Sentences with phrase «than novels in»

Short works should have completely different pricing and royalty rules than novels in order to allow them to be priced according to their reduced size and value.

But it's far from just empty spectacle either; the director, and his script (by David Magee) engages intelligently and wholeheartedly with the novel's themes of religion, fate and storytelling, without becoming overbearing or tiresome — in fact, it's arguably more successful than the novel in that respect.

Not exact matches

Business Insider previously reported that Amazon's CEO learns more from fiction than non-fiction, and this novel about a butler in post-war England is one of his favorites.

In 2017, Walmart has also introduced a membership - free, two - day shipping program, a discount for customers who pick up an online order at a order rather than have it shopped, curbside grocery pickup at hundreds of stores and other novel services such as having a Walmart store worker drop off an online order on the way home after their shift.

The move is a novel way for the San Mateo, Calif., company to finance the enormous cost of installing panels on thousands of roofs — a typical residential system costs $ 25,000 — while appealing to retail investors who are on the hunt for better rates of return than they can find in savings accounts and government bonds.

Rather than dreaming up some novel configuration of services, successful entrepreneurs look at a given problem in a target market and develop a solution for it.

But are classes like «The Material Culture in the Victorian Novel» or «The Power of Ornament: Roman Imperial Imagery and Its Reception» really more practical than studying gender politics through our cultural reaction to the VMAs?

In 2009, she signed a multiple book deal with Harper Collins; her first novel, L.A. Candy, was on the New York Times Best Seller List for more than a month.

To replace this operation with a more useful proof - of - work, GridCoin introduces a novel algorithm based on work done in BOINC projects, in addition to requiring a multi-algorithm hash solution that is more secure than Bitcoin's single SHA - 256 hash algorithm.

This is why any willingness to accept risk will far more tied to our longstanding measures of market action and other testable factors than to some novel «Bernanke faith factor» that we have no way of testing historically in any kind of rigorous manner.

There is a book of poetry in Scripture that is steamier than any Danielle Steele novel and has better one - liners than a Cameron Crowe movie.

They are patriarchs, says Wilcox, with a «traditional, authority - minded approach to parenting,» but they are soft patriarchs (more akin, shall we say, to Ned Flanders in «The Simpsons» than to the Commander in Atwood's novel).

Chad has repeatedly betrayed: his non-comprehension of what a species - level change is (i.e. the focus of PE) and that this most minor of changes does not require a wholesale reordering of a genome; his inability to grasp that gradualism, although the clear minority in the fossil record, is present in various lineages (See Gould's various references to Foraminfera); his non-comprehension of the role of historic genetic contingency (i.e. that silent mutations can coalesce into rather dramatic novel functionality, e.g. Lenskis» E. coli); that the nodes of PE are more than sufficient for the requisite species - level evolutionary changes (See Pod Mrcaru lizards); etc, etc..

For a Catholic - ish novel — for a novel of any kind, really — the book is aggressively sexual in its interests, and McKenna's dismissal of Church teaching on sex is more casual than is sustainably credible.

• Patrick Leigh Fermor, The Violins of Saint - Jacques: No one in the twentieth century wrote more magnificent English, or prose of a purer purple; but, while his travel memoirs are now more widely appreciated than ever, his only novel (or novella, really) tends to be overlooked — a deftly constructed, economically proportioned, perfectly satisfying little tale about the small twilight world of a fictional French Caribbean island on its last day.

Only at the urging of a former student, wiser in these matters than his teacher, did I give the novel a second hearing.

E. L. James's novel Fifty Shades of Grey is now the best selling book in British history, has sold more than 100 million copies globally, and has spawned two sequels, along with an upcoming film adaptation.

This makes fiction based upon Scripture peculiarly problematic, at least for those who regard the work's underlying source as more than mere raw material: Is the novel, play, movie to be judged to some degree in accordance with its piety?

What one finds in Greene is perhaps a more subtle insight into marriage than what one finds in nineteenth - and early - twentieth - century novels: the lack of fulfillment in marriage and the need to seek this in the company of someone else.

In the Williams novel, it is a stone of great power, rather than a ring, but it has the same effect on those who bear it: They become its possession, not its possessor.

Eve Tushnet's new novel Amends is about how love is better than sheer moral achievement and how, often, we have to journey through humiliation in order to get it.

Time after time in his novels Davies recommends nothing less than shaking hands with the devil, acknowledging him as Christ's «brother» and, as the shadow of light, the necessary «other side» of what Christianity has celebrated as God.

There can be no doubt that the author of these words also had in mind the purpose of a novel, perhaps one that would help break the spell of current assumptions in order to surprise us with the complicated truth about ourselves — with more dreams than we have dared to dream in what passes for our philosophy.

When there is more talk of heaven in novels, television shows and pop songs than in sermons, Christians must shoulder some of the blame for the fact that visions of life beyond death fail to include God.

(It is because of specific difficulty attached to learning how to use the moral expressions of a language that we find novels more helpful than explicit ethical reflection in teaching us how to live morally.)

William Blake wrote of England's «dark satanic mills,» and Charles Dickens's novel Hard Times describes the prototypical industrial city of Coke - town in terms more hellish than heavenly.

rather than viewing each individual character or incident as only an instance of some collectivity or trend, is able to see the specific, the novel... the way even the «typical» diverges from type... [and can] recognize the peculiar dialectic between continuity and discontinuity in tradition.

Creativity is «the advance from disjunction to conjunction creating a novel entity other than the entities given in disjunction» (PR 32).

This situation is nowhere more clearly described in modern literature than in the novels of Franz Kafka: «His unexpressed, ever - present theme,» writes Buber, «is the remoteness of the judge, the remoteness of the lord of the castle, the hiddenness, the eclipse...» Kafka describes the human world as given over to the meaningless government of a slovenly bureaucracy without possibility of appeal: «From the hopelessly strange Being who gave this world into their impure hands, no message of comfort or promise penetrates to us.

He says that «Luke sees the new community as something novel... [and] does not require a total link to the old era other than to share in the promise to which it has always looked.

Where, at the beginning of the novel, marriage has already occurred, love may well be sought outside marriage; the rendering of a love that both issues in marriage and develops and matures within it is much less usual... The more recent convention that «love» is the precondition not of marriage but of» sex» is a natural development of tradition rather than a reaction against it.»

A research programme is even more resistant to change than a theory, but may eventually be abandoned in favour of a new programme which has greater promise of explaining known data, resolving anomalies, and predicting novel phenomena.

But Seyler will be the first to tell you that Cash's memoir of life as a sinner, «Man in Black,» is much better than Cash's Christian novel, «Man in White.»

gave me a chance to rediscover Jane Austen, not least because she is my mother's favorite author: For not only does the Oakesian matriarch own all six of the Austen novels in the elegant Oxford edition, but Park Honan's marvelous biography, Jane Austen: Her Life, occupies a prominent place on her bookshelf as well ¯ which I gobbled up (naturally) even more avidly than I did the novels.

Mansfield Park's cast of characters is socially much higher than the characters in Austen's other novels.

Who but a madman or a prophet — or an artist who sees more deeply into things than the rest of us — would have imagined, as Percy did in a 1971 novel, that state governments might recognize a right to die, and that arrangements would be made for the sick and elderly to push a button that would waft them away into a «happy death» in Michigan, a «joyful exitus» in New York, or a «luanalu - hai» in Hawaii?

In THE LAST STATION, we see that Sophya understands her husband's great novels better than his ideological disciples.

By asserting the process - theoretic foundations of our world, we can maintain both science and God and thus escape the materialist malaise - perhaps never better expressed than in this brief excerpt from a work held by many to be the greatest novel ever written:

Other than exercising memory, which is displayed in the highly cinematic form of flashbacks, the novel's characters exhibit practically no interior dimensions.

Many of us find the more refined gossip of the novel a greater help in seeing our lives accurately than the work of academic ethicists.

The ultimate metaphysical principle is the advance from disjunction to conjunction, creating a novel entity other than the entities given in disjunction.

There obviously seems to be more contained in this concept of the becoming of the novel than in the relatively simple concept of the becoming of something.

I had rather discern a cry of human need voiced in a novel, or discover the grace of God profanely proclaimed in a drama on the stage or on the street, than retell what some other has discerned there.

These include a fantastic sequence in which Scout and Jem and Dill play the main parts of a revivalist meeting that culminates in Dill's grandly appearing as nothing less than the Holy Ghost, but not before the children have a pointed argument about denominational differences — Methodist vs. Baptist — and related liturgical practices (how's that for dating the novel?).

In this way we allow for the idea that the novel, the unrepeatable which happens only once, can not be squeezed into any definite mold, whether one or several, anymore than can that which constantly perdures and recurs.

There is in fact nothing more to be said about the novelty of these uniquely occurring occasions than that each occasion is novel, that it happens only once and is unrepeatable in relation to all other occasions to which, as such, it can stand in a real relation of connectedness.

Unlike Lewis» novels, the book is not a Christian book, and so the story has less of a «moral» than the books by Lewis, but is still creative, imaginative, and well - told, but did leave me confused in many areas.

Nothing is more damaging to fiction, she wrote, than writers who try to impose their beliefs on their novels in a forced or unnatural way.

Indeed, whether in the name of Islam or against Islam, the novel's main characters commit a series of ugly, wreckful acts against each other, their personal hurts and vices intensified rather than relieved through their differing contacts with the faith.

The field belongs increasingly to those who have experienced the richness and depths of the tradition and who are restive with the something - new - every - week folks who, in Luther's words, have «no more than an itch to produce something novel so that they might shine before men as leading lights.»