DUMMERSTON – Those of us of a certain age may remember a television show called “You Are There,” hosted by trusted host Walter Cronkite, in which key events in the story were given the “modern” news treatment, complete with interviews by eyewitnesses and participants. If you wanted to know what Socrates said before you drank the poisonous hemlock, you are there to hear it.

This sense of “being there” with historical events has always appealed to longtime Windham County educator William “Bill” Holiday, who has explored the concept throughout his nearly 50 years as a middle school, high school, and college teacher used college. Now, two years after retiring from Brattleboro Union High School, he’s written a book about it — titled Beyond the Classroom — a guide to teaching history through full immersion and interaction with the people, events, and places that have existed shaped the human condition.

“When I graduated high school (at BUHS), I was very aware of American history, and I remember saying, ‘God, I wish I could have been on the Gettysburg battlefield to see this, and in many other places,'” Holiday said. “It lured me. So I really think that was the impetus. I never wanted to stay within the four walls of the classroom.”

Throughout his teaching career, Holiday offered students educational trips, which he called “field studies.” His student groups traveled to Alabama in the 1960s to interview civil rights leaders or to Dallas to study the assassination of John F. Kennedy. Others have traveled to Boston, Washington, DC, Gettysburg and England.

He taught students who said they had heard about ‘The Troubles’ in Northern Ireland but didn’t understand what it was about. So they traveled to Belfast and Derry/Londonderry where they met and interviewed Protestant Unionists and Catholic Nationalists.

As he writes in the book’s foreword: “If I had a utopian opportunity, the teaching would never take place in a classroom. It would be ‘out there’ on the street in a bus, a van, something that takes us to where things happened.”

The idea for the book actually began with a trip to Ohio to mark the 40th anniversary of the Kent State University shootings in 1970. He asked the reformer if he could write an article about it and was given a press pass to cover the events .

“I was determined to go there,” he said. “I had met Alan Canfora (one of the survivors of the shooting) who came to my classroom to talk to the students; He felt as if he had been specifically targeted by the National Guard. While I was (in Kent State) I interviewed a sister of one of the people who was shot that day. I met John Filo, who won a Pulitzer Prize for his photograph of the girl kneeling in despair over the body of one of the victims.

“I wasn’t writing a book at the time, but that’s what led to it. I acquired resources for my students to use. For a non-textbook teacher, that was invaluable.”

Holiday said he has not used a textbook in his classes since 1973. He focused on bringing history to life for his students and helping them understand what it was like to experience specific events. He and his students organized week-long “teach-ins” that brought in speakers who had experienced the story. For a study on the Vietnam War, he hosted panels with veterans, conscientious objectors and anti-war protesters.

He taught a course called Film Music and History Social Studies Seminar and worked with students on a weekly radio show called Tracking the Tracks, which aired on WTSA. It was a 30-minute presentation of music that translated and shaped the story, including politically dynamic or culturally significant songs by the likes of Stevie Wonder, Bob Dylan and Van Morrison.

He used a “constructivist” approach to teaching that allowed his students to experience the world and reflect on those experiences, rather than just passively absorbing information. He also incorporated other subjects—such as math, science, and art—into his Living History classes.

“I worked for Keene State College and Castleton University during the summers,” he said. “I would put together a travel course and we would travel to England, Italy, Greece, Republic of Ireland, Northern Ireland, Cuba, south for the civil rights movement. These people would do projects for their credits. I didn’t let her write any papers. I wanted them to make something that they and other people could use.”

It’s all in the book, a pretty paperback volume packed with black and white photographs, most of them taken by Holiday himself. Former BUHS colleague Nancy Olson helped with the editing and proofreading, as did his wife Lyle, a former Windham Southeast District school principal. At first he wanted the book to be more or less strictly about history, but his wife encouraged him to change directions.

“[Lyle]looked at it and said, ‘You need to do more for the teachers.’ To me it was intuitively obvious: you can do this, you can learn history, or you can learn art or science outside of a classroom, and she said, “I don’t think they intuitively get it.” So the last part of this book contains ideas for educators, whether private, public or at home. There are even a few things here that are designed for virtual learning.”

The book is now available digitally through BookBaby publishers and other e-book retailers such as Barnes & Noble and Amazon, or in physical form at area bookstores including Everyone’s Books in Brattleboro.

Holiday is also a researcher and writer for the Brattleboro Historical Society and writes a weekly column for The Reformer. He began the book just after his retirement more than two years ago, but had some medical setbacks that delayed its realization. He said he’s no Ernest Hemingway as a writer, but he hopes the book will serve two markets – both those interested in history and those interested in his integrated approach to history teaching.

“It’s very gratifying that it’s completed,” he said. “If it goes down well, that’s a bonus.”

At latest Comic Legends Revealeddiscover how some confusion caused by the letterer Sub Mariner almost led to a bizarre ending to a problem

Welcome to Comic Book Legends Revealed! This is the eight hundred and seventy-fifth part in which we examine three Comic Legends and determine whether they are true or false. As usual, there will be three entries, one for each of the three legends. This is the final installment in a series of installments, all of which focused on Namor, in honor of the historical Marvel character who made his debut in the Marvel Cinematic Universe. click here for the first legend in this episode. click here for the second legend in this episode.

NOTE: If my twitter page Reached 5,000 followers, I’m doing a bonus issue of Comic Book Legends Revealed this week. Great thing, isn’t it? So go and follow my twitter page, Brian_Cronin!

COMIC LEGEND:

Confusion over a lettering direction nearly resulted in a hilarious mishap in a Namor comic

STATUS:

TRUE

One of the interesting side effects of Marvel’s 1968 expansion of its comic book series (which involved giving all the characters who had previously shared anthology comics their own comics Sub Mariner, iron man and Nick Fury, Agent of SHIELD always brand new #1s while the Incredible Hulk, Captain America and Doctor Strange Keep numbering Stories to amaze, Stories of Tension and Strange Stories) was that Marvel suddenly had to hire new creators because it suddenly had a lot more pages to fill (a later expansion in the early 1970s, coupled with Stan Lee’s retirement from comics writing, led to the launch of the careers of many notable comics writers such as Steve Englehart and Steve Gerber, among many others). This often also meant hiring veterans who simply never had the chance to cross over to Marvel before. One of those veterans was letterer Irving Watanabe.

TIED TOGETHER: Were Namor and Invisible Woman almost dating in the mid-1990s?

WHO WAS IRVING WATANABE?

Hitoshi Watanabe was born in Hawaii in 1919 before statehood (when he got into comics he changed his first name to Irving, which confuses me because why wouldn’t he change his LAST NAME too?), became a staff artist/writer at Lev Gleason, and stayed there for years until the company eventually pretty much liquidated its employees before going out of business after the massive collapse of the Post-Comics Code Authority comic book. Watanabe then worked for DC and probably everywhere else he could find work before joining Marvel in 1968. He remained a regular at Marvel and wrote over 200 comics before his final Marvel work came out in late 1981.

He was in his early 60s at the time, so maybe he retired? I honestly do not know. If anyone else knows please let me know and I’ll edit it into the piece. Watanabe died in 1993. Okay, by the time he joined Marvel he had already been writing comics for almost three decades, but as we’ll soon see, sometimes it’s the people who do it the longest, the ones who kind of fall into a routine that is so adamant that crazy things can happen if an author makes even a SLIGHTLY unusual request.

TIED TOGETHER: Was the first Namor/Human Torch Battle created over a crazy group weekend?

WHAT WAS ALMOST CERTAIN IN A SUB-MARINER ISSUE TOO EARLY IN WATANABE’S MARVEL CAREER?

Many years ago (like almost certainly 15+ years ago, that’s what I mean by “many”) I did a comic book legend revealed about an issue of GI fight where the editor said to drop an element on the cover an inch. Instead, “Drop an Inch” was on the cover like it was a comic book story…

Since they had some lead time from printing the cover to the inner workings of the corresponding cover, Robert Kanigher was then able to write a SUPER quick story called “Drop an Inch”…

In this case the problem appeared Sub Mariner #6, one of the first dozen comics written by Watanabe for Marvel…

The edition was drawn by John Buscema and Dan Adkins and written by Roy Thomas. In the introduction to Sub-Mariner Marvel Masterworks Volume 3Thomas shared a hilarious story about the last panel in the story:

#6 is the issue where writer Irv Watanabe…made a classic mistake that would have actually made it into the comic on a bad proofreading day. At the end of my script I typed: LETTER CARVED IN ROCK: IMPERIUS REX! Back then, the lettering work was often sent directly from the letterer to the inker. When the finished artwork arrived for proofing, I was spooked walking to that final panel. There it was, the above sentence in capital letters – all eight words of it – indeed written as if carved into the rock on which Namor stands. The first six words have of course been duly removed and the area redacted. It became a classic anecdote I’ve told many times when asked how closely the letterers read the scripts they were working from.

Pretty funny.

Thanks to Roy Thomas for the hilarious story!

WATCH A TV LEGEND REVEALED!

In the latest TV Legends Revealed – Did William Shatner Really Make $600 Million From His Priceline Commercials?

MORE LEGEND MATERIAL!

OK, that’s it for this episode!

Thanks to Brandon Hanvey for the Comic Book Legends Revealed logo, which I don’t actually do anymore, but I’ve used it for years and you still see it when you see my old columns, so it’s fair enough to still thank him I guess I.

Feel free (damn it, I beg you!) to write us with your suggestions for future installments! My email address is [email protected]. And my Twitter feed is http://twitter.com/brian_cronin, so you can ask me about legends there too! If you have a correction or a comment, you can also email me. CBR sometimes emails me with emails they receive through CBLR and that’s fair enough, but the quickest way to get a fix through is to email me directly and honestly. I have nothing against corrections. Always best to make things accurate!

Here is my latest book 100 Things X-Men Fans Should Know And Do Before They Dieby Triumph Books.

If you want to order a copy, order it here gives me a referral fee.

Here is my second book Why is Batman wearing shark repellent? The cover art is by Kevin Hopgood (the man who designed War Machine’s armor).

If you want to order a copy, order it here gives me a referral fee.

Here’s my book of comic book legends (130 legends. – half of them are remastered classic legends that I’ve featured on the blog and the other half are legends never published in the blog!).

The cover is by the artist Mickey Duzyj. He did a great job there…

If you want to order it, you can use it this code if you want to send me a small referral fee.

Follow Comics Should Be Good on Twitterand further Facebook (Also, feel free to share suggestions for Comic Book Legends Revealed on our Facebook page!). Not only will you get updates when new blog posts appear on Twitter and Facebook, but you’ll also get some original content from me!

Until next time!!

That Global paper frame market examines upcoming research and growth opportunities for the industrial sector from 2022 to 2028 as announced by MarketsandResearch.biz. It gives an assessment of essential alternatives in the paper frame market space and the components that have been driving and will continue to drive the growth of the industry.

The research discusses past growth patterns, current growth variables, and anticipated future trends. The study goes into the history of the industry and its growth potential in the years to come, as well as the success factors of the top retailers in this area. The company has established relationships with a wide variety of industries and a strategic alliance with freelance consultants from around the world. The industry experts also collect data and assess patterns based on information they receive from supply and demand-side intermediate products in the value chain. The internal database contains market data for a variety of industries and disciplines.

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The following product categories are essential components of the study and are examined in detail:

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The following product categories are critical parts of the study and will be thoroughly examined:

• Hanging paper frames
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A number of significant market players are active, which is an essential element of the research:

• Mitsubishi paper sale
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• Sapi Limited
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The study includes many geographic categorizations and all major regions are thoroughly explored:

• North America (United States, Canada and Mexico)
• Europe (Germany, France, UK, Russia, Italy and Rest of Europe)
• Asia Pacific (China, Japan, Korea, India, Southeast Asia and Australia)
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The investigative technique used in the Paper Frame study is thorough and structured in such a way that the paper covers all components of the industry. Learning is collected from primary and secondary sources and validated by industry experts. Significant references include interviews with investigators and industry professionals, as well as suppliers and distributors. Proofreading of basic documents such as annual reports, press releases, trade organization data, SEC filings, case studies, third-party data providers, and others are examples of secondary origins.

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VP and BKP are common interventions to treat osteoporotic VCFs. The difference between VP and BKP is that BKP adds a procedure to inflate the balloon in the collapsed vertebrae. Both procedures use bone cement to stabilize the fracture. Clinical studies of different cement augmentation procedures have been encouraging. Multiple studies have shown that both VP and BKP improve quality of life, pain relief, functionality, and restore vertebral body height¹⁰. Zhao et al. performed a meta-analysis study showing that patients treated with BKP were more effective than VP, according to superior long-term VAS and Oswestry Disability Index scores, improved CA and mean vertebral body height, and significantly reduced risk of cement leakage¹⁷. However, some studies did not support that BKP is superior to VP in pain relief and functional improvement^18.19. In this current study, VAS results, reflecting pain relief after vertebral augmentation at the high to mid thoracic vertebrae, were similar for HVC VP and LVC BKP.

The area most commonly affected by VCFs is the thoracolumbar junction (T12-L2), followed by the lower lumbar region (L3-L5)²⁰. In contrast, the incidence of VCFs is lower in high (T4–T6) and intermediate (T7–T9) thoracic vertebrae and related research is limited. The thoracic spine is part of the rib cage that serves to protect vital organs and to carry and distribute significant axial loading forces. Patients with a compression fracture over the high to mid-level thoracic vertebrae may experience high-to-moderate low back pain, which may worsen with breathing and radiate to the anterior chest. Anatomically, the thoracic vertebrae are characterized by small pedicles that narrow in diameter as the thoracic height increases. Therefore, neural tissue would probably not be tolerable if cement leaked into the thoracic canal. To minimize the risk of cement leakage, Liu et al. recommended that LVC BKP be preferred over LVC VP in osteoporotic VCFs of the mid-thoracic vertebrae²¹. Another key factor in reducing the occurrence of cement leakage is the viscosity of the cement in VP. Alhashash et al. showed that HVC VP had a relatively low risk of cement leakage in patients with VCFs²². However, they mainly focused on the lower levels of the thoracic and lumbar spine. Based on our study, the cement leak rate is lower in HVC VP relative to LVC BKP (36% vs. 64%, p=0.004) after cement augmentation for high to medium thoracic vertebrae. A meta-analysis study by Chen et al. also confirmed that HVC VP has the lowest rate of cement leakage after cement augmentation compared to LVC ​​BKP and LVC VP²³.

Cement injection volume has been reported as one of the risk factors for cement leakage in percutaneous VP and BKP. Zhu et al. recommended to inject < 3.5 mL of bone cement per vertebra to minimize the risk of volume-related cement leakage²⁴. Similar results are also found in BKP with Chen et al. Evidence of reduced cement injection volume could also reduce the incidence of cement leakage²⁵. Although most leaks were clinically asymptomatic, they carry the risk of pulmonary embolism and neurologic compression, which are considered major complications of cement augmentation procedures. In this study, the cement injection volume was significantly less in the HVC-VP group (3.66 mL vs. 4.40 mL, p<0.001). In addition, HCV VP reduces the need to create bone cavities within the injured vertebra, thereby significantly reducing procedure time (31 min vs. 39 min, p=0.011). Therefore, we believe that HVC VP is more reliable than LVC BKP when applied up to mid-thoracic vertebrae.

The biomechanics of the fractured segment is altered after cement augmentation. The reconstructed vertebra is stiffer than its adjacent segments. It acts as an upright pillar that reduces the inward physiological curvature of the endplates of the augmented vertebrae. Liao et al. created a finite element model of osteoporotic VCFs with cement augmentation using VP, BKP and spinal stents²⁶. The results indicated that all of these procedures would increase the loading on the endplates of the adjacent segments, particularly the upper planes during flexion. Another finite element study found that a cement fill volume of 30-40.5% of the volume of a vertebral body also increases the load tolerated by the adjacent segments. However, when the volume of cement injected exceeded the defined range, the stress distributions on fractured and adjacent vertebral bodies not only increased, but also led to the development of adjacent vertebral fractures²⁷. Clinically, the incidence of adjacent fractures after VP and BKP has been reported to range from 5.5 to 52%^17,28,29. In our study, the incidence of adjacent fractures after HVC VP and LVC BKP was 8.3% and 9.1%, respectively. We hypothesized that the incidence of adjacent fractures would be far lower at high to mid thoracic vertebral levels than at the thoracolumbar junction, since smaller vertebral body size consequently requires less cement injection and additional protection through the thorax is promoted.

In this study, all X-ray results including AVH, MVH, PVH, local kyphotic angle and Cobb angle showed significant postoperative improvement in both groups. The HVC VP group showed comparable radiographic results as the LVC BKP group in terms of kyphotic reduction, but with less restoration of vertebral body height (determined by postoperative AVH and MVH). It is believed that the effect of balloon inflation on the injured vertebrae and more cement injected in the LVC-BKP group immediately after surgery resulted in these radiographic benefits. However, heavier recollapsed vertebrae were also demonstrated in the LVC-BKP group, resulting in final follow-up radiological parameters that showed no statistical difference between two groups. These changes in the X-ray data did not affect the clinical results.

Over the past two decades, the majority of the published literature has discussed the differences between LVC VP and LVC BKP for spinal compression fractures. However, studies comparing HVC VP and LVC BKP are very rare. After a search of PubMed we found only four published clinical research studies discussing the use of HVC VP versus LVC BKP in the treatment of osteoporotic VCFs^13,14,30,31. dr Georgy was the first author to describe his experience using HVC VP and BKP for osteoporotic VCFs and his data showed that HVC VP had a significantly lower rate of cement leakage³⁰. Data from Wang et al. found that the injected volume was higher in BKP but the cement leakage rate was lower in HVC VP¹⁴. Sun et al. and Line et al. all showed similar clinical outcomes for VAS and Oswestry Disability Index (ODI) scores with either HVC VP or BKP, and height restoration for the middle vertebrae appeared to be superior in the BKP group^13:31. The major difference between our study and the four reference articles above was that our study included cases involving only the high to mid thoracic spine, but the thoracolumbar junction comprised the majority of cases in the reference articles. Nonetheless, our data gave results similar to those of the references above.

Indeed, there are limitations to our study. First, the nature of a retrospective study could have an inherent bias. In addition, clinical outcomes for daily functioning such as ODI or 36-Item Short Form Survey (SF-36) would provide additional useful clinical functioning information but could not be evaluated in a retrospective study due to the unavailability of data. Second, the procedures were performed by different surgeons at our center and we could not account for the variation in technique. Third, although the results were clear and comparable between groups, a longer follow-up period is needed to assess whether HVC can mitigate BKP-related risks in the treatment of osteoporotic VCFs in high to mid-thoracic vertebrae. Fourth, health insurance policy in Taiwan does not subsidize the use of CT or MRI to assess bone cement leakage or adjacent fractures, therefore diagnosis with a simple film has an inherently high false-negative incidence and the data may be limited.

Three strikes, I’m out

I have left the fair three times in my life. Once when I decided to attend a small Catholic Church (more of a mission) near where I live. Unfortunately the priest could not come that morning so a prayer service was held instead. After the Gospel reading, a guy leading the service opened up the Word for anyone who wanted to comment on the reading or anything else that was on their mind. Immediately, I thought, big mistake! To make matters worse, there was a microphone. Never ask people what they think and then give them a microphone.

So I had to listen to a bunch of nonsense. Some people asked for seconds on the microphone. Everyone wanted to comment on what everyone was saying. A woman talked about her vegetable garden for twenty minutes. I kept waiting for her to point out something important, but it didn’t happen. Two people must have just come off a 12-step program and still have a burning desire to “share” their stories. They were good stories too. I wanted to hear more but couldn’t concentrate because the vegetable garden story was getting in the way. timing is everything.

I feared this “prayer service” would continue until the Second Coming. But getting out was not easy as everyone was seated on a tribune-like structure and the only exit was through the crowd and squeaky steps to the front where the speaker stood. After two hours, I stuffed the guilt in, slung my purse over my shoulder, and left.

Another time I was at church in a strange city. It was full. Standing only. The priest must have felt that with such a large audience he had to get his money’s worth with the sermon. I don’t remember his sermon except that it was long. He then announced a special community program that was being prepared. He handed everyone a pamphlet—a long one. Twelve pages – fine print. Then he proceeded to read the whole thing to the congregation. He stopped several times to explain the information in more detail. Sneaking out was easy this time because I was in the back and the floor didn’t squeak.

I saved my best walk-out story for last. I was in my early twenties, living in Waco, and decided to attend Mass there instead of going to St. Mary’s Church in West, my hometown. It was the early 1970s and the feminist movement was in full swing. I had just attended my first Willie Nelson outdoor concert, held in Abbott, and saw (and smelled) things I had never seen or smelled before. I was horrified but everyone seemed happy and okay – who am I to judge? God wants us to be happy, right? I had also started visiting Austin as often as possible in anticipation of moving to UT. So you get what was going on in my head: women’s rights, Willie Nelson and Austin, Texas. I questioned everything, especially the teachings of the Catholic Church. I wanted to sleep in Sunday morning and miss Mass, but the mere thought of it sent a tidal wave of guilt.

This priest did not know that I was in a vulnerable state. He didn’t know the religious fence I’d ridden bucked like Gilly’s bull. He didn’t know I had stopped wearing a bra (or maybe he did, because according to the gospel he went in front of the altar to be closer to the congregation). I swear he looked straight at me. The theme of his sermon: A woman’s place is in the home.

I almost choked. For real? Did I hear that right?

I looked around and no one seemed impressed. I was hoping to hear a message that would encourage me to keep going to church and not something that would make me run for my life.

I slept in the following Sunday. I wasn’t struck by lightning. The earth didn’t swallow me. The proverbial bus didn’t hit me. I felt pretty good.

Aside from family weddings, baptisms, and funerals, it had been ten years since I attended mass again. Fortunately, things have changed since those days: Saint John Paul II preached that women should speak up and raise their voices. Pope Francis believes that love is love no matter who you are in love with. Now when I’m in church and I hear something I don’t agree with, instead of walking out, I start daydreaming. Sometimes about my next mystery; sometimes about what I’m going to have for lunch. Once I wrote a whole short story in my head. It was about Jesus and his dog Buddy, who was small enough to fit in his ear. The priest was probably wondering why I was giggling.

Even though my break lasted a decade, I didn’t feel guilty about it. But once a Catholic, always a Catholic, whether you go to church or not. I knew I would come back one day. I will be thinking of you all next Sunday.

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Go to my website to subscribe to my newsletter where I write a humorous blog post, Growing Up Catholic in a Small Texas Town. Kathleen Kaska

Check out My Mysteries by Sydney Lockhart. If you love Janet Evanovich’s Stephanie Plum, you’ll love Sydney.

And my Kate Caraway animal rights mystery series.

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A tax refund notification from the Inland Revenue Authority of Singapore (IRAS) is actually a new scam that the public has been sharing on social media to raise awareness.

“New scam,” wrote a member of the Complaint Singapore Facebook group on Thursday (November 3), including a screenshot of a message alert from IRAS.

The message reads: “Tax 2022, following the latest annual calculations of your tax activity we have determined that you are entitled to a tax refund: 450 SGD. To request your refund, please enter your information by clicking on the link below…”

The message includes a disclaimer regarding possible refund delays due to invalid information submitted.

The notification was signed “2022, Government of Singapore”.

Members of the online community found humor in the message, urging scammers to proofread their messages first before sending them.

“You should check for typos first before even thinking about cheating on someone,” said Facebook user Rita Goh.

Meanwhile, others pointed out that refunds like this are highly unlikely.

“They know it’s a scam when they say the government’s IRAS will refund you because they never do. They will only say that the amount will be deducted from your income tax next year,” explained Facebook user Adam Ali.

It appears others have also received the same message, urging the public to exercise caution.

A similar phishing scam was publicly highlighted a few months ago by scammers posing as the national water authority PUB.

The email also contained the misspelled word “refund,” which prompted comments from netizens that the bad spelling was a sure sign of the scam. /TISG

Netizen warns of “PUB” refund scam, misspelling is the sure sign

Send your scoops to [email protected]

“The memory is an unannounced visitor. It lies crumpled in some corner of the body, then suddenly knocks on the door of reality and makes you scream.”

As stated in Kyung-sook Shin’s novel: violettranslated by Anton Hur. violet is about Oh San, a young woman struggling with her memories, her desires, her voice and her body in the midst of the indifferent world of 1990s Seoul.

Scarred by a childhood intimacy gone awry, San moves to Seoul and stumbles across a job at a flower shop. There she finds stability through her friendship with a colleague and a sense of peace in her budding relationship with plants. But after an encounter with a flirtatious photographer, her life shatters and falls apart. As San flips through an English-Korean dictionary, the word “violet” quickly turns into “violator”. violet similarly, he examines the painful rifts between the inside and the intruder, desire and violence, voice and silence. Hur’s translation is sparse but fluid, the prose evoking both the grim solitude of a big city and a timeless, almost surreal atmosphere.

Flowers burst into extravagant life all around me as I read violet March. After I finished, I went for a walk in the rain. Seeing violets in the cracks of the sidewalk, petals torn by raindrops, I cried and couldn’t stop. Months after March, the final image of the Oh San novel still haunts me. Following what Kyung-sook Shin said in our email interview, I hope others will take the time to listen to San’s voice as well.

Translations for this interview are done by interviewer Jaeyeon Yoo, with thanks to Incheol Kwag for editing and proofreading help.

---

Jaeyeon Yoo: What role does nature play, both in violet and in your own writing in general?

Kyung Sook Shin: violet has a flower shop in the middle of town and a farm on the outskirts. These two spaces are intertwined. On the way between the flower shop and the farm, the protagonist comes into contact with plants. I hoped that these plants would ease the protagonist’s alienation and loneliness. To do this, I had to know the details of the courtyard and the flower shop myself; So I got hired and worked, which was a big help. And since I spent my childhood in the country, I’m more in touch with nature. This [experiences] became the basis of refinement violet.

JY: I still feel violet being as relevant today as it was when it was originally released in 2001 and Oh San’s life in the 1990s. Is there anything you would like to add as you think about it? violet in 2022?

Being a woman in Korean society means still being exposed to so many forms of discrimination and violence.

KS: Much has changed in Korean society since I wrote this book, both economically and politically. The position of women has also changed to some extent. Despite this, life as a woman in Korean society is still subject to so many forms of discrimination and violence. They say that we have improved a lot compared to the past. But I think society needs to change so that the day-to-day reality of womanhood – whether female desire or parenthood – should feel protected rather than discriminated against.

I [also] consider sisterhood between women to be of the utmost importance. Especially in violet, solidarity between women is also the solidarity of the weak. They lean on each other and take life away from each other. Therefore, when this solidarity breaks down, the damage is immense. Traumatic events happen to a person all the time, but they are quickly swept away without anyone noticing [as what happens to Oh San]. I think this is the heartless life of modern people.

JY: Given that context, I found Oh San’s desire to have a voice (through writing) all the more poignant. What do you think about the connections between language and violence or language and hope?

KS: Even if you’re not a writer, if you can express yourself in your own words, start striving to protect your own language. There is probably no one who hopes that their own voice will be colored by violence. I see this, the act of protecting one’s voice, as hope.

JY: violet also reminded me of how the philosopher Susan Sontag formulated photography as an inherently violent art form in which the “camera… is a predatory weapon”. I was struck by how Oh San fell in love with a photographer, someone whose job it is to observe others and “capture” them in pictures. I wonder if you, as a woman, have more to say about the everyday act of observing.

Memories have the ability to be transformed at will by the person who wishes to remember them.

KS: violet is from the perspective of a camera looking down and taking a photo from above. This was a deliberate gesture. The appearance of the photographer is an extension of this perspective, as is the gaze of the construction crew observing the women playing badminton. Even Oh San’s hidden love and lust are observed by someone and eventually lead to violence. In the first part of violet, I focused on the loneliness that arises when an individual’s uniqueness is not preserved, but questioned and broken open. Modern life is not made of intimacy but of observation by others.

JY: Memory is a noticeably unreliable concept in violet, not only for Oh San as a narrator, but also for how verb tenses and viewpoints changed over time. Can you tell more about the role of memory?

KS: Memories have the ability to be transformed at will by the person who wishes to remember them. Each person will remember differently based on their mood, time, place and position when the memory is formed. If three people shared an event, their memories should be the same, but they are all different. Even if this liquidity causes countless misunderstandings, I think that life is ultimately completed by our accumulation of memories. So the memory is precious to me. Proving again and again that my memory is close to the truth, maybe that is also the writing.

JY: I was impressed how you brought such a lively character to the Oh San environment. The flowers and the Minari field felt alive, but so did Seoul – with the details of the Italian restaurant, the “long room” and the late-night crowds. Could you tell more about the setting of Seoul in the novel?

KS: When I read the French Patrick Modiano or the Japanese Haruki [Murakami], I feel this urge to look at the streets on which her protagonists stroll. the street in violet is the street where I lived in my twenties and the street that goes from Samcheong-dong to Gwanghwamun [the largest gate of Gyeongbokgung Palace] Jung dong. I wanted to get my readers to walk this road, so I described the road that Oh San walks in great detail. Then, during that process, I started seeing the lives of the people walking down that street again, and that had a big impact on the novel.

JY: The beginning of violet is almost surreal, as if we are being told a fable we should already know. You also use the myth of Io in the novel when you describe how violets came about. And then there’s the constant foreboding. Have more to say about the idea of ​​destiny conjured up by that fable/myth tone?

KS: By borrowing the myth from Io, I hoped that Oh San’s anonymous life would be augmented with different symbolism. I wanted to say that this woman didn’t suddenly appear out of nowhere, that this has been passed down through generations. “Fate” or “destiny” is what we call things that we cannot decipher. But even if it can’t be deciphered, I think fate is ultimately what you decide in your subconscious.

JY: Any other thoughts you would like to share?

KS: I wrote this in the author’s note, but a violet is a very small flower. It’s a flower you don’t even know is blooming unless you look closely. The first sentence of this novel reads: “A little girl”. I hope you will listen to this little girl’s dreams that couldn’t blossom and the broken desire that held her tight.

Create your Spotlight Showcases print ad through SendMyAd

SendMyAd’s user-friendly interface allows you to create a print ad in Spotlight Showcases format and display it immediately! Quickly make adjustments and view changes. Once the ad has been submitted, it will be sent to Magazine for specialties.
After you purchase your formatted ad from a sales representative, you can create it at any time up to the close of materials for the issue. To start, go to https://specialtyfood.sendmyad.com to create an account or to log in with your existing account if you have one.
Gather your electronic files: product shot (see specifications below), copy you want (word or text file recommended) – and follow these simple steps… the website will guide you through it.

SUBMISSION DEADLINES

The advertising deadline for Winter ’23 Specialty Food Magazine is November 23rd.

STEP 1 – CREATE AN AD
After logging into the website, on the dashboard screen (Welcome to Magazine for specialties Ad Portal), click Create an ad.

STEP 2 – PUBLICATION
Choose Magazine for specialties from the Publication drop-down menu.

STEP 3 – AD TEMPLATE (CATEGORY)
Click on the template graphic that corresponds to your desired category

• New product – Products launched within 6 months of the upcoming Winter Fancy Food Show 2023 (July 1, 2022) *Please note that we will verify the product launch date with you
• Diversity Owned – Exhibiting businesses owned by Women, Black, BIPOC, LGBTQ+, Veterans or Disabled
• food service – Products that may be sold to foodservice channels (e.g. restaurants, hotels, stadiums and events, universities) Beverages – Ready-to-drink and non-ready-to-drink beverages
• Fresh and frozen – Packaged products typically offered in refrigerated or frozen departments.
• grocery store – Packaged products typically offered in center food departments
• season and holidays: spring and summer for the winter show

STEP 4 – ISSUE/ADVERTISER/COMPANY
(A) Select the scheduled issue(s) and enter/type in the advertiser name – and select the company name that will appear on the insertion order.
(B) Type or select “Contact Company” from the drop down menu.

STEP 5 – UPLOAD IMAGE Click on that Upload/edit image Button to upload your product shot and scale/position it within the frame until you are happy with the placement.

DIGITAL IMAGES SPECIFICATIONS/REQUIREMENTS

• product intake
• Minimum resolution: 300 dpi/ppi Image size: 1.50″(W) x 1.50″(H)
• File size limit: maximum 3 MB
• File format: TIFF or JPG
• Color: CMYK

For optimal reproduction, images should be of the specified size and resolution. You will receive a warning upon upload if the resolution and/or colors do not meet our specifications.
CLICK HERE FOR PICTURE TIPS

INPUTS NOT FOLLOWING THE FORMAT INSTRUCTIONS WILL BE CHANGED ACCORDINGLY.

STEP 6 – ENTER TEXT (PLEASE FOLLOW ALL INSTRUCTIONS)
Copy and paste your text into the required and optional fields – or type (required fields are marked with an asterisk*).

Required fields:

• *Product name: up to 30 characters
• *Company name: up to 40 characters
• *Text text: up to 280 characters
• *Phone number: up to 38 characters
• *Website: up to 35 characters
• *City, State: up to 30 characters

Character count must include spaces between words.

Optional fields:

• Email address (up to 35 characters)
• Social Media 1 (up to 35 characters)
• Social Media 2 (up to 35 characters)
• sofi Gold or New Product Award; if won in the last 12 months (up to 30 characters)
• Next Fancy Food Show booth number(s), if applicable (up to 20 characters)

The maximum number of characters and important information are displayed above each field. When pasting text, remove any extra line breaks or other unwanted spaces. all spaces in the field count as characters. When you click in each field to type a copy, the ad is created automatically – it may take a few seconds to appear. Once your final listing is made, read your ad carefully for spelling or typographical errors and review it for overall appearance.

STEP 7 – SUBMISSION
When you’re sure the ad is complete and ready to submit, click Send to Magazine button at the bottom left of the screen. Once you click the Submit button, the ad will be posted and exit the portal. Magazine for specialties will be automatically notified when you post an ad. (Please do not call or email to confirm receipt/submission. You will be contacted later if you have any concerns.)

ATTENTION!
When you meet them The back top left or close the window anytime before clicking Send to Magazine Button, Your entries will NOT be saved!
Any ad created in the portal will be deleted at the end of the session, unless the Send to Magazine button is clicked.

ASK?
Please contact Media Sales at 646.878.0137 or [email protected]

When someone puts the last point in a text, it is complete and incomplete at the same time. A form has been given to the meanings, allowing the essay to be submitted for evaluation. But there is still an opportunity to correct the style, eliminate mistakes and reformulate sentences. The moment the essay is sent to the professor, it is finally complete as nothing can be changed or improved on it.

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