I'm sure you've heard of Instagram's new feature. Why am I so sure? Oh, maybe because everyone's been using it to do a Q&A sesh... And because I am admittedly a happy member of that "everyone" category, here were some of the questions you guys asked on my story yesterday and my more detailed, written-up… Continue reading writing || instagram ask me anything
Okay. This is going to be short, and it's going to be to the point. Funny because in writing that, and prefacing this very interesting topic with an uninteresting little meta-insight, I'm being counterproductive to my whole initial mission to stick to the point. But I always seem to feel the need to explain what's… Continue reading writing || when living “intentionally” backfires
Last week, I attended a youth entrepreneurship conference in Ottawa organized by the Government of Canada. I had a phenomenal time, learned a lot, and got to meet some amazing young and veteran entrepreneurs. Among the mentors we were able to learn from was Jarrod Goldsmith, an entrepreneur specializing in networking events, and saxophone musician… Continue reading writing || in conversation with: Jarrod Goldsmith’s advice on Networking and Entrepreneurship
I started this book on June 24, 2017 while on a 7-hour plane ride to Scotland and finished it today, June 19, 2018 while driving to my local Starbucks. (No idea why those locations are relevant but hey, the more you know, eh?) So, I suppose it's fair to say it's taken me a full… Continue reading writing || the Charisma Myth by Olivia Fox Cabane
In Blood Wedding, Federico Garcia Lorca constructs an environment that is heavily weighed down by cultural expectations. As both a playwright and an accomplished theatre director, Lorca’s command of dialogue, musical drama, and stage direction is used with purpose to create this tense, eerie atmosphere. In particular, the play’s recurring intra-textual Lullaby piece gives audiences an insight into its cultural setting by mirroring the language and symbolism its characters later employ in describing their feelings of suffocation and tension. It depicts an ancient struggle – one that is still relevant enough to be passed on through the generations. And in it, we see the juxtaposition of carnal flesh and blood with inanimate trees and rivers, both symbols that serve as metaphors for the forces at odds in the play.
There’s a very good reason the most widely published books in history were works of fiction, chronicling the tales of ordinary men locked in an often fatal battle with a fellow man or a supernatural monster. Fiction captures the nuances of those ideas and imbues them in an ageless magic that enables them to last through centuries of change. Shakespeare’s Hamlet and Miller’s Death of a Salesman were written hundreds of years apart, but man’s struggle for power over his own life remains constant.
Not all works of literature use para-textual features in the same way – or even at all – but Maya Angelou’s prologue in her autobiography, “I Know Why the Caged Bird Sings”, is a feature of the text which should not be overlooked, for it sets the stage for her to share her immensely difficult but powerful personal story. The piece’s title, “I Know Why the Caged Bird Sings”, is an allegory referring to her realization of the beauty and meaning held back by the cage created by her physical, psychological, and interpersonal circumstances. Knowing this to be the central tension in Angelou’s life, and therefore her autobiography, the prologue presents itself to readers with a dual purpose.