- (aka loli) – works which involve pre-teenage females, though can sometimes
include older, but still underage, female minors ranging in themes from mildly
suggestive to erotic; should not be confused with the more general usage of
- short for 'Lolita Complex'; someone who is sexually attracted to little
- The sexual attraction to young girls; An individual fixated on young,
generally prepubescent, girls; Erotic or suggestive art depicting prepubescent
- (story) narrative: a message that tells the particulars of an act or
occurrence or course of events; presented in writing or drama or cinema or as a
radio or television program; "his narrative was interesting"; "Disney's stories
entertain adults as well as children"
- A report of an item of news in a newspaper, magazine, or news
- A plot or story line
- (story) floor: a structure consisting of a room or set of rooms at a single
position along a vertical scale; "what level is the office on?"
- An account of imaginary or real people and events told for
- (story) a piece of fiction that narrates a chain of related events; "he
writes stories for the magazines"
lolicon stories - Eudora Welty
Eudora Welty : Stories, Essays & Memoir (Library of America, 102)
"Stories, Essays, and Memoir" contains all of
Welty's collected short stories, her first book, "A Curtain of Green and Other
Stories" (1941), stories based on her travels, and the ever-popular memoir, "One
Writer's Beginnings" (1984).
It's small wonder that the Library of
America chose Eudora Welty as the first living (at that time) author published
in this prestigious series. Welty was the kind of writer people routinely call
"an American institution." But don't let the sweet white-haired-old-lady image
fool you: Welty's work is anything but benign. For more than 50 years, Welty
spoke with a fierce and uncompromising literary voice. Or, rather, voices: the
stories collected in this volume feature a dizzying array of characters, each of
whom seems to whisper directly into the reader's ear. From the toxic rage of
"Where Is the Voice Coming From?" to the jazzy rhythms of "Powerhouse," these
tales blaze with intensity and a comic energy that's both gentle and fierce.
Even that bane of junior-high-school speech tournaments everywhere, "Why I Live
at the P.O.," benefits from rereading; as far as this brand of down-home farce
goes, Welty does it better than anyone. Bringing together the contents of
Welty's four short-fiction collections, this Library of America volume also
includes several essays as well as Welty's very fine 1984 memoir, "One Writer's
Beginnings." In it she speaks of connections, continuities, the way both her
fiction and her experiences emerged gradually into focus over time:
...suddenly a light is thrown back, as when your train makes a curve,
showing that there has been a mountain of meaning rising behind you on the way
you've come, is rising there still, proven now through retrospect.
volume is that light thrown back; the full import of Welty's enormously
influential work is perhaps apparent only now, in this substantial and rewarding
retrospective of her career. --Mary Park
Second story man
This is my shot of the homestead focused in on
the second story. I thought the method of setting the floor beams into notches
in the lower log was to keep the beams in alignment was interesting. You should
know that solid lumber is not terribly great as "R" resistance to heat transfer.
That is why some builders try to build without through-wall studs. I assume the
floor is tied into the end walls of the structure somehow. I should have looked.
A second floor helped retain heat during the winters. They were used for
sleeping lofts. I don't know if I could stand the dark, closed-in look. The
small panes of glass for windows were packed across the prairie in the wagons,
along with the craftsman planes. Certain skill-sets would have been requisite
for the settlers. What an endeavor for the pioneers! Nothing went to waste. Once
past the museum building, we made a beeline for the 1860 section of the farm and
were delighted by truly authentic early structures. I marveled at the structure
of the chimney, wondering how it could hold up over the decades. Oscar the cat
was on mouse patrol, earning his keep. Eddie was in a rush to get to Doudy
before sunup, the bike track by 10:00 and the Littleton Farm Museum after that.
The museum was a place that I never heard about before found it to be an
excellent experience. We kept expecting good skies but only those shots aimed
properly could take advantage of any opening in the clouds. The rest were in
flat light. This was major work to dig out this angle. Lighting is everything
and needed to pop up pictures. I admired the daisy sculpture outside but
marveled at the farm exhibits. This museum is free and the one place you must
take the kiddies. They were concerned about Eddie's camera and didn't want us
shooting indoor or commercial shots. They would only be so lucky if they had
Eddie to do their shooting for them! Oh well rentless onward. This is a treasure
trove of old agricultural exhibits and far better than others I've encountered.
Plenty to keep the young occupied as we discovered them bouncing from exhibit to
exhibit. This is outside, before we got in! I waited and shot and waited for the
skies to start clearing; they didn't. I know what you are thinking; enough skies
already! All kinds of skies are great though. This one is barely worth it.
Foto de Lolicon SG paseando por el Port Olimpic