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John Green on Twitter

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Review

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Consider the ways you could misstep in updating a classic comic-book superhero. Now imagine that your protagonist is A) female, B) 16, C) a Pakistani-American and, oh yeah, D) Muslim.

Could there be a tougher assignment? If you avoid gross errors in depicting halal meat or headscarves, you might lurch in the other direction and fail to endow the heroine with any meaningful cultural signifiers at all. And then there's the matter of her struggle to define herself as she approaches adulthood. How can the timeworn superhero format possibly express the complexity of a modern teenage girl's experience - all without objectifying her bod?

You can put it in the hands of G. Willow Wilson and Adrian Alphona, that's how. Faced with one of the trickiest problems a creator could imagine - rebooting Marvel Comics' decades-old heroine Ms. Marvel - Wilson and Alphona rise to it and burst through.

Several different characters have used the Ms. Marvel name over the years, but Wilson and Alphona's re-imagining is the most dramatic yet. Their Ms. Marvel, Kamala Khan, is an utterly believable teenager, and the art is pure grown-up. Everything from Kamala's postmodern mindset (she's a superheroine who reads superhero fan fiction) to Alphona's elegant line work make this a comic for the discerning reader. Wilson, herself a Muslim, distills the enormity of culture shock into a few potent incidents. "Your headscarf is so pretty, Kiki," a blonde princess tells Kamala's best friend. "But, I mean ... nobody pressured you to start wearing it, right? ... I'm just concerned."

Alphona triumphs too, giving Kamala an expressive face and a normal girl's physique. Kamala has no use for the typical heroine outfit either, finding that the original Ms. Marvel costume gives her "an epic wedgie."

Actually, though, even the key perpetrators of superheroine objectification have been catering to women lately. Marvel now has nine solo titles with female leads to DC Comics' eight, according to Comics Alliance. A new rendering of Batgirl gives her a leather motocross jacket and bright yellow Doc Martin boots. And, of course, who could forget the 2010 fracas when DC ventured to update Wonder Woman's outfit ... by adding pants? (Die-hard fans were outraged by the new look, but Project Runway's Tim Gunn loved it.)

Ms. Marvel has a particularly volatile heritage. Introduced in 1967, she was a feminist who edited a magazine called simply WOMAN. But then she was kidnapped by evil Colonel Yon-Rogg and caught in the explosion of a Kree Psyche-Magnitron device ...

Yeah, that's the kind of thing only superhero fans find interesting.

It's good, then, that Wilson has plenty to offer other readers. She cleverly folds Kamala's Muslim heritage and teen angst into her emerging hero identity. When three Marvel heroes confer her powers upon her, they address her in mellifluous Urdu (which Wilson translates):

"The yellow mustard is blooming in every field, the yellow mustard is blooming, mango buds click open, other flowers too; the koyal twitters from branch to branch and the maiden tries on her adornments."

Kamala crafts her "adornments" out of a conservative Muslim swimming outfit called a burkini. First, though, she has to get control of her powers, which tend to morph her without her volition into a blond clone of the original character. Kamala has to embrace her true self to banish blondness - and that's no easy task. "Everybody's expecting Ms. Marvel. A real superhero," she says. "With perfect hair and big boots. Not Kamala Khan from Jersey City."

She handles the challenge beautifully, though, thanks in part to the lovely artwork by Alphona and color artist Ian Herring. With its delicate color washes and wildly varying realism, the art bears far more resemblance to "alternative" comics than to typical superhero books. To say Alphona has a gift for natural physicality might downplay the hilarity of Kamala's highly unnatural transformations; his depictions of Kamala with superlong legs or one huge, wrecking-ball-sized fist are all that could be desired.

This collection is largely dedicated to establishing Kamala, sketching out her life and family and documenting her transformation. Aside from a few intimations, the "Big Bad" doesn't make an appearance until the very end. This individual, dubbed The Inventor, is suitably horrid. That said, most readers won't find Kamala's struggles with his minions to be particularly scary or exciting. Her personal struggles - with her parents, her friends and her own body - are simply more compelling than the archenemy.

That might not sit well with mainstream superhero fans. Wilson and Alphona have written a comic for people who appreciate superheroes as icons, but don't necessarily feel an ongoing emotional investment in their battles with the forces of evil. As such, the authors risk alienating the traditional fan base to zero in on a narrower demographic. Is it inevitable that an innovative female hero will have to draw her fans from this razor-thin cohort? To find out, stay tuned for our next installment.

Etelka Lehoczky has written about books for The New York Times, The Los Angeles Times and Salon.com.

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Rebooted Comic Heroine Is An Elegant, Believable 'Marvel'

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Consider the ways you could misstep in updating a classic comic-book superhero. Now imagine that your protagonist is A) female, B) 16, C) a Pakistani-American and, oh yeah, D) Muslim. Could there be a tougher assignment?

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Video

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This video was created for my EDCI 270 class. My theme for this class is Junie B. Jones. This video talks about Barbara Parks, the author of the Junie B. Jones series.

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Junie B. Jones - Toothless wonder review

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By: John Green

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By: Veronica Roth

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By:  Willow Wilson

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By Rupi Kaur

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Junie B. Jones, First Grader Toothless Wonder

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Junie B. Jones, First Grader Toothless Wonder

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By Barbara Park

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Author of Turtles All the Way Down

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Author of Divergent

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Writer of Ms. Marvel

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Article

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Throughout the semester, I've been more or less working my way towards the present. Obviously my analyses have been in no way a comprehensive guide to English poetry, but I've tried to cover major periods and major poets in some way. So, here we are, in the present, and I've decided to choose to look at some of rupi kaur's poetry from her first collection, milk and honey. Though I've read some of her work here and there, I only recently read a lot of it at once, and realized that she was a young woman author and I am now obsessed. I just ordered milk and honey on Amazon and you should too.

Before we jump into her poems, I want to just call attention to the fact that she doesn't capitalize her name, much like e. e. cummings and bell hooks. This shifts the focus from the author to the work and minimizes the importance of the self, which I really love. Another interesting thing about her is that milk and honey is a visual as well as textual work, and most of her writings are accompanied by drawings, which help to orient the poem and are also really beautiful.

I love this. Many of her poems are pretty straightforward, this being one of them. The message is clear: love. But love is not something easily practiced, rather it takes work. It's hard to love. Because, as her book goes over, with love there is pain. Yet, she still believes that love is better than hate, that to hate is too easy, and love is a universal ability.

It's a simple poem, just three lines, but it carries a tremendous weight. In this poem, rupi kaur calls the reader directly to look at their lives, and to remain humble. Life is fleeting and ephemeral, and the drawing of the figure on the lake aligns the poem with the water, and the floating of life above it. In this way, she uses the illustration to further the idea of the poem beyond words, and the two mediums work together to tell the reader just how insignificant their eventual successes will be, and imploring them to remember that they are no more when they have everything than when they have nothing. Love it.
This I think is one of my favorites. It's amazing. The way that she constructs the male gaze as it constructs her and all women is especially interesting. She here takes aim at an idea that feminism has been turning against, the "I'm not like other girls" phenomenon, in which girls seek to raise the opinion that others - primarily men - have of them by putting down the rest of womenkind, in such a way that valorizes masculinity while condemning femininity. rupi says no, she won't be a part of that, and the very fact that that is what men want, to denigrate women by subtle microaggressions and internalized misogyny, is so inherently vile a concept to her that she wants to spit the man's tongue out, she wants to expel that belief from her and remove his ability to speak on behalf of men through women. I just really really love this one. I also really love this one. Unlike many of her poems, this one has a title, to fathers with daughters, so that the reader is able to orient the audience. It is written to fathers with daughters, and that is who the "you" is addressing. She tells them that yelling at their daughters and saying that it's love is in fact detrimental to their children, as girls will learn that anger and love look the same, and will inevitably fall into that trap. It's another powerful remark on how men construct the identities of women, in this case because the men in question are the fathers of the girls they are shaping. It calls upon the utmost fear of the parent- that they will inadvertently lead their child to be hurt, but rupi does not allow the fathers to get out of it by saying they meant well. Instead, she says, this is unacceptable. Do better. Do not raise your daughters to believe that a man's love looks the same as his anger.

I just ordered milk and honey on Amazon and am anxiously awaiting its arrival.

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Throughout the semester, I've been more or less working my way towards the present. Obviously my analyses have been in no way a comprehensive guide to English poetry, but I've tried to cover major periods and major poets in some way.

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Video

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With "Turtles All The Way Down,'' John Green had two very difficult tasks: One he could not escape, and one he chose. First, he needed to write something that would meet the high expectations set by his last book, 2012's "The Fault in Our Stars,'' a critical and commercial smash. The ambitious way he elected to do that was with a tale that depicts, in visceral and unflinching detail, the experience of living inside a brain plagued by an anxiety disorder and intrusive thought cycles, conditions Green himself lives with.

The resulting novel contains familiar pleasures - a scavenger-hunt like mystery that unfolds around a sweet-but-possibly doomed romance; clever banter; a binding friendship that only two oddballs can find with one another; and fascinating facts that become potent metaphors. In addition, he creates an arresting portrait of mental illness that could, earnestly, change lives.

But the novel's balance is off. While the portions of the book devoted to the lived experience of mental illness feel vibrant and vital, the surrounding John Greeny pleasures of plot and character are left underdeveloped.

"Turtles'' tells the story of 16-year-old Aza Holmes, trapped by her anxious mind and mourning the loss of her father, and her "Best and Most Fearless Friend," Daisy Ramirez. With typical recklessness, Daisy decides that the pair should join the hunt for the missing, crooked billionaire Russell Pickett (in hopes of collecting a $100,000 reward), bringing Aza back into contact with Pickett's son Davis, her childhood friend and one-time crush. Hijinks (some) and philosophical musings (many) ensue.

Relating the tale from Aza's point of view allows Green to show us how it feels to be at the mercy of unbidden thoughts. Whether it's Aza being yanked away from a conversation with Daisy because she fears her rumbling stomach may signal a fatal bacterial infection or Aza panickingbecause a kiss from love interest Davis will transfer 80 million of his microbes to her and "modestly but consistently alter her microbiome," Green's writing is uncomfortably, gut-clenchingly transporting.

Confronting, through Aza's internal monologue, bleak facts like "the smell of your sweat isn't from the sweat itself, but from the bacteria that eat it," brings home one of the essential truths about mental illness. So often, the problem is not seeing things that aren't there. It's being constantly, oppressively aware of the objective horrors that do surround us, the ones that other people's brains seem capable of skittering right past.

Unfortunately, the book fails to depict anything else with equivalent depth. Sometimes it feels as if this is a byproduct of having a protagonist as obsessively self-reflective as Aza. When you are writing from within a mind that gets hijacked constantly by intrusive thoughts, it should be hard to bring anything beyond those thoughts into complete focus.

Other times it appears an active storytelling choice, given the way the book's central mystery of Davis's father's fate is largely sidelined as Aza develops a relationship with Davis, then becomes further and more terribly trapped by her own brain. The evolution of this whodunit into a who-cares-whodunit seems a deliberate rejection of the trope in which a person with mental illness solves a puzzle-box mystery and becomes, as Aza cracks, "a great detective, not in spite of my brain circuitry, but because of it."

Green's muddy plotting could easily be overlooked if Aza's relationships were as vivid and believable as her illness. Sadly, all the characters other than Aza are underdeveloped.

Davis, whom we get to know chiefly through monologues about astronomy and poetic entries in a secret Web blog Aza discovers, never feels wholly realized. He sounds, in fact, like a 17-year-old attempting to mimic the pop profundity of . . . a John Green novel.

Worse, however, the two relationships in Aza's life that should carry the most weight - that with her widowed mother and her outgoing best friend - are given too little space to breathe. Never is this more apparent than in the climactic fight between Daisy and Aza. At issue is the way Aza's disorder renders her terminally self-involved and neglectful of Daisy, a problem we suspect would be true. But because we have observed so little of them together, the dispute has a weightless quality - it's hard to know whether Daisy is being needlessly harsh or whether Aza has narrated their relationship unreliably.

Similarly, while we can understand how Aza's mom's anxiety about her daughter's anxiety is unhelpful, because her character is not developed much beyond that trait what there is of a character arc for her lacks emotional heft.

As meditation on anxiety and even on the grief of losing a parent (a shared biographical detail that first unites Aza and Davis), "Turtles All The Way Down'' is profoundly successful. As a story about an individual having relationships with those around her, it is admittedly diverting (there are aspects of the characters that do delight) but lacks emotional depth. The insights in individual sentences - like "[i]llnes s is a story told in the past tense'' - can still hit home in the way Green intends. But it's hard not to imagine the novel we might have had if only Green's attention hadn't been split between puzzles and people.

TURTLES ALL THE WAY DOWN

By John Green

Dutton, 286 pp., $19.99

Margaret H. Willison is, officially, a librarian and, self-described, a culture witch and social-media socialite. You can find her in frequent brief bursts on Twitter at @MrsFridayNext or in weekly wordy missives at tinyletter.com/twobossydames.

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The fault in John Green's new novel isn't in his stars - The Boston Globe

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With "Turtles All The Way Down,'' John Green had two very difficult tasks: One he could not escape, and one he chose. First, he needed to write something that would meet the high expectations set by his last book, 2012's "The Fault in Our Stars,'' a critical and commercial smash.

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Interview

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Divergent: Exclusive Interview with Veronica Roth (Author) | ScreenSlam

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Facts used in Divergent book by Veronica Roth

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I had started working on my Master's Degree when I first moved to WI and worked as a home bound teacher. Ultimately I finished a degree in Mental Retardation at UW-Whitewater and taught a course for them called "Techniques for the Multiply Handicapped" for three semesters until they got a full time person to take over several of the special education courses in this area.

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Author of Junie B Jones

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Rupi Kaur Short Biography

Born in 1992, Rupi Kaur is a Canadian poetess, author, illustrator, and performer having an Indian origin. She belongs to a Sikh family and her parents settled in Canada when she was 4 years old. Rupi Kaur is best known for her famous poetry book Milk and Honey which was published in 2014. Her new book, The Sun and Her Flowers, is all set release in October 2017.

Rupi Kaur's Education & Career

As an immigrant child, Rupi Kaur was not very much comfortable with English. During those days, her mother motivated her to draw and paint. Being not so fluent in speaking English, Rupi found writing easy and used to write poems and letters for her friends and high school crushes. It developed in her heart a unique love for written words and she wanted to learn more.

After completing her high school, Rupi Kaur went to study Rhetoric and Professional Writing at the University of Waterloo in Ontario. There she decided to take up writing as her career.

Rupi Kaur's Early Works

During her school and college, Rupi regularly shared her writings online anonymously. Soon she started sharing them on tumblr under her name. In 2014, she started on instagram and combined her poetry with some simple illustrations.

Another thing to notice about her works is that Rupi Kaur writes in lowercase and uses no punctuations other than the period. She took this style from her native gurumukhi script and her idea to treating all words equal.

Her first encounter of getting famous came when she posted a visual essay about mensuration and it sparked a controversy over the internet.

Rupi Kaur Books

Rupi Kaur has written two books untill 2017, both being poetry collections. Her books have themes of love, relationships, women abuse, equality, empowerment and self-love. Rupi's books have sold milions of copies worldwide and have been translated in to multiple languages.

Milk and Honey (2014)

In 2014, Rupi Kaur self-published her debut book, Milk and Honey which became an NY Times best seller and spent almost an year on the top positions. Milk and Honey also got much appreciation from the readers as well renowned autohrs. Milk and Honey is divided into four chapters, each one dealing with a different topic but they are interweaved beautifully.
Her debut book has sold millions of copies in multiple languages around the world.
The Sun and Her Flowers (2017)

This one is Rupi Kaur's latest book which is again a poetry collection. The Sun and Her Flowers by Rupi Kaur will hit the bookshelves on October 3, 2017. The book is divided in to five sections namely - wilting, falling, rooting, rising and blooming. No doubt, this book will emerge as a bestseller too.

Rupi Kaur Quotes

Read these thoughtful quotes written by Rupi Kaur through her various works.

"Loneliness is a sign you are in desperate need of yourself."
― Rupi Kaur, Milk and Honey

"if you were born with the weakness to fall you were born with the strength to rise"
― Rupi Kaur, Milk and Honey

"Our backs tell stories
no books have the spine to carry"
― Rupi Kaur

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Rupi Kaur Short Bigraphy | Poet, Author, Artist

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ContentsRupi Kaur's Education & CareerRupi Kaur's Early WorksMilk and Honey (2014)The Sun and Her Flowers (2017) Rupi Kaur Short Biography Born in 1992, Rupi Kaur is a Canadian poetess, author, illustrator, and performer having an Indian origin. She belongs to a Sikh family and her parents settled in Canada when she was 4 years old.

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John's book reviews have appeared in The New York Times Book Review and Booklist, a wonderful book review journal where he worked as a publishing assistant and production editor while writing Looking for Alaska. John grew up in Orlando, Florida before attending Indian Springs School and then Kenyon College.

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Author of Milk and Honey

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Adrian Alphona is a Canadian comic book artist best known for his work on Marvel Comics' Runaways, which he co-created with writer Brian K. Vaughan.

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John Green discusses his new book 'Turtles All The Way Down'

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G. Willow Wilson began her writing career at the age of 17, when she freelanced as a music and DJ critic for Boston's Weekly Dig magazine. Since then, she's written the Eisner Award-nominated comic book series Air and Mystic: The Tenth Apprentice and the graphic novel Cairo.

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At the heart of "Turtles All the Way Down" is Aza Holmes, age 16, who suffers from terrible anxiety and obsessive-compulsive disorder. Her case sits on the icier, distant end of the spectrum. It is not easily managed.

People tend to associate O.C.D. with repetitive behaviors, and that's partly true in Aza's case: She has a wound on her finger, self-inflicted, that she continually reopens in order to drain and re-sanitize.

But her repetitive, intrusive thoughts are her true torment. She's obsessed with - and repulsed by - the ecosystem of bacteria that seethes inside her, and the bacteria that live without. She can't stop worrying about the rumble in her gut, or the breeding microbes therein, or the possibility of contracting an infection involving clostridium difficile, or the prospect of sweating, or not being able to stop sweating, or touching someone who is sweating. She has to fight off the insistent, unignorable urge to put hand sanitizer in her mouth. Sometimes the urge wins.

We spend long stretches inside Aza's head, listening to these swift and unsteady thoughts. The rational part of her, the one that sees a therapist and fitfully takes medication, tries to talk herself down. But her mind is in the throes of a civil war.

"Please let me go," Aza tells her unwanted thoughts at a particularly helpless moment. "I'll do anything. I'll stand down."

If Green were writing in his usual register, he'd interrupt Aza's descents into these cognitive spirals - or "light-swallowing wormholes," as she once calls them - with a bit of humor. But he seems to have made a decision: If Aza can't find relief, neither can we.

The first few chapters of "Turtles All the Way Down" are a little crude, a little awkward and a little slow to get off the ground - it's as if Green needed extra time on the runway to overcome the weight of a success like "The Fault in Our Stars," which became a touchstone for teenagers everywhere. (It has been rated 2,529,550 times on Goodreads, a number that continues to spin forward even as I type, like the odometer of a spaceship.) The premise: An Indianapolis billionaire has skipped town just before the police come to get him for bribery and fraud. A $100,000 reward is on offer to anyone who's got the skinny on his whereabouts. Aza's best friend, Daisy (the tornado), remembers that Aza knows this guy's son. Wouldn't he know something? And wouldn't a hundred grand be grand?

Aza does know his son. She'd met him years ago at "Sad Camp," a summer program for kids who'd lost one or both of their parents. Aza had lost her father; Davis, the billionaire's son, lost his mother. Now it seems that both of his parents are gone.

So Aza reluctantly agrees to pay Davis a visit, and the novel - boom - begins in earnest. The two feel an ancient kinship, a bonding of broken souls. He's terrified that his identity is inseparable from his money; she's terrified that her identity is inseparable from her thoughts - aren't people the sum of their thoughts? If they aren't, what are they? "If you can't pick what you do or think about," she explains to him, "then maybe you aren't really real, you know?"

A sweet, conventional love story begins. But it hits a bittersweet, unconventional dead end. Aza can't kiss Davis without panicking. All those microbes. "I'm not gonna un-have this," she miserably explains of her condition.

Still they bond. And Aza and Daisy try to solve the mystery of Davis's father's disappearance. At one point, Daisy gives Aza hell - doesn't she see how her mental illness has made her self-absorbed? - and it's awful. Then it isn't. The friendships in Green's novels are stirring and powerful. They're one of the reasons we show up to read them.

"You are my favorite person," Daisy tells Aza after they've reconciled. "I want to be buried next to you. We'll have a shared tombstone."

But the real question is: How does such a story end for Aza?

If an author has integrity, it should end plausibly. Green has integrity. He also has O.C.D. He's tweeted about it; he's discussed it on his famous video blog with his brother, Hank. Watch his entry from July 25 sometime.

I still wasn't prepared for the ending of this novel. It's so surprising and moving and true that I became completely unstrung, incapable of reading it to my husband without breaking down. One needn't be suffering like Aza to identify with it. One need only be human. Everyone, at some point, knows what it's like when the mind develops a mind of its own.

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In John Green's 'Turtles All the Way Down,' a Teenager's Mind Is at War With Itself

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At the heart of "Turtles All the Way Down" is Aza Holmes, age 16, who suffers from terrible anxiety and obsessive-compulsive disorder. Her case sits on the icier, distant end of the spectrum. It is not easily managed. People tend to associate O.C.D.

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Illustrator of Ms. Marvel

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Veronica Roth, (born August 19, 1988, New York, New York, U.S.), American writer known for her Divergent trilogy of science-fiction novels for young adults, which unfolds as a coming-of-age story set in a postapocalyptic Chicago.

Roth, who grew up in Barrington, Illinois, began writing at an early age and was an avid reader. She was a fan of the works of writer Lois Lowry, especially of Lowry's The Giver (1993), often cited as the original young-adult dystopian novel. When Roth reached high school, she became a practicing Christian. Her path to religion was a theme that she often referenced in her novels. Prior to graduating (2010) from Northwestern University, where she studied creative writing, Roth penned Divergent, the first installment in the trilogy, over winter break during her senior year.

Roth took her manuscript to a writers conference in March 2010 and secured an agent. The book was sold the following month to HarperCollins. It debuted in 2011 at number six on the New York Times best-seller list. Insurgent, released in 2012, captured the number one spot on that list. Roth had clearly hit her stride at the right moment-the niche market for dystopian novels was blossoming, and her offerings came on the heels of the popular Twilight and Hunger Games young-adult series. Roth's fan base grew quickly, and when Allegiant came out in 2013, it became the most-preordered book ever issued by HarperCollins. The trilogy was a huge commercial success, with more than 30 million copies sold by 2015.

The Divergent series features 16-year-old heroine Beatrice ("Tris") Prior, who does not fit easily into a single faction designated for citizens when they reach the age of 16. The factions are not separated by class or race but by values or virtues: Dauntless (boldness), Abnegation (selflessness), Amity (peacefulness), Candor (honesty), and Erudite (intellectuality). Tris, who is living secretly as a "divergent" (someone who fits into more than one group), decides to leave the faction in which she was reared (Abnegation) for Dauntless. The series follows Tris's exploration of her identity and her relationship with the character Tobias ("Four") Eaton, the leader of her new faction. In 2014 Roth published Four: A Divergent Collection, a companion volume that tells the story of the trilogy, as well as events preceding the main narrative, from the perspective of Four.

A film adaptation of the first book, also titled Divergent, was released in 2014. A box-office success, it led to the sequels Insurgent (2015) and The Divergent Series: Allegiant (2016).

In 2017 Roth published her first book outside the Divergent series, Carve the Mark. The novel, the first in a two-part young-adult sci-fi series, tells the saga of Akos and Cyra, characters who come from different fictional planets with opposing cultures. The sequel, The Fates Divide, was released in 2018. The next year Roth published The End and Other Beginnings: Stories from the Future, a book of short stories.

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Veronica Roth | Biography, Books, & Facts

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Veronica Roth, American writer known for her Divergent trilogy of science-fiction novels for young adults, which unfold as a coming-of-age story set in a postapocalyptic world. Roth later published young adult novels outside of the series. Read more about her life and career.