Lauryn Hill was twenty-three years old when her 1998 solo debut album, TheMiseducation of Lauryn Hill, burst upon the global music market andswiftly became one of the most acclaimed and popular hip hop albums inhistory. Heralded by a hip hop beat, crooning love songs and rally cries,beaming black pride, and clamoring womanist wisdom, Hill scaled thetreacherous summit of global pop stardom and was hailed as genius andprophetess. However, within four years Hill fell from the favor of much ofthe mainstream market. To have many pundits tell it, she veered across thethin line that supposedly separates genius from madness and prophecy fromlunacy. This essay explores how various publics and pundits impute madnessto Lauryn Hill and--most centrally--how Hill herself produces, mobilizes, andbrandishes madness for radical art-making and self-making. Toward theseaims, I closely examine her 2002 Unplugged 2.0 live album, as well asother performances, interviews, and media accounts. Her voice tuned to amad pitch, Hill speaks truth to power and issues a sound that sometimesbooms, sometimes sputters. Ultimately, this meditation upon Hill's life andwork yields rich insights on black womanhood, performance, protest, andmadness in American popular culture and beyond.

I've had this on my "watch" list for a while, but never got around to buying it. Mansion of madness v2 also showed up while I did some research, but is it in any way similar? Or is MoM more like a co-op game?


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Because madness resists knowing, we must sometimes find recourse and take solace in feeling instead. In this book, feeling is at least as important as knowing. I try to infuse my writing with an intimate, visceral, sensuous quality. I want to give people something they can feel.

Writing and running are activities connected by extended metaphor: while running is prose, hill (or fell) running is poetry. This sport, therefore, demands writing of the highest ilk. In the course of research for my own book on hill running, The Mountains Are Calling, I have read and re-read reams of literature: some of it great, some of it simply informative, some of it that does not always do justice to the sport.

At the Mountains of Madness is a science fiction-horror novella by American author H. P. Lovecraft, written in February/March 1931. Rejected that year by Weird Tales editor Farnsworth Wright on the grounds of its length,[1] it was originally serialized in the February, March, and April 1936 issues of Astounding Stories. It has been reproduced in numerous collections.

The story was inspired by Lovecraft's interest in Antarctic exploration; the continent was still not fully explored in the 1930s. Lovecraft explicitly draws from Edgar Allan Poe's novel The Narrative of Arthur Gordon Pym of Nantucket, and he may have used other stories for inspiration. Many story elements, such as the formless "shoggoth", recur in other Lovecraft works. The story has been adapted and used for graphic novels, video games, and musical works.

The first expedition of Richard E. Byrd took place between 1928 and 1930, just before the novella was written, and Lovecraft mentioned the explorer repeatedly in his letters and remarked at one point on "geologists of the Byrd expedition having found many fossils indicating a tropical past."[7] In fact, Miskatonic University's expedition was modelled after that of Byrd.[8]

Joshi further cites Lovecraft's most obvious literary source for At the Mountains of Madness as Edgar Allan Poe's only novel, The Narrative of Arthur Gordon Pym of Nantucket, whose concluding section is set in Antarctica. Lovecraft twice cites Poe's "disturbing and enigmatic" story in his text and explicitly borrows the mysterious cry Tekeli-li or Takkeli from Poe's work. In a letter to August Derleth, Lovecraft wrote that he was trying to achieve with his ending an effect similar to what Poe accomplished in Pym.[11]

Another proposed inspiration for At the Mountains of Madness is Edgar Rice Burroughs's At the Earth's Core (1914), a novel that posits a highly intelligent reptilian race, the Mahar, living in a hollow Earth. "Consider the similarity of Burroughs' Mahar to Lovecraft's Old Ones, both of whom are presented sympathetically despite their ill-treatment of man," wrote the critic William Fulwiler. "[B]oth are winged, web-footed, dominant races; both are scientific scholarly races with a talent for genetics, engineering, and architecture; and both races use men as cattle." Both stories, Fulwiler points out, involve radical new drilling techniques. In both stories, humans are vivisected by nonhuman scientists. Burroughs' Mahar even employ a species of servants known as Sagoths, possibly the source of Lovecraft's Shoggoth.[12]

An H.P. Lovecraft Encyclopedia suggest that the long scope of history recounted in the story may have been inspired by Oswald Spengler's The Decline of the West. Some details of the story may also have been taken from M. P. Shiel's 1901 Arctic exploration novel The Purple Cloud, which was republished in 1930.[17]

The novella was received negatively during Lovecraft's lifetime; Lovecraft stated that its hostile reception had done "more than anything to end my effective fictional career."[22] Theodore Sturgeon described the novella as "perfect Lovecraft" and "a good deal more lucid than much of the master's work", as well as "first-water, true-blue science fiction."[23] The story popularized ancient astronaut theories, as well as Antarctica's place in the "ancient astronaut mythology".[24] Edward Guimont has argued that At the Mountains of Madness, despite its terrestrial setting, helped influence later hard science fiction depictions of planetary expeditions and the Big Dumb Object trope, particularly those of Arthur C. Clarke, whose 1940 parody "At the Mountains of Murkiness" was one of his first works of fiction.[15][25]

Soil scorched by the fire was less able to absorb rainwater, so when heavy seasonal rains fell in January, massive mudslides resulted. Entire hillsides came down, sweeping boulders, cars and houses into the destructive path of the slide.

What is the nature of modern 'madness'? What is it like to suffer with grief or PTSD or obsessive love? To struggle with other people, or your environment? How do you view others who see the world differently to you? And what does it mean to be considered odd, or eccentric?

ENCOUNTERS WITH EVERYDAY MADNESS is an exceptional collection of stories - some long, some short, some immersive, some detached, some experimental, some traditional - that looks at contemporary 'madness' in all its forms.

Haifa, Israel: Or-Ron Publishing House Ltd., 1984. Very Good / Very Good. Item #11780 

ISBN: 9652220469 


Haifa, Israel: Or-Ron Publishing House Ltd., 1984. Octavo (23.5cm.); publisher's simulated cloth in black pictorial dust jacket; [6],vi,280pp.; photo-illustrated endpapers. Light shelf wear, brief shallow biopredation along bottom margin of jacket spine not approaching text, corners bumped, some occasional pencil marginalia and highlighting to early leaves; overall Good to Very Good.


Reissue of the Hungarian-Israeli's autobiographical novel of the Great War first published in Hebrew in 1929.

By turns disturbing, playful, witty, inventive, these stories conjure vivid images out of the unpromising material of suburban life, and engage the reader in the contemplation of the extraordinary nature of the ordinary. Charlie Hill leads the reader into some dark places, and forces us to reflect on the thin line between our notions of sanity and madness.

Herland is the first half of a witty, sociologically astute critique of life in the United States. This story concentrates ostensibly on three men-Van, Jeff, and Terry-who discover a small, uncharted country called Herland which, by force of an unusual accident of nature, has been governed and populated for two thousand years solely by women. Biological reproduction occurs miraculously by parthenogenesis (that is, without insemination). Charlotte Perkins Gilman exploits this contrived situation in order to contrast and compare the social features of a hypothetical woman-centered society to the harsh realities and crushing inequalities of everyday life found pervasively in male-dominated societies. The cohesive theme and primary purpose of Herland is the exposition of Gilman's interconnected ideas about economics, education, clothing, prisons, parenting, male-female relationships, human evolution, and social organization generally. In With Her in Ourland, the neglected sequel to Herland published in 1916, Gilman presents the second half of the Herland chronicle, dissects the patriarchal and technological madness of World War I, and points constructively to an alternative future based on the pragmatic application of feminist values. Herland is not fundamentally a utopian novel; rather, it is a lucid, persuasive analysis of modem life as Gilman saw it.

Magerks Pub in Federal Hill offers an array of game-time munchies like chicken fingers, crab dip and egg rolls. The Ohio State University fans will also go wild for the $9 Philly-style cheesesteaks. (1061 S. Charles St., Federal Hill.)tag_hash_109tag_hash_110tag_hash_111tag_hash_112tag_hash_113tag_hash_114tag_hash_115

In December, 1531, he saw the Virgin Mary, appearing as a young Indigenous girl, standing on the hill. She told him to go to the bishop and tell him to build a chapel in her honor so she could help the locals who suffered. Juan immediately did so, but the bishop was not convinced. When Juan returned home past the hill, Mary was still there; he told her about his failure and suggested she send someone more important. She insisted Juan do it, and he agreed to go back to the bishop again.

The next day, the bishop was a bit more agreeable but asked for some sort of sign before he invested in the building project. Juan ran back to the hill and informed Mary, who agreed to provide a sign the following day. 2351a5e196

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