Children's Fantasy Research Articles

Narrative Matters: A Monster Calls - a portrayal of dissociation in childhood bereavement.

'A Monster Calls' is a children's fantasy novel written by Patrick Ness, based on an original idea by Siobhan David. Released to critical acclaim, the novel was lauded on its dealing of complex issues relating to bereavement and grief in a manner accessible to its younger readers. This article explores how 'A Monster Calls' presents a portrayal of a dissociative child in response to bereavement, and what impact this portrayal may have on the novel's younger readership.

Hermetic Space As Abstraction of the Mechanisms of Censorship: Symptomatic ‘Archive Fever’ in Carlos Saura’s La madriguera

This article engages in a close reading of Carlos Saura’s little studied La madriguera (1969) by exposing in its use of spatial and material configurations a hermetically sealed Spain under Francoism during the ‘apertura’ period of the 1960s. It seeks to elucidate how Saura’s use of claustrophobic space suggests an unveiling of the process of abstraction embedded in the mechanisms of censorship as they affect the Spanish spectator of the 1960s, who sits immobilized in the dark theatre, unconsciously juxtaposed to the unassuming agoraphobia foregrounded in the film through its protagonists’ self-imposed hermetism. The film unveils these mechanisms through a metafilmic language by self-reflecting in its domestic fortress, in the theatre of its protagonists Teresa and Pedro constantly performing roles of a time out of joint, recollections of childhood and virtual fantasies that have no place in the present.

Children's Fantasy Literature: An Introduction by Michael Levy and Farah Mendlesohn

Children's Fantasy Literature: An Introduction by Michael Levy and Farah Mendlesohn

A Cognitive Analysis of Characters in Swedish and Anglophone Children's Fantasy Literature

In Justice in Young Adult Speculative Fiction, Marek C. Oziewicz argues, ‘it is possible to study scripts through the lens of the author's cognition, through the reader's cognition, or as a textual matter with an implied author and reader’ (9–10). Here we propose a fourth method for studying scripts in children's literature: as a textual matter. Unlike previous research in the field, we argue that neither the implied author nor the implied or real reader's cognition is necessary for a cognitive analysis to offer insights about a literary text. A cognitive analysis of characters can demonstrate how each character's cognitive embodiment of their intersectional subject position contributes to the progression of a text's plot and themes. By analysing the mimetic, synthetic and thematic dimensions of character (Phelan), we maintain an ontological distinction between humans and characters – a prerequisite for applying cognitive theories to characters. In order to demonstrate the broad applicability of our approach, we analyse the cognitive scripts of the protagonists in two portal-quest fantasies from two different countries. Taliah Pollack's Saga Swärd: Omskakare och världsresenär [Saga Sword: world shaker and traveller] was published in Sweden in 2012; Tahereh Mafi's Furthermore dates from 2016 and was published in the US.

Children's Fantasy Literature: An Introduction by Michael Levy and Farah Mendlesohn

Reviewed by: Children's Fantasy Literature: An Introduction by Michael Levy and Farah Mendlesohn Amanda M. Greenwell (bio) Michael Levy and Farah Mendlesohn. Children's Fantasy Literature: An Introduction. Cambridge UP, 2016. In Children's Fantasy Literature: An Introduction, Michael Levy and Farah Mendlesohn trace the development of fantasy literature for children from its roots in sixteenth-century fable and folklore to its manifestations in the present day teen market. Wide-ranging in its text selection as well as its critical approaches, the book is the first to put the study of children's literature and the study of the fantastic in extended dialogue. In doing so, Levy and Mendlesohn have created a foundational text for the intersection of these fields. The scope of this undertaking is impressive: the authors focus on literature written in English, primarily from Britain, Ireland, Canada, Australia, New Zealand, and the United States, and they include well-known as well as lesser known writers. Their critical frameworks—aside from extant scholarship on children's and fantasy literature—include historical, literary, and national contexts, material print culture, and changing conceptions of childhood and audience. Far from competing, these frameworks inform each other and bring into relief the complex interplay of forces that have shaped the production of children's fantasy literature, especially in the West. For instance, chapter 3, "The American Search for an American Childhood," reads to the rise of fantasy in the United States against the backdrop of early American distrust of the fantastic, the influence of folk and tall tales, the significance of Hans Christian Andersen, the role of public libraries, the advent of The Horn Book Magazine, and the popularity of pulp fiction—this last an oft neglected context for scholarly study of children's fantasy literature, and so much appreciated here. By engaging these frames, Levy and Mendlesohn complicate more commonly understood ancestries of children's literature by placing L. Frank Baum and E. B. White, foundational figures in American children's fantasy literature lauded by librarians, next to pulp writers such as Edgar Rice Burroughs and Robert E. Howard, whose work, though intended for adult audiences, became popular among adolescent readers (to the chagrin of many of those same contemporary librarians) and influenced writers such as Andre Norton and Ray Bradbury. They also note significant differences between British and American children's fantasy literature, especially regarding child protagonists' relationships with parents, and emphasize the impact of J. R. R. Tolkien on American readers' conception of fantasy. [End Page 404] Here, as in other chapters, the text knits writers together across time and geography to establish and disrupt legacies in the history of fantasy literature. Chapters 5–7 ("The Changing Landscape of Post-war Fantasy," "Folklore, Fantasy and Indigenous Fantasy," and "Middle Earth, Medievalism and Mythopoeic Fantasy," respectively) exhibit the enormity of this undertaking, as the first of them opens with this statement: "In the years between 1950 and 1990, the landscape of children's fantasy in the UK and the Commonwealth changed in both literal and metaphorical ways … [and was] so prolific, and so important to the development of children's fantasy, that we have chosen to split [the period] into three [chapters]" (101). The discussion within these sections ranges vastly. The authors examine how children's fantasy of this period developed tropes now used in fantasy for adults, trace the expansion of fantasy "fodder" from classical myth to archaeological and historical inspirations from many cultures, note the trend of pushing the landscape of the fantastic from the bounded to the unbounded, and argue convincingly for a movement from the child as visitor to the fantastic to the child as participator in the mythopoeic impulse. These, of course, are just several of the many strands Levy and Mendlesohn weave. The final chapters of the book demonstrate the ways that children's fantasy of the last few decades has both inherited these complex histories and forged ahead to create new ones. Drawing a contrast to mid-twentieth century rejections of "lipstick and nylons" fantasy (a nod to C. S. Lewis's treatment of Susan in the final volume of the Chronicles of Narnia), Levy and Mendlesohn provide a nuanced critique of...

Fantasmes sadiques de l’enfance dans la cure

Certains patients présentent un fonctionnement dominé par la passivité, l’inhibition de l’action et l’absence d’expression de sadisme. L’article montre que le sadisme a fait l’objet d’un refoulement massif du fait de la puissance des désirs œdipiens. L’analyse peut jouer un rôle désinhibiteur, favorisant la levée partielle du refoulement, via les positions sadiques de l’analyste, permettant d’accéder à des fantasmes sadiques de l’enfance dans lesquels ces patients se placent en position active. Le retournement pulsionnel de l’activité vers la passivité se serait opéré face à la crainte de pénétrer et de détruire l’objet d’investissement, essentielle-ment l’objet maternel incestueux.

Purism Children's Literature and Interpretation of 'Dream' - Focus on Kang Socheon’s literature -

This paper sought to review the interpretation of dreams in Kang Socheon’s literature and the limitation. This is a exploration of when the diagram of ‘Kang Socheon Literature = Dream’ began and what that dream signifies. As a result, the ‘dream’ of Kang Socheon has close relationships with the romantic world view, and the internal characteristics has the tendency of corresponding with the purism of the 1960s. One must note that in such views, the principles of innocence of considering the dreams and fantasies of children as important, but viewing them as immature beings were reflected.BRHowever, after the 1990s, Kang Socheon’s ‘dream’ starts to expand the aesthetic fields as literary methods. In the process, In this process, it is thankful that 「Photo Studio Taking Photos of Dreams」 was shed light upon as fantasy story, but by idealizing dream, the problems of misinterpreting the piece. Expanding the meaning to ‘fundamentals of human’ and ‘pure and ideal search for dreams’ without considering the limitations of the literature then was a case in which the internal analysis of the text was led to the jump to the sense of subject. The more serious problem is the distorted interpretation as if the consciousness of the cold war present in Kang Socheon’s literature is a healthy idea of unification.BR With dreams and fantasies in its core, there are not as many people who have constructed the best area as Kang Socheon in our history of children’s literature. The detailed fantasy area and the smooth style is a characteristic of Kang Socheon’s literature and a precious asset of our history of children’s literature. However, excessive attribution of meaning toward ‘dream’ seems to become a repulsive factor in identifying Kang Socheon’s literature. Especially, the works of distinctive anti-communism needs to be reconsidered.

Cashless, Tech-Savvy Future Surgeon.

Surgeons have always been depicted as heroes in various novels, movies and stories [1]. We cannot forget the quintessential hero walking out of an operation theatre with his blood-soaked gloves being looked at by all as an avatar of the divine. They have excelled not only in surgery but have left bold strokes on the canvas of domains as diverse as writing detective stories (Sherlock Holmes) to childhood fantasies (Jurassic Park). Apart from all this, surgeons have left their footprints on the political landscape too, building cities and nations. Justus Ohage, the first surgeon to do a cholecystectomy in the USAwas ostracised by the surgical community for doing cholecystectomy when cholecystostomy was still the gold standard of gallstone disease management. Outside surgery, he became the most famous public health officer of Minnesota, still remembered for his contribution in building the modern city. Today, India is undergoing a rapid transition with a fastgrowing economy driven by consumerism. Payment of money, through various modalities, is also increasing accordingly, with more and more consumers adopting newer modes apart from cash like plastic money and electronic bank transfers. The government is evolving strategies to encourage cashless transactions for various benefits like more accountability, less economic burden of physical currency and curbing generation of black money. In this context, surgeons too can contribute to this ideal. Doctors are inherently philanthropic and, as such, never focus on earning money as a primary goal. But still, exchange of money in the form of private consultations and hospital bills is both a necessity and the norm nowadays. Consultations, which are an important preoperative resource for the surgeon, are usually paid for in cash by the patient. According to available evidence, new payment methodologies are likely to facilitate the appropriate use of this important resource [2]. With the growth of technology, ‘e-consultation’ is quickly becoming a reality with its own benefits for the patients, primary healthcare provider, specialist and even the healthcare system [3]. Although the use of credit cards is now ubiquitous among all generations, its use, possible with a mandated accompanying machine, is still not as easy, feasible or viable for the individual practitioner. This is where the use of a truly digital means of payment, i.e. Mobile wallets (mWallets) like paytm (www.paytm.com) and FreeCharge (www. freecharge.com), can be of great application to both the surgeon and the patient. The younger generation today is frequently using such applications to pay for services ranging from shopping to food to even taxis on the road. For a surgeon, the use of such mWallets provides for instantaneous and accountable receipt of the consultation fee without the need for any physical exchange of money, especially in those situations where the availability of cash may be compromised for any reason. No one checks on their wallets in a rush, but a smartphone today has become a tool for survival and, as such, is available on the person at all times. With over a billion mobile subscribers in the country, the appeal of such smartphone-based banking applications is a ‘no-brainer’. For example, if one was to use paytm regularly, the doctor and the patient need only to sign up with their mobile number and optionally complete Know Your Customer (KYC) formalities to enable transactions of up to Rs. 1 Lakh (∼US$1500) per month. Even without KYC, transactions of up to Rs. 10,000 per month (Rs. 1.2 Lakh per annum) can be carried out without any sort of paperwork involved. Moreover, the money accrued in the mWallet can * Chintamani drchintamani7@gmail.com

Talking animals in children's fiction: a critical study

Talking-animal tales have conveyed anticruelty messages since the 18th-century beginnings of children's literature. Yet only in the modern period have animal characters become true subjects rather than objects of human neglect or benevolence. Modern fantasies reflect the shift from animal welfare to animal rights in 20th century public discourse. This revolution in literary animal-human relations began with Lewis Carroll's Alice's Adventures in Wonderland and continued with the work of Kenneth Grahame, Hugh Lofting, P.L. Travers and E. B. White. Beginning with the ideas of literary theorist Mikhail Mikhailovich Bakhtin, this book examines ways in which animal characters gain an aura of authority through using language and then participate in reversals of power. The author provides a close reading of 10 acclaimed British and American children's fantasies or series published before 1975. Authors whose work has received little scholarly attention are also covered, including Robert Lawson, George Selden and Robert C. O'Brien.

Worm Loves Worm by J. J. Austrian (review)

Reviewed by: Worm Loves Worm by J. J. Austrian Deborah Stevenson, Editor Austrian, J. J. Worm Loves Worm; illus. by Mike Curato. Balzer + Bray/HarperCollins, 2016 26p ISBN 978-0-06-238633-5 $17.99 R 4-6 yrs Worm and Worm love each other, and the two decide that it’s time to be married. Cricket says they need someone to do the marrying honors, because “that’s how it’s always been done”; Beetle volunteers to be the best beetle, and so on. When the best beetle and the bride’s bees want to know who is bride and who is groom, the worms cheerfully agree that each will be both; when Cricket says, “That isn’t how it’s always been done,” the couple amiably responds, “Then we’ll just change how it’s done,” and a fine wedding is had by all. While there’s an obvious subtextual message here, this is also a witty and playful story, and given that they’re hermaphroditic, worms are a hilarious and perfect protagonist choice. The wedding plans combine matter-of-fact child fantasy with some slyly funny touches in moments like Spider’s [End Page 294] deliberately ambiguous sentence (“I can eat the cake along with Cricket and Beetle”) and the realistic tendency of everybody around to tell the affianced how to hold their wedding. The illustrations, in pencil and Photoshop, focus almost entirely on the cast, with the softly lined, slightly toylike figures floating against white backdrops as they play out the nuptial drama. Adults looking for some assistance in explaining marriage equality will find this a concise and useful tool, and it’s also just an entertaining addition to the genre of kid-friendly wedding stories. Copyright © 2016 The Board of Trustees of the University of Illinois

“Many a time and oft had I broken my Neck for their amusement”: The Corpse, the Child, and the Aestheticization of Death in Shakespeare’s Richard III and King John

deaths of the two princes of Richard III (1592) and young Prince Arthur in King John (1595-96) are pivotal moments in the dramatic structure of both plays. As with many of Shakespeare's children, their deaths are of more consequence, in terms of plot, structure, and overall narrative design, than their lives, and their dramatic significance is disproportionate to their relatively small number of lines. They not only precipitate the downfall of the main protagonists and drive the plots to their denouements, but they also create an absence into which the other characters can project their adult fantasies of childhood. These three young children have provided inspiration for paintings, films, historical novels, popular television dramas, and documentaries across the centuries. A morbid fascination with their premature demise reached its apotheosis in the nineteenth century, yet there is still a tendency to sentimentalize and aestheticize their deaths even today. With the discovery of King Richard III's body in a Leicester car park in 2012, there has been renewed interest in the fate of the two princes. James Northcote's 1785 painting of The Murder of the Princes in the Tower, which was inspired by Shakespeare's play, remains one of their most enduring images (see figure 1). (2) However, although the deaths of both Arthur and the princes have provided inspiration for artistic fetishization, both in and beyond the theatre, the dramatization of their deaths in Shakespeare's texts is remarkably understated. princes of Richard III die offstage, and Arthur's accidental death is notable more for its bathetic absence of sentimentality rather than for any feeling of pathos it evokes. desire to aestheticize the deaths of these three children is therefore less an authentic interpretation of the original texts and more a reflection of a voyeuristic-scopophilic fascination arising out of a larger impulse to preserve and extend fantasies of childhood innocence--a fantasy that, as childhood scholars including James Kincaid and Anne Higonnet have observed, is shadowed by titillation, eroticism, and violation. (3) If childhood innocence is the opposite of adult sexuality, then it risks, according to this critical perspective, becoming alluringly off-limits. Kincaid explains as follows: see children as, among other things, sweet, innocent, vacant, smooth-skinned, spontaneous, and mischievous. We construct the desirable as, among other things, sweet, innocent, vacant, smooth-skinned, spontaneous, and mischievous. There's more to how we see the child, and more to how we construct what is sexually desirable--but not much more. (4) deaths of the doomed young princes of Shakespeare's Richard III and King John are only constructed in this fetishistic way retrospectively through the rhetoric of the adults. To aestheticize their deaths in visual form is thus to undermine the intention of the original text. But more crucially, it also risks evoking the equivocal fantasy of childhood that Kincaid describes. In this essay, I argue that Shakespeare deliberately creates a dissonance between the idealizing rhetoric surrounding his three young princes and their embodied presence by refusing to sentimentalize or fetishize the deaths. desire to make manifest what the plays obscure, to fill the absence with a body, reflects culturally and historically specific concerns surrounding childhood and what it represents rather than a faithful interpretation of Shakespeare's texts. In this essay, through a dialectical analysis of dramatic and artistic representation and close textual reading, I examine both the dramatic significance of this absence and the various and changing ways in which it has been filled. Through a brief history of the shifting fortunes of these children, I explore the ways in which their deaths have been fetishized and aestheticized, and consider the small but growing movement toward a return to the de-idealization of childhood that Shakespeare intended. …

Transgressive Play: Contiguity and Excess in the Creation of an a/r/tographical Text

In artist-teacher practice, what separates the art practice of an artist-teacher from their art teaching? At what point does art practice stop and art teaching begin? In what instance does an artwork concept begin? Where does an idea for a student art activity come from? Is the creative process different in conceptualizing our own artwork compared to conceptualizing an art task for students? How does artist-teacher practice embody knowledge and at what point is this knowledge generated?This a/r/tographical lived inquiry captures the process of our thinking through a concept for an art installation, in contiguity with conceptualizing an art activity for students. The questions above underlie our explorations. This article is presented in reflexive form where conversations, images, and reflections are woven together to render a moment in transition between us. These rendered movements reveal that in-between reflections come the generation and interplay of our subjectivities as teacher-artists. Artistic knowledge is embodied in making and pedagogic conversations, and is ambiguous at the onset of inquiry. In our intersection we find that we are connected by our childhood fantasies and obsessions through playful acts which resist heteronormativity. In turn, the inquiry becomes a polyphonous text which vacillates between resolution and unfinalizability to encapsulate the process of artistic research.

How Many Legs?

Problem solving in the early grades draws from children's fantasy and imagination informed by early adventures in reading and life (Paley 1986). The richness of their insights coupled with newly created structures for reasoning quantitatively create opportunities for teachers and children to communicate what they “see” in images often not considered as mathematical problems. Such is the case with the illustration from Charlotte's Web (White 1952, p. 21) that captures the chaos of Lurvy, a farm hand, trying to catch the lovable pig Wilbur after he escapes into the barnyard. Legs are everywhere and, as other animals look on, Wilber continues to evade Lurvy. But how many legs are there?

Viewpoint: An innovative training post in medical writing

ST2 GP trainees at the Imperial College London GP Specialty Training Programme have the opportunity of amalgamating a 6-month general practice placement with an Innovative Training Post (ITP) of our choice. Rather than choose a more typical ITP such as rheumatology, oncology, or diabetes, I decided to explore the world of medical writing. Medical writing is not something most GP trainees will have had much exposure to. It is not a part of the medical school curriculum, so, at most, the typical trainee may have participated in a research project or audit that eventually leads to a publication. I certainly had no prior experience of medical writing, or writing in general for that matter. But I harboured an unfulfilled childhood fantasy of becoming an author, reporter, or TV presenter. This led …

Girls Transforming: Invisibility and Age-Shifting in Children's Fantasy Fiction Since the 1970s. Sanna Lehtonen. Jefferson, North Carolina and London: McFarland and Company, Inc., 2013. 232 pages.

<i>Girls Transforming: Invisibility and Age-Shifting in Children's Fantasy Fiction Since the 1970s</i>. Sanna Lehtonen. Jefferson, North Carolina and London: McFarland and Company, Inc., 2013. 232 pages.

‘I fell out of a tree and broke my neck’: acknowledging fantasy in children's research contributions

Creative and increasingly playful methods are now widespread in geographical research with children. These methods, encouraging imagination and fun, may illicit fantastical responses from children. However, ‘untruths’ in research contributions continue to be considered as reflective of failures in the research process. By ignoring untrue contributions we risk losing valuable data and silencing one form of children's voices. This paper calls for considered discourse on how imagination and fantasy might be included in analysis of research outcomes.

Role of the Game in the Development of Preschool Child

Abstract A child's play is the meaning of its life in preschool age. It was his refuge from fears, field of battles, the polygon of game, achievements and successes, soothing and dreams. There come to the fore desires, aspirations, feelings, thoughts and needs of the child for active action in the environment in which it lives. The game satisfies the biological and psychological needs of children and contributes to their mental, emotional, social and moral development. Different roles in the games, although the product of a child's fantasy, allow the child to gain personal experience of good and bad, about what is positive and what is not in behavior. Games are an important form of entertainment for children and adults, through which children organize independently and they have special educational significance. They are a powerful tool for education because through games children acquire knowledge, enrich their experience, and develop skills and habits. The goal of our research is to investigate how the game is implemented in the educational work of preschool institutions, and at the same time to determine which of the traditional games are used in kindergartens, and how modern games enable and assist the process of coming to self-knowledge.

Jesus, Girard, and Twentieth-Century Fantasy for Young Adults

In the first half of the twentieth century, fantasy stories for children and adolescents were often domestically oriented romps such as P. L. Travers's Mary Poppins (first published in 1934), or amusing but safe adventures such as L. Frank Baum's The Wonderful Wizard of Oz (first published in 1900). In these early fantasies, the child protagonists were more or less safe under the watchful eyes of careful adults. After the Second World War, however, children's fantasy in the West underwent a decided shift in focus. The child protagonists could no longer rely on well-meaning adults, but had to confront danger themselves and resolve it. (1) These young protagonists faced battles, undertook quests, and struggled with concepts of heroism in a way that, while not completely new to the genre, had not been witnessed since the fantasies of George MacDonald in the Victorian era. (2) One particular motif that returned to the genre in full force after having been long absent was the idea of sacrificial death, or death that pays the price of something that cannot be bought in any other way. This motif first (re)appeared in the post-World War II fantasy by C. S. Lewis, The Lion, the Witch and the Wardrobe. Many scholars have explored the religious significance of this text in relation to the author's own Christian belief, which distinguishes the use of this motif from those of earlier narratives in that its occurrence also marks the end of a sacrificial system due to the innocence of the and victim. Undoubtedly, The Lion, the Witch and the Wardrobe is a good example of post-war twentieth-century fantasy that proffers, through the motif, precisely such an ideological position as its theme, but it is not the only such work. During this period, fantasy stories with a comparable narrative trajectory, while not plentiful, were surprisingly popular, but were arguably eclipsed by the popularity of Lewis's work, at least within critical scholarship. Two such stories, which serve as substantial prototypical examples of the way the motif of sacrificial death is deployed according to this trend, are Lloyd Alexander's The Black Cauldron and Elizabeth Marie Pope's The Perilous Gard. (3) Intriguingly, the sacrificial deaths in both these stories seem to follow a pattern that the philosopher, historian, and literary critic Rene Girard has discussed in his various studies, most completely in The Scapegoat. This pattern, which begins with what Girard calls the scapegoat function, has ostensibly shaped various ancient cultures and formed their mythological systems; its influence, moreover, remains felt up until the present day, if only in terms of how it continues to structure human relationships in an array of social situations. Since my reading of the motif and the theme of sacrifice in these two fantasy writings for adolescent readers is heavily dependent on Girard's formulation, a quick explanation of his theory at this juncture is imperative. According to Girard, any conflict that leads to the sacrifice of a scapegoat, who is ultimately an innocent victim, always begins with desire. At the heart of desire is the motivation toward imitation, or mimesis: that is, an individual learns to want what another person wants, and as a result, tension ensues. The pursuit of a desire by two persons inevitably compels rivalry, and, as Girard explains in Violence and the Sacred, such a mimetic rivalry will subsequently spread quickly to the rest of the community that may only have a vague idea of the cause of argument. In fact, the original object of desire becomes completely forgotten as the rivalry escalates, since the opposing parties have now shifted their focus to the discord itself. As the mimetic rivalry soon reaches a crisis point, a violent altercation becomes unavoidable, unless something is done to allay the communal stress. To this end, a ritual is enacted whereby the community chooses a to whom it will direct its anxieties in order to deflect . …

Making the Italians: Poetics and Politics of Italian Children's Fantasy by Lindsay Myers, and: Pinocchio, Puppets and Modernity: The Mechanical Body ed. by Katia Pizzi (review)

Making the Italians: Poetics and Politics of Italian Children's Fantasy by Lindsay Myers, and: Pinocchio, Puppets and Modernity: The Mechanical Body ed. by Katia Pizzi (review)

Making the Italians: Poetics and Politics of Italian Children's Fantasy by Lindsay Myers (review)

Making the Italians: Poetics and Politics of Italian Children's Fantasy by Lindsay Myers (review)