Three articles that focus on these uses of newer presence-evoking technologies provide detailed first-person reports about what the experience is like: “I thought I understood my trans body-then I tried VR,” a February 2019 story in Quartz “How gender questioning and transgender gamers found a safe space in VR,” a July 2019 story in Digital Trends and the August 2015 story below from Kotaku. Virtual reality offers more immersive and embodied opportunities to “gender swap” or otherwise explore gender than text-only chat rooms of the early internet. As we chatted about how much the technology has evolved, she sounded a note of disappointment: that a family member with muscular dystrophy still couldn’t use VR.” Toward the end of our conversation, she mentioned that a lot of her peers seemed to choose different genders and races for their virtual avatars, surmising that many found comfort in adding another layer of separation between their ‘real world body’ and their virtual one, whatever their identity. “ woman I interviewed told me that after struggling for years with gender dysphoria, the experience of putting on a headset and inhabiting not just another place, but another body of a sort, led instead to a sense of ‘gender euphoria.’ It was, paradoxically, the first time she said she had really felt like herself. [In a recent (February 2020) post here about virtual reality and accessibility I was struck by this comment:
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Her father was “a maintenance worker with a third-grade education spoke little English” (4). Where she ends up is far, far away – and not just in terms of physical distance. One of her grandmothers grew up in Iguala, spent her whole life there, and died there, never once in her life having seen the ocean (227). Grande writes about “the shacks, the dirt roads, the crumbling houses, the trash – the grinding poverty” (46) and a childhood where “for the most part, my siblings and I were dressed in rags, wore cheap plastic sandals, had lice and tapeworms, and ate nothing but beans and tortillas every day” (15). “I had been born in a little shack of sticks and cardboard in my hometown of Iguala, Guerrero,” she writes, “a city only three hours from glittery Acapulco and the bustling metropolis of Mexico City” (14). Grande was born in Iguala, Mexico, in the state of Guerrero she describes, especially early on, what it was like to grow up in this poverty-stricken city, located on Mexico’s Federal Highway 95, about halfway between the coastal town of Acapulco and the capital, Mexico City. A Dream Called Home: A Memoir by Reyna Grande According to the papers in the David Foster Wallace Archive at the Harry Ransom Center, University of Texas at Austin, 1 the book had an estimated gross sales of 28,000 hardcover copies. His unconventional narrative is “ingeniously structured,” and his actors, from Timothy Hutton to Dominic Cooper, “all work at a high level.” Even if the film comes off as a bit clinical, it’s “never less than compelling. Brief Interviews with Hideous Men is a short story collection by the late American writer David Foster Wallace, first published in 1999 by Little, Brown. But Krasinski shows promise as a director. The film is far more “cerebral than emotional,” said James Greenberg in The Hollywood Reporter. Krasinski deserves credit for “tackling something this risky,” even if his film seems somewhat unsure about how to handle the book’s “grim, caustic, and darkly humorous” proclamations about what men really want. Adapting Wallace’s raw, wild style of writing was a “daunting prospect,” said Claudia Puig in USA Today. Through a series of interviews, confessions, and overheard conversations-all experienced by a female graduate student (Julianne Nicholson)-the provocative film explores the dark corners of the male psyche in the post-feminist era. Actor John Krasinski, best known as Jim Halpert from NBC’s The Office, makes his directorial debut with this absorbing adaptation of a short-story collection by the late David Foster Wallace. An adaptation of David Foster Wallace’s 1999 short-story collectionīrief Interviews With Hideous Men is a “quiet revelation,” said Stanley Kauffmann in The New Republic. The Wager by David Grann (Doubleday: $30) The story of the shipwreck of an 18th-century British warship and a mutiny among the survivors.ģ. The Creative Act by Rick Rubin (Penguin: $32) The music producer’s guidance on how to be a creative person.Ģ. This Bird Has Flown by Susanna Hoffs (Little, Brown: $29) A one-hit wonder hopes for a comeback in a novel by a singer from the pop group the Bangles. Before the Coffee Gets Cold by Toshikazu Kawaguchi (Hanover Square: $20) A Tokyo cafe gives customers the chance to travel back in time.ġ0. Remarkably Bright Creatures by Shelby Van Pelt (Ecco: $30) A giant Pacific octopus bonds with a widowed worker at a Washington State aquarium and tries to help her solve the mystery of her long-missing son.ĩ. Ryan Stradal (Pamela Dorman: $28) A novel set in the world of Minnesota restaurants.Ĩ. Saturday Night at the Lakeside Supper Club by J. The story follows Nell's development under the tutelage of the Primer, and to a lesser degree, the lives of Elizabeth and Fiona, girls who receive similar books. At the age of four, Nell receives a stolen copy of an interactive book, Young Lady's Illustrated Primer: a Propædeutic Enchiridion in which is told the tale of Princess Nell and her various friends, kin, associates, originally intended for an aristocrat's child in the Neo-Victorian New Atlantis phyle. The protagonist in the story is Nell, a thete (or person without a tribe equivalent to the lowest working class) living in the Leased Territories, a lowland slum belt on the artificial, diamondoid island of New Chusan, located offshore from the mouth of the Yangtze River, northwest of Shanghai. The Diamond Age: Or, A Young Lady's Illustrated Primer is a 1995 novel with post- cyberpunk and Neo-Victorian elements by Neal Stephenson. “Hallelujah: Leonard Cohen, A Journey, A Song” glosses over some of the best evidence to support what is, at heart, a basic story: after laboring for years on the lyrics for “Hallelujah,” and then later struggling with his own personal and creative demons, Cohen’s song helped to spark a late-career revival and mini-creative renaissance, too. Cohen’s “Halleluljah” is then presented as a trite symbol of his frustrated creative ambitions, though archival interviews with Cohen do effectively suggest that there’s more to his music-and that song, in particular-than the usual artistic triumph over industrial exploitation narrative. This was decades after the song debuted in 1984 on Various Positions, a (rather good) studio album that was rejected by Columbia Records and barely released in the United States. Geller and Goldfine’s docu-collage of interview and concert footage doesn’t give deep consideration to the conditions that led to “Hallelujah” becoming a late career hit for Cohen. The result is an expansive portrait of the people, principles, and campaigns that made ACT UP the most formidable political organization to emerge from the AIDS crisis. Her voice and those of a chorus of activists cohere in the book, which draws both on her experience as a veteran of the political-action group and from lengthy interviews she conducted with nearly 200 other members. In writing Let the Record Show, published earlier this year, Schulman has orchestrated a people’s history of ACT UP New York. For an outstanding chronicle of the early years of AIDS activism, look no further than Sarah Schulman’s Let the Record Show: A Political History of ACT UP New York, 1987–1993, which is also an exemplary model for telling a more complete story of a political movement. At the same time, I sought out stories about the sheer oppressiveness and caginess of the suburbs, like The Virgin Suicides by Jeffrey Eugenides, a chronicle of a group of sisters experiencing deep ennui beneath the surface of their white picket fence lives. But this pleasure was temporary after serving its masturbatory ends, Mapplethorpe’s beautiful male subjects only reminded me of my own long and incomplete journey out of the closet. I once surreptitiously took out a Robert Mapplethorpe coffee table book, a chunky volume cataloguing some of the queer photographer’s incandescent and highly sexualized work. I was desperate to read of other gay men or to escape to a far-off world of other people also struggling with social acceptance. I was then languishing at an all-boys high-school, overwhelmed by the intense bullying you can guess an effeminate 15 year old experiences. I wanted to read tales about gay men finding love, companionship, and self-realization in a larger unwelcoming world. There, I could checkout books without my parent’s knowledge, burying titles like To Kill A Mockingbird and Great Expectations on my way home for late-night flashlight reading.Īs a young gay boy growing up in the quiet suburbs, I hungered for the homoerotic. In my early teen years, one of the great treats of summer vacation was visiting my local library unaccompanied. The miners become concerned when a vision of Aggedor, the royal beast, starts appearing in the mines and killing miners, including the alien engineer Vega Nexos. The Federation is in conflict with the warlike Galaxy Five confederation. The planet's ruler Queen Thalira, daughter of the late King Peladon, is sympathetic, but knows her planet is vital to supply the war effort of the Galactic Federation of which it is a member. On the planet Peladon a power struggle is in place between the trisilicate miners and the ruling class, with miners under the leadership of Gebek and hot-headed Ettis calling for improved conditions. In the serial, the engineer Eckersley (Donald Gee) and the rogue Ice Warrior Commander Azaxyr ( Alan Bennion) conspire to take over the planet and sell its minerals to Peladon's enemies in Galaxy Five. The serial is set on the mineral-rich planet Peladon 50 years after the 1972 serial The Curse of Peladon. It was Jon Pertwee's penultimate serial as the Third Doctor. The Monster of Peladon is the fourth serial of the 11th season of the British science fiction television series Doctor Who, which was first broadcast in six weekly parts on BBC1 from 23 March to 27 April 1974. Ysanne Churchman – Voice of Alpha Centauri. While Many Eyes Have Turned Towards The Mists, Wanting To Take The Treasures Within, The Mist Village Stares Back With A Simple Message. to 'The Land' Tricked into a world of banished gods, demons, goblins, sprites and magic, Richter must learn to meet the perils of The Land and begin to forge his own kingdom. New Skills Have Been Learned, Stronger Enchantments Have Been Wrought And The Hundreds Of Villagers Have Answered The Call To Adventure. The Land: Founding Aleron Kong 4.19 23,554 ratings1,552 reviews Welcome my friends Welcome. Richter And Sion Need To Be Stronger Than Ever Before. Richter's People Are Horribly Outnumbered By Foes Whose Own Power Has Been Entrenched For Thousands Of Years. Evil Nobles From The Kingdom Of Law, Bloodthirsty Goblins Fromthe Serrated Mountains, An Undead Lord With A Penchant For Human Sacrifice And Fanatical Kobolds From The Depths, All Plot The Village's Destruction. The Path To Power Has Not Been Without Risk, However. Core Buildings, Professional Fighters And Now, Their Own Dungeon, The Settlement Is Primed To Grow Into A Kingdom Of True Power And Magic. A Mesmerizing Tale Reminiscent Of The Wonder Of Ready Player One And The Adventure Of Game Of Thrones #1 In Epic Fantasy - #1 In Cyberpunk - #1 In Video Game Fantasy In The Land: Predators, The Mist Village Has Harnessed Its Power. Welcome To Long Awaited Seventh Novel Of The Best Selling Litrpg Saga, Chaos Seeds, By Aleron Kong. Aleron Kong, the Father of American LitRPG 1 in Cyberpunk and Video Game Science Fiction Over SEVENTEEN HUNDRED positive reviews on. |