique which was indicative of his literary talent.  I didn’t cry out: “Will ya look at the big shoulders on that fella!  I’d say he must be a poet.  It’d be no bother to him to be pickin’ up dirty big metaphors and droppin’ them, appositely, into a carefully crafted trochee.  And look at the teeth on him!  All the better for scansion.”

 Now, the point is, Mr. Heaney no more looked like a Nobel prize-winning author than I do.  Or, to put it another way, I look like just as good a writer as Seamus Heaney.  Can you see how easy it is to deceive yourself about literary talent?

 If, then, a talent for writing is something which does not reveal itself in one’s physical appearance, where then does it show itself?  The obvious answer is that we can spot literary flair when we examine samples of a writer’s work.  And therein lies the problem, for me and for many other would-be writers.  I don’t actually have any examples of my work that I can show you.  The fact is that, although I would like to be a writer, I don’t really fancy the idea of sitting down at a desk doing a lot of writing.  I’m not really that sort of writer.

 The sort of writer I want to be is the sort who graciously accepts awards with a few well chosen, witty but sincere words.  I’ve already done quite a lot of the rough work for my Booker Prize acceptance speech. The basic framework is there; I just need to put in the witty bits and find some convincing way of faking sincerity. Although it still needs a bit of polishing, I have a good feeling about that speech.  I think it will be remembered.

 And I’m the sort of writer who would feel comfortable in a Dublin literary pub, the sort of place that’s due to make a comeback around the time that I actually finish my first novel, (an event which, unfortunately, is being held up by my inability to start said first novel or, for that matter, do the bit in the middle).  I will be more than happy to prop the bar up for hours on end, being bought pints by admiring young scribblers who are too in awe of my reputation to expect me to actually say anything to them.  I won’t say anything to them, as it happens, but I will cultivate the look of a man who, if he deigned to speak to his inferiors, would speak a spake that would be a model of brevity while managing to encapsulate a many-layered nugget of insight into the human condition.

 And as for those arrogant enough to imagine themselves to be my literary peers?  Now they could turn out to be the rock I’d founder on.  Sooner or later they would weary of my cultivated silence. They might see my feigned garrulousness as a ruse to avoid conversation, the sort of conversation that could be seen by some as revealing a certain ignorance of literary matters.  This might lead them to provoke me into the sort of literary argy bargy in which I might not acquit myself entirely gloriously.

 But primarily I would see myself as the sort of writer who would be interviewed on the Late Late Show.  It would become an annual event.  Gay Byrne would come out of retirement once a year to interview me about my latest acceptance speech. (Not, you may have noticed, about my latest novel, the unstarted masterpiece.)  Gay, of course, will not try to show me up as some sort of literary sham.  He will understand that he is in the presence of a writer so writerly that it would be beneath his dignity to waste his time in the presence of pen and paper.  An author so authorly that he has freed himself from the vain attempt to imprison in mere inadequate words on a page the true majesty of his exceptional soul.  Gay would have more sense than to ask belittling questions about why I’ve never gotten around to actually writing anything.  It would be simply accepted as a given that I don’t do the whole wordsmith thing.  I’ve moved the art of the writer on to the next level.

 Yes, I’m definitely more interested in the glamorous side of being a writer.  I’m far less enamoured of the practical, bum-on-seat aspect of it.  I would like to be a writer without having to tie myself down to the nitty gritty of writing.  I’ve always regarded that type of thing as mere clerical drudgery. I’m sure it should be possible to pay somebody to do that for me.  That would be, after all, not such an unusual thing these days.  Lots of famous people from the world of sports, politics and the arts have produced “autobiographies” which have in fact been written by ghost writers.  This is generally regarded as quite an acceptable way for someone to tell their story to the world, even though they have been too busy doing other stuff to bother to acquire the skills of a writer.

 Now I’m not going to claim that the reason I haven’t developed literary skill is because I’ve been busy achieving wonders in other fields of endeavour. I’m not that sort of genius.  I’m merely pointing out that a precedent has been set for treating writers as simple journeyman tradespeople whose function it is to serve the more exceptional amongst us.

 So, as you can see, I have the healthy ego necessary to become great.  I have, I believe, a great soul.  Unfortunately it is not the sort of great soul which manifests itself through wonderful deeds.  Nor is it the sort of greatness which tends to reveal itself through the medium of elegant thoughts expressed in memorable prose.  No, this is a more elusive form of greatness; a greatness which is mainly definable in terms of its total lack of non-greatness.  From an early age I have never really doubted my greatness. In fact, so secure was I in my belief in myself that I was never driven to try and prove it to the world.  I think if you study the biographies of so-called great people, you will notice that many of them were driven by an insecurity which pushed them on to exceptional deeds.  They always feared that someone else would run faster or jump higher than them.  This fear of being bettered came between them and their rest.

 I, on the other hand, have never felt a need to prove my greatness to the world.  Neither have I ever allowed anything to come between me and my rest. As geniuses go I’m one of the less kinetic.  I have bided my time patiently, in the firm belief that one day the world could not fail to see my greatness and acknowledge it by way of fawning adulation which would stop short enough of hysteria to allow me to walk in relative peace and comfort down any of the world’s more crowded thoroughfares.

 As I look back now, I can see that the history of my ego seems to be divisible into several distinct eras. Firstly, there was the early, building stage in which adoring adults missed no opportunity to praise me.  I don’t think they did it with any conscious intention of boosting my psychic immune system so that I would be resistant to the slings and arrows of outrageous fortune in later life.  I don’t think any particular thought process went into this behaviour.  It seems to be a normal human instinct to admire and complement babies and small children, even when they are doing the most unextraordinary things. This tendency becomes even stronger when we are in the presence of our own bundles of joy.

 My parents, for instance regularly complemented me for my ability to eat my vegetables.  This feat gained me the status of “best boy” in my house.  (This accolade was never, as far as I can remember, awarded to any of my siblings, despite the fact that they were all older than me.)  Not only was I a great vegetable eater, but I also had great talent for a wide range of activities, including getting up wind, taking medicine, taking baths and tidying my room.  Apparently, there had never been another boy, in the whole history of the world, who could equal me across a wide spectrum of human endeavour.

 When I started school, my teachers seemed to be no less impressed by my prodigious talent than my family were. So pleased was I with the regular praise for my handwriting, my ability to sit in a desk without moving around the room, my excellent manners, that I failed to notice whether other students in my class received such constant approval.  I can only assume that they didn’t.

 The next stage of my ego’s history was what I would call the complacent period.  During that phase I began to lose any competitive streak I had ever had. The notion of being the best boy had become so engrained in my subconscious that I began to lose all need to impress people.  In school I could go for weeks without doing anything even remotely impressive. Eventually I would feel a need to impress myself and so would spend a day or two letting my teacher and my peers know who was boss.  Then I would graciously fade from the limelight and let the others get a bit of praise.

 When it came to sport I tended to be more drawn to team games.  This was not because I was naturally a team player, but because being on a team allowed one to fade from view for minutes on end, contributing little to the side’s efforts, and then, when I chose, I could deliver a brief spell of outstanding skill, vision and athleticism.  I avoided games such as table tennis, where you were expected to be able to strike the ball exactly as often as your opponent, with nowhere to hide when things weren’t going well for you.

 I have to admit that, at that stage of my life, and well into adulthood, I saw effort as something rather vulgar. I thought that people who tried hard were needy.  They lacked the self-confidence necessary for not trying.  I saw tryers as inferior souls who had something to prove.  I, on the other hand, believed so completely in my own greatness that I felt that all I needed to do was to patiently bide my time until my greatness manifested itself in the form of some concrete achievement.  For many years I believed that achievement would be in the literary field.  (Again, teachers were involved in this.  I received special praise for my essays and stories.  For some reason I took that praise to heart more than I did any other.)

 This complacent stage gradually ceded to the resentful stage of my life.  I began to take umbrage at the number of my inferiors who seemed to be outstripping me in various fields of endeavour.  People whom I had regarded as mediocre poor sloggers were beginning to garner accolades at a rate which was becoming unsettlingly greater than my batting average.  Teachers and college lecturers were being frequently gulled into seeing talent where they should have merely acknowledged honest effort. Later on, my employers would heap praise on my colleagues for demonstrating traits such as punctuality, reliability or being good team players.  Now to my mind these are not characteristics that set the pulse racing. They are not words we associate with the greats.  Greek gods were not famous for arriving on Mount Olympus at nine o’clock sharp every morning. Neither was Fionn Mac Cumhail famous for “being there for his team mates”.

 And so I began to grumble as this unfair world began to reward the little people whom I had unwisely allowed to step into the limelight while I desisted from boastful displays of my brilliance. “I could do better than that” became my mantra as I viewed the “achievements” of my inferiors.  The only thing that stopped me from producing work of equal mediocrity was my pride in my own reputation.  I would not sully my name by association with the sort of pap produced by every second twenty-year-old, to popular, if not critical, acclaim.  So they made a lot of money!  But I was above that sort of prostitution.  I would rather go to my grave not having written a bad book than pick up a few million for churning out a bestseller.

 I think the stage of development I am now at could best be described as the panicky stage.  I am torn between two options.  On the one hand, I could break free of my paralyzing perfectionism, (for surely there is no greater form of perfectionism than that which constantly counsels you to not try and therefore never end up falling short of your ideals), and allow myself to write something inferior.  A small but increasingly nagging voice in the back of my head is trying to tempt me down the “have-a-go-what-have-you-got-to-lose” path. If, this voice reasons, I pop off a literary work of any merit whatsoever before I die, then I might at least insinuate myself into the public memory in a not entirely negative manner. Maybe a few people will buy my book and enjoy it.  Maybe they might pass it on to their kids and grant me some kind of poor man’s immortality.

 On the other hand, I have my completely unsullied reputation to consider.  The only two writers I can think of who have never written anything that isn’t a masterpiece, are James Joyce and myself.  When I am dead no critics will be able to say of me: “He had his literary flaws.  For all his prodigious merit, he could, betimes, strike a false note.”  I’m not sure I would feel comfortable spending eternity being exposed to damnation by faint praise.

 Sometimes I suspect that life might be setting me a test.  I have, so far, resisted spectacularly the temptation to lower myself to competition with those who are not my equals.  For more than sixty years I have held my nerve.  I have patiently bided my time even when those who love me look at me and wonder if now mightn’t be a good time for me to make my move.  “Prove to us all,” their eyes seem to say, “that you’re not a complete waste of oxygen.  We’ve stuck by you all these years and we feel that now might be a nice time for a little scrap of vindication if you feel up to it.”  Of course I’d like to oblige them when they look at me like that.  It would be all too easy for me to unleash my talent on the world like a thunderbolt. But what would that prove?  That deep down I am one of the small souls, one of the puny egos that can’t go for ten minutes without a pat on the back. If I give in to this temptation at this stage of my life I may end up unleashing my thunderbolt before I am ready, and readiness is everything.  If I give in, if I fail this test, I may never realise the great destiny that fate has pencilled in for me.

 By way of compromise I have decided to dedicate some time to writing an account of why I have never written anything. It will be a deliberate policy to avoid any attempt to write well.  In this way I hope to save my genius for the right moment, while limbering up gently. This will be a half-hearted exercise designed purely as a means to warm up my literary muscles in case I may one day need to use them.