Daily Archives: April 17, 2015
By Lindsay Roseberry, Reference Department
Wade Watts is a normal teenager growing up in the Midwest on the future Earth in 2044, after the nation’s collapse. He is an orphan, living with his aunt, and attending high school online. He plugs into the OASIS, a virtual galaxy of planets and worlds. The creator of the OASIS, James Halliday, died not long past and left no heirs. Instead, he set up an Easter Egg (a hidden message with clues) in the OASIS, with the instructions that the one who finds this egg is his heir. Heir to the OASIS, heir to his programming technology and heir to his millions.
Of course, this sets off a massive stampede of all ages to find the egg. There is even a nickname for these tireless searchers – egg hunters, which was shortened to “gunter” over time. All serious gunters knew that Halliday loved everything about the 1980s. They all studied as much as they could to learn everything about that particular decade—playing all the games, watching all the movies, reading all the books. Even though Wade is in high school, the OASIS is infinitely more fun and exciting that real life and he is a dedicated gunter.
When he is the first to find the first clue, the story really heats up. There are villains, allies, unexpected friends, danger, excitement, escapes and more to be found in the OASIS. This book was such a quick read. You will want to know what happens and keep reading. Wade (Parzival in the OASIS) leads the reader on a chase through the 1980s to solve three three-step riddles and save the OASIS from the evil Innovative Online Industries, which wants control of OASIS. If you like audio books, I suggest you download the e-audio book from READS; Wil Wheaton (Wesley Crutcher in Star Trek: Next Generation) reads the story and it is very well done.
The film rights to Ready Player One were purchased by Warner Brothers the same day the book was signed to be published. It will directed by Stephen Spielberg!
Ready Player One is a science fiction and dystopian novel by Ernest Cline. The book was published by Random House on August 16, 2011. The audiobook is narrated by Wil Wheaton. In 2012, the book received an Alex Award from the Young Adult Library Services Association division of the American Library Association and won the 2012 Prometheus Award.
Info above from wikipedia…
By Irene Planchard Mathieu, a writer and medical student at Vanderbilt University
Being a medical poet has often meant poetic isolation, immersed as I am in the intense educational world of medicine. I have felt very isolated jotting down lines between patients during busy days in the hospital or writing in my apartment after long nights of studying. Last summer, I had the opportunity to attend my first poetry workshop, a two-week immersive experience in Rhode Island. It was like opening the door to the little closet in which I’ve been writing alone and seeing that my small room is part of a sprawling, underground mansion where so many beautiful souls live, each one in a different room, who decorate the mansion’s rock walls with studded jewels and feathers and scraps of cloth.
On the last night of workshop a fellow poet asked me about the parallels between medicine and poetry. I began with the response that I have explicated elsewhere, but as I spoke I realized that my answer had evolved significantly as a result of the past two weeks. It isn’t just that poetry and medicine both offer a window into the totality of human experience, an intimacy with the human condition that few other professions offer.
Just as there are an “art and science” of medicine, there are both art and science in poetics. I often describe the role of science in medicine as analogous to the role of language in human communication. The point of learning another language usually isn’t simply for the love of language itself (although certainly that love is real and important and can be part of the motivation). Usually the primary purpose of mastering language is for communication, just as a deep understanding of science allows us to use medicine in the service of other people. The memorization of medications and amino acids does not a competent physician make. But this fund of knowledge is the language we use to navigate disease and to describe health and illness. Similarly, strong vocabulary, understanding of literary symbols and devices, and grammatical knowledge are the tools of meaning-making in poetics.
There are systematic ways to approach reading and writing poetry. I can dissect a poem in order to understand or edit it. There is basic anatomy that must be grasped before we can understand poetry or create great work. In poetry, anatomy consists of form, literary devices, symbols, and metaphors. These and other components provide the framework for the poem’s content. As physicians, we must understand the parts of our patients’ bodies – how individuals’ organs do or don’t function, what is “normal” for each person. But we also must remember that a person is not simply her or his body. A person has a body. Who a person is is analogous the content of the poem.
In medicine and poetry, in order to break the rules effectively we have to learn them thoroughly. Learning medicine in a classroom and practicing medicine in a clinic or hospital are two very different things. In the classroom we learn basic rules, mechanisms, and protocols. But rarely do patients fit our textbook definitions. And when they do, their diseases rarely occur in isolation. In clinical settings we have to account for patients’ other ailments and medications, medical history, age, sex, body weight/size, psychosocial conditions, values and goals, etc. Given this, what are the chances that we can do exactly the same thing the same way for every patient with ostensibly the “same” disease? Good physicians learn the textbook rules so they can understand when and how to adapt the knowledge to individual circumstances. Good poets learn the rules of poetry – about structure, form, use of literary devices, grammar – before they can break them to great effect.
Poetry and medicine are both a practice. They must be done consistently to be done well and require lifelong learning. In order to become a better poet you have to become a better reader. In order to improve as a doctor, you have to keep studying and learning about developments in the field. This is the duty of the committed poet or physician. It’s one aspect of professionalism. Professionalism also requires love of the field – a commitment to the evolution of scientific knowledge or of poetics. It requires being a team player – as a medical colleague, an editor, or a mentor to trainees in medicine and in poetry. It requires integrity; in both fields, this means checking our egos frequently and thoroughly.
Of course, poetry and medicine have many differences. I do believe poems have the power to heal and that poetry can be a matter of life and death; why else would so many brutal governing regimes around the world exile prominent poets time and again? Why else would words be censored in times of unrest? But poems are not people. Art imitates life, or vice versa, but art isn’t synonymous with life, and relating to patients is a completely different experience from relating to poems. While I have spent the last several years learning how to do the former, my poetry workshop was an intense course on how to do the latter. For a physician, patients must always come first. For me, poetry happens to come second. I believe the discipline, objective analysis, commitment, integrity, and heart required in each field can fortify my practice of the other.