“Parent: I am very interested in having my child attend this school.
St. Benedict: No, you’re not.”
-from St Benedict In The Admissions Office, my latest for CiRCE
The Ten Best Original Soundtrack Compositions Of The Last 20 Years: Number 5
No. 5: “Overtones,” from The Master, by Jonny Greenwood.
The Ten Best Original Soundtrack Compositions Of The Last 20 Years: Number 6
No. 6: “Mr Moustafa,” from The Grand Budapest Hotel, by Alexandre Desplat.
Sayings
The Lord loves a cheerful giver, but He’ll take a reluctant one.
The Ten Best Original Soundtrack Compositions Of The Last 20 Years: Number 7
No. 7: “Stillness of the Mind,” from A Single Man, by Abel Korzeniowski.
The Ten Best Original Soundtrack Compositions Of The Last 20 Years: Number 8
No. 8: “Like Home,” from Gone Girl, by Trent Reznor and Atticus Ross
The Ten Best Original Soundtrack Compositions Of The Last 20 Years: Number 9
No. 9: “For the World,” from Hero, by Tan Dun.
The Ten Best Original Soundtrack Compositions Of The Last 20 Years: Number 10
No. 10: “Morning Passages,” from The Hours, by Philip Glass
Where I Got It From
In case you wondered, this is where I got it from: arial black font, italicized, only lower case.
Introductions Are Overrated
“More often than not, contextualization is just an easy way out. Rookie teachers spend too much time in Paradise Lost talking about John Milton because it is easier than talking about the book. Milton is the least interesting part of Paradise Lost, though, and that is because his poem is a complete success.
So try teaching a book the way it would have been taught five hundred years ago—before quizzes, before research libraries, before postmodernism reduced everything to a power play, before Marx reduced us all to economic automatons. Quit making the book about the author and make it about the truth instead.”
-from Against Context: Next Time Skip The Introduction, my latest for CiRCE
There are still faint glimmers of civilization left in this barbaric slaughterhouse that was once known as humanity. 