27 Haziran 2012 Çarşamba

Mitt Romney Attacks Obama Birth Control Proposal Despite Being Silent On Similar Law As Governor

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BOSTON -- Mitt Romney faulted President Barack Obama's original push to require church-affiliated employers to pay for birth control as an "assault on religion," but as Massachusetts governor, Romney was largely silent about a state law that required virtually the same contraceptive coverage.

The Massachusetts law, which essentially mirrored Obama's proposal, was signed by Romney's predecessor in 2002, the year before he took office. Romney did not seek its repeal.

Despite his silence on the state law, as a presidential candidate Romney attacked Obama's initial proposal, which would have required Catholic-affiliated employers to pay for a service that violates the church's teachings.

"This kind of assault on religion will end if I'm president of the United States," Romney said, calling it "a real blow ... to our friends in the Catholic faith."

On Friday, Obama backed off the requirement, instead saying that workers at religious institutions would be able to get free contraception directly from health insurers.

As governor, Romney made no similar effort to amend or repeal the state law, which required employers that purchase insurance plans in Massachusetts to pay for contraceptives. He did clash with lawmakers about whether Catholic hospitals should be required to dispense emergency contraception to rape victims.

The 2002 law applies to employers who purchase insurance plans in Massachusetts. Larger employers that have private agreements with insurers and are considered self-insured are subject to federal laws.

Following on Romney's struggles to differentiate his state's health-insurance law from the nearly identical national version championed by Obama, the contraception episode is another example of how hard it is for Romney to contrast himself on some key issues with the president he seeks to defeat.

By choosing to engage Obama on such issues, he also adds to the perception that he shifts positions with the political winds.

The closest Romney came to addressing the question of mandated health care coverage was during the debate over what would become Massachusetts' landmark 2006 health care law.

Romney's version of the law would have lifted all mandated insurance benefit requirements for individuals and small businesses insured through what would become the state's health connector. It also would have lifted benefit requirements from subsidized insurance plans.

The goal was mandate-free insurance. But the version of the bill approved by the Democrat-controlled Legislature rejected Romney's proposal and the mandates remained.

Backers of the 2006 law signed by Romney say it actually expanded contraceptive coverage.

"The uninsured individuals who got access to health insurance because of the health law ... all got access to contraceptive coverage because of that law," said John McDonough, former head of the advocacy group Health Care For All.

While Romney was largely silent on the contraceptive coverage mandate, he fought a much more public battle over whether to require hospitals in Massachusetts to dispense emergency contraception to rape victims.

For Romney, the episode pitted his pledge to expand access to emergency contraception against another campaign promise not to change the state's abortion laws.

In the end Romney vetoed the bill, but declined to press any legal challenge to the new law once his veto was overturned by state lawmakers.

The issue surfaced in 2005, three years into his single term as governor.

The Legislature had just handed Romney a bill requiring that all public and private hospitals offer emergency contraception pills to victims of rape. The measure included the state's Catholic hospitals, whose opposition was based on religious grounds.

Romney said he could accept the measure if the pills simply prevented conception. But because the "morning after" pills can prevent a fertilized egg from developing, Romney said they could also be "abortion pills."

Romney had said he personally could accept abortion in cases of rape, incest and to save the life of the mother, but he nonetheless vetoed the bill.

"If it only dealt with contraception, I wouldn't have a problem with it. But it also in some cases terminates a life after conception, and therefore it ceases in that case to be a contraceptive provision," Romney said at the time.

"I indicated I wouldn't change abortion laws and I won't violate that promise," he added.

The debate stretches back to 2002, when Romney, then a Republican candidate for governor, answered "yes" on a candidate questionnaire distributed by NARAL Pro-Choice Massachusetts that asked whether he would support increased access to emergency contraception.

During the same campaign, Romney also promised not to alter the state's abortion laws.

Those two promises clashed when the Massachusetts House and Senate approved the emergency contraception bill.

"He went back on what he supported on the questionnaire by returning from vacation to veto a piece of legislation that would ensure broader access for emergency contraception," said Rose MacKenzie, director of policy for NARAL Pro-Choice Massachusetts. "Emergency contraception is not the same thing as abortion."

The bill required hospital emergency room doctors to offer the medication to rape victims, and made the pills available without prescription from pharmacies. A provision that exempted Catholic hospitals wasn't included in the final bill.

The medication is a hormone in pill form which, when taken after unprotected sex, prevents ovulation, stops the egg from being fertilized by sperm or stops a fertilized egg from attaching itself to the uterus wall.

It is most effective when taken within 72 hours of intercourse.

The debate was so contentious that Romney's hand-picked running mate, then-Lt. Gov. Kerry Healey, publicly broke with him and urged him to sign the bill.

Romney instead vetoed the bill at the end of July, 2005. Less than two months later the Massachusetts House and Senate easily overrode the veto.

Romney would try one more time to carve out an exemption for the state's Catholic hospitals, a move that would briefly throw the future of the law into chaos.

In December, 2005, just a week before the new law was to take effect, Romney's public health commissioner announced that Catholic and other privately run hospitals could be exempted from the emergency contraception law, pointing to an older law that barred the state from forcing private hospitals to dispense contraceptive devices or information.

Romney initially agreed, saying that while he personally believed hospitals should be required, at the least, to provide information about emergency contraception to rape victims, the new law couldn't supersede the old law.

"We have to follow the law," he said.

The new policy didn't last long.

Less than 24 hours after defending the proposed change, Romney scrapped the push to exempt private hospitals. He had come under intense pressure from women's groups, Democrats, the state attorney general and Healey.

Romney said that a fresh analysis by his legal counsel concluded that the new law in fact superseded the old law, and that all hospitals would now be required to offer the "morning after pill."

"On that basis I have instructed the Department of Public Health to follow the conclusion of my own legal counsel and to adopt that sounder view," Romney said. "In my personal view, it's the right thing for hospitals to provide information and access to emergency contraception to anyone who is a victim of rape."

The veto of the emergency contraception bill came at the time when Romney was contemplating his first run for president in 2008 and was staking out more conservative public positions.

A day after his veto, Romney explained it in an opinion piece in the Boston Globe, saying his anti-abortion views had "evolved and deepened."

"I believe that abortion is the wrong choice except in cases of incest, rape, and to save the life of the mother. I wish the people of America agreed, and that the laws of our nation could reflect that view," he wrote.

Also on HuffPost:

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Source: http://www.huffingtonpost.com/2012/02/11/mitt-romney-birth-control_n_1270668.html

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ROMANCING THE EMPIRE - THE BEST EXOTIC MARIGOLD HOTEL AND THE SLEEPING DICTIONARY

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Hugh Dancy in The Sleeping Dictionary (2001)
The British Empire has its own complex history dating back to its beginning in the 16th century and with its apex and maximum expansion during the Victorian Era. I often work on colonialism, the good that it brought and the bad that it inflicted,  and the British Imperial Myth with my students reading Kipling, Conrad, Orwell, E.M. Forster among others. The  outcomes of the British dominance on a quarter of the world for a long period of time are still evident in nowadays world, from the widespread use of English as a second language or as a foreign language turned into a lingua franca - well, that's something due to the more recent American cultural influence too, especially after WWII -  to Britain's having a multi-ethnic population. What I want to discuss here though is not the real history of the Empire but 1. the tendency to romanticize, minimizing, neutralizing the faults of that reality
2. the die-hard prejudices /cliches related to the once-subjected populations
which I recognized  in these two movies I've recently watched: The Best Exotic Marigold Hotel (2011) and The Sleeping Dictionary (2001).

Judy Dench in The Best Exotic Marigold Hotel (2011)
In The Best Exotic Marigold Hotel  (2011) India is seen from the eyes of aging very British  citizens experiencing the hardness of life in a society that doesn't forgive them the fact of being old and poor. Those are crimes you pay being banned as an outcast in nowdays Dorian-Graysh world (if not Peter-Panish). So, what vision of India do we get from the eyes of these group of surreal non-tourists who wants to find   somewhere to start afresh?  More or less the same basic idea of their colonies Victorian middle classes developed,  that is a fundamental disrespect for their ancient cultures and an absolute distrust in their skills and capacities to manage or solve problems. They are seen as naive, obtuse or even uncivilized.Of course, little by little the protagonists of this film are fascinated and conquered by the romantic aspects of living there. For instance,  once she arrives in India, Evelyne (Judi Dench),  writes in her blog: "This is a new and different world. The challenge is to cope with it. And not just cope, but thrive". And she gets a job as senior consultant for young people working at a phone-call centre. She has never worked in her always comfortable life however her experience is precious to young people starting a modern type of business.

So what I could recognize was the same fairy-tale India, we find in Rudyard Kipling's short stories or novels.  Indians are never good enough without the help of western background knowledge. When Judith (Penelope Wilton) asks Graham (Tom Wilkins): How could you bear this country? What do you see that I don't?" He answers: "The light, colours, smiles. It teaches me something". Cliches resulting into a romantic, idillyc image but never risen from a deeply respectful attitude. Well, maybe Graham is the only character who was brought up in India and sincerely loves the country and the people there, as well as their habits. Only, his vision of real India is influenced by his nostalgic memories.The group of unsatisfied guests will stay at the crumbling Marigold Hotel, but the enthusiastic naive young manager, Sonny Kapoor (Dev Patel),  will need their help to run the business, financially and practically. His optimistic philosophy is not enough: "Everything will be all right in the end. And if it is not all right, it is not yet the end. " (Read more about this movie at imdb and watch the trailer)
Hugh Dancy and Jessica Alba as John and Selima
The Sleeping Dictionary is a 2001 movie I only came to see by chance last week on a satellite channel. It was released in very few selected theatres at the time and especially meant for the video market (strange enough seen the brilliant cast and their great performances) .
From amazon.com site:  The setting is Sarawak, Malaysia in 1937, when young John Truscott (Hugh Dancy), fresh out of university has come to serve his Majesty's government as an officer of the Empire. The regional governor is Henry Bullard (Bob Hoskins), who oversees the Iban, a tribe of friendly headhunters. John, like his father, has a dream of educating the Iban children, but that requires him to learn the local language and customs. The governor arranges for John to have a "sleeping dictionary," a local girl who will both teach the young Englishmen to speak the language and tutor him in the ways of love.
The girl selected for John is Selima (Jessica Alba), who is half Iban and half British. John initially resists the second part of his education, but in the end falls in love with this beautiful and sensual woman, which violates the taboos of both cultures. Meanwhile, the governor wants his daughter, Cecil (Emily Mortimer) to marry John, and the situation conspires to give our young hero no choice but to stick to the elitist traditions of his own people. Cecil and her mother (Brenda Blethyn) know about the sleeping dictionaries, but it turns out that neither they nor John know everything about Selima and the solution to John's problems that is arranged at the end of the film's first act becomes unraveled in the second.
Now, this is an example of how much the British love romancing the Empire (Kipling docet) . The two lovers, John and Selima,  go through terrible moments and risk their lives but every apparently  insurmountable obstacle is overcome. There are examples of the malicious hyposcrisy which had been reigning long (has it really disappeared?) as well as of the cruelties inflicted to the natives. But this film especially underlines the romantic/sensual  aspects of leaving in the Malaysian jungle and falling for a gorgeous "sleeping dictionary",  meaning a native lover. Sexual intercourse with the natives was accepted but  considering them worth marrying was definitely rejected. So the fairy-tale ending here would have been rather impractical in the reality of the 30s. To have a different version of the reality of the Empire, I always have my students read Conrad (Heart of Darkness) or Orwell (Burmese Days) along with Rudyard Kipling (Kim, The Jungle Book) and E. M. Forster (A Passage to India). Watch the trailer
The Sleeping Dictionary DVD at Amazon.com


WEATHERING THE STORM BY KATE FORRESTER - GIVEAWAY WINNERS

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The latest giveaway contests here at FLY HIGH have been somehow connected to Wuthering Heights, the controversial passionate tale Emily Bronte published in 1847. You can still enter for a chance to win a digital copy of Wuthering Nights by Summer Day (click HERE), which is a modern retelling of Catherine and Heathcliff's tale, while I'm here to reveal the names of the two winners of a paperback copy of Weathering The Storm by Kate Forrester, which is actually inspired to the TV series Sparkhouse, loosely based on Wuthering Heights. There has been a lively exchange of comments after Kate Forrester's interview and I must thank all contributors,  starting from Kate herself!Now it's time to reveal the names of the two winners picked up via random.org:
Mrs Higgins & Herba
Congratulations to both and thanks for taking part!

SOME BLOGGING AT LAST - WHY WERE ALL THE CLASSICS WRITTEN BY MEN?

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What I manage  to do the least while blogging is being a regular reader at other blogs or sites and I apologize. It is definitely not for a lack of interest. I manage to go on writing my three blogs, though with no fix schedules and especially not daily,  but I'm not very good at socializing or using social networks, mainly for a constant lack of time. I post my stuff and I'm off, if I want to go on reading, watching, working and living! As you know,  I have to divide my spare time among my several interests -  and I must underline the words my spare time - because I've got an engaging profession (teaching English as a foreign language and its literature) and I take care of my family and house with no "external" help. Nonetheless, when I bump into something interesting or stimulating on line, I can't resist reading and commenting. This is what I did with a thought-provoking  post by writer Rosanne E. Lortz at her website .My premise is somehow connected to the theme she proposes and I am going to discuss here at FLY HIGH! : women and the reason why few of them excel/emerge in some fields, i.e. as writers of classics. Do you feel like  joining the discussion?

She opens the piece asking:   
Homer, Virgil, Dante, Shakespeare, Dickens, Melville, Hemingway, Fitzgerald. Let's ignore Jane Austen and the Brontes for a minute and ask the question: why were all the classics written by men?
Many answers abound. I have never found the popular complaint about women being suppressed to be very satisfactory. I am also a firm believer in the fact that women are intellectually equal with men. So, why then? Why were all the classics written by men?
Then she quotes from G. K. Chesterton's "What's Wrong with the World?" 
Woman must be a cook, but not a competitive cook; a school-mistress, but not a competitive school-mistress; a house decorator, but not a competitive house-decorator; a dressmaker, but not a competitive dressmaker. She should have not one trade but twenty hobbies; she, unlike the man, may develop all her second bests. This is what has been really aimed at from the first in what is called the seclusion, or even the oppression, of women. Women were not kept at home in order to keep them narrow; on the contrary, they were kept at home in order to keep them broad. The world outside the home was one mass of narrowness, a maze of cramped paths, a madhouse of monomaniacs. It was only by partly limiting and protecting the woman that she was enabled to play at five or six professions and so come almost as near to God as the child when he plays at a hundred trades. But the woman’s professions, unlike the child’s, were all truly and almost terribly fruitful.



Rosanne E. Lortz comments: 
Chesterton has hit upon something here. Women, though not limited in ability, are often limited in the extent to which they can pursue something because they are called to pursue so many different things. (Read the whole post by Rosanne E. Lortz  HERE)

I'm afraid I can't agree with her not finding the popular complaint about women being suppressed to be very satisfactory but,  of course,  I'm like her sure that women are intellectually equal with men. But I hate generalizations and sterotypes, too. When it comes to this question, that is , why most writers and painters and memorable artists are men, I must agree with  Virginia Woolf and what she wrote in her essay  about "Shakespeare's sister" (chapter three from A Room of One's Own):

It would have been impossible, completely and entirely, for any woman to have written the plays of Shakespeare in the age of Shakespeare.
 Let me imagine, since the facts are so hard to come by, what would have happened had Shakespeare had a wonderfully gifted sister, called Judith, let us say. Shakespeare himself went, very probably - his mother was an heiress - to the grammar school, where he may have learnt Latin - Ovid, Virgin and Horace - and the elements of grammar and logic. He was, it is well known, a wild boy who poached rabbits, perhaps shot a deer, and had, rather sooner than he should have done, to marry a woman in the neighborhood, who bore him a child rather quicker than was right. That escapade sent him to seek his fortune in London. He had, it seemed, a taste for the theatre; he began by holding horses at the stage door. Very soon he got work in the theatre, became a successful actor, and lived at the hub of the universe, meeting everybody, knowing everybody, practicing his art on the boards, exercising his wits in the streets, and even getting access to the palace of the queen.

Meanwhile his extraordinarily gifted sister, let us suppose, remained at home. She was as adventurous, as imaginative, as agog to see the world as he was. But she was not sent to school. She had no chance of learning grammar and logic, let alone of reading Horace and Virgil. She picked up a book now and then, one of her brother's perhaps, and read a few pages. But then her parents came in and told her to mend the stockings or mind the stew and not moon about with books and papers. They would have spoken sharply but kindly, for they were substantial people who knew the conditions of life for a woman and loved their daughter - indeed, more likely than not she was the apple of her father's eye. Perhaps she scribbled some pages up in an apple loft on the sly, but was careful to hide them or set fire to them. Soon, however, before she was out of her teens, she was to be betrothed to the son of a neighboring wool-stapler. She cried out that marriage was hateful to her, and for that she was severely beaten by her father. Then he ceased to scold her. He begged her instead not to hurt him, not to shame him in this matter of her marriage. He would give her a chain of beads or a fine petticoat, he said; and there were tears in his eyes. How could she disobey him? How could she break his heart? The force of her own gift alone drove her to it. She made up a small parcel of her belongings, let herself down by a rope one summer's night and took the road to London. She was not seventeen. The birds that sang in the hedge were not more musical than she was. She had the quickest fancy, a gift like her brother's, for the tune of words. Like him, she had a taste for the theatre. She stood at the stage door; she wanted to act, she said. Men laughed in her face. The manager - a fat, loose-lipped man - guffawed. He bellowed something about poodles dancing and women acting - no woman, he said, could possibly be an actress. He hinted - you can imagine what. She could get no training in her craft. Could she even seek her dinner in a tavern or roam the streets at midnight? Yet her genius was for fiction and lusted to feed abundantly upon the lives of men and women and the study of their ways. At last - for she was very young, oddly like Shakespeare the poet in her face, with the same grey eyes and rounded brows - at last Nick Greene the actor-manager took pity on her; she found herself with child by that gentleman and so - who shall measure the heat and violence of the poet's heart when caught and tangled in a woman's body? - killed herself one winter's night and lies buried at some crossroads where the omnibuses now stop outside the Elephant and Castle.
 That, more or less, is how the story would run, I think, if a woman in Shakespeare's day had had Shakespeare's genius.

But for my part, I agree with the deceased bishop, if such he was - it is unthinkable that any woman in Shakespeare's day should have had Shakespeare's genius. For genius like Shakespeare's is not born among labouring, uneducated, servile people. It was not born in England among the Saxons and the Britons. It is not born today among the working classes. How, then, could it have been born among women whose work began, according to Professor Trevelyan, almost before they were out of the nursery, who were forced to it by their parents and held to it by all the power of law and custom? Yet genius of a sort must have existed among women as it must have existed among the working classes. Now and again an Emily Bronte or a Robert Burns blazes out and proves its presence. But certainly it never got itself on to paper. When, however, one reads of a witch being ducked, of a woman possessed by devils, of a wise woman selling herbs, or even of a very remarkable man who had a mother, then I think we are on the track of a lost novelist, a suppressed poet, of some mute and inglorious Jane Austen, some Emily Bronte who dashed her brains out on the moor or mopped and mowed about the highways crazed with the torture that her gift had put her to. Indeed, I would venture to guess that Anon, who wrote so many poems without signing them, was often a woman. It was a woman Edward Fitzgerald, I think, suggested who made the ballads and the folk-songs, crooning them to her children, beguiling her spinning with them, on the length of the winter's night.
This may be true or it may be false - who can say? - but what is true in it, so it seemed to me, reviewing the story of Shakespeare's sister as I had made it, is that any woman born with a great gift in the sixteenth century would certainly have gone crazed, shot herself, or ended her days in some lonely cottage outside the village, half witch, half wizard, feared and mocked at. For it needs little skill in psychology to be sure that a highly gifted girl who had tried to use her gift for poetry would have been so thwarted and hindered by other people, so tortured and pulled asunder by her own contrary instincts, that she must have lost her health and sanity to a certainty. No girl could have walked to London and stood at a stage door and forced her way into the presence of actor-managers without doing herself a violence and suffering an anguish which may have been irrational - for chastity may be a fetish invented by certain societies for unknown reasons - but were none the less inevitable. Chastity has then, it has even now, a religious importance in a woman's life, and has so wrapped itself round with nerves and instincts that to cut it free and bring it to the light of day demands courage of the rarest. To have lived a free life in London in the sixteenth century would have meant for a woman who was a poet and playwright a nervous stress and dilemma which might well have killed her. Had she survived, whatever she had written would have been twisted and deformed, issuing from a strained and morbid imagination. And undoubtedly, I thought, looking at the shelf where there are no plays by women, her work would have gone unsigned. That refuge she would have sought certainly. It was the relic of the sense of chastity that dictated anonymity to women even so late as the nineteenth century. Currer Bell, George Eliot, George Sand, all the victims of inner strife as their writings prove, sought ineffectively to veil themselves by using the name of a man. Thus they did homage to the convention, which if not implanted by the other sex was liberally encouraged by them, that publicity in women is detestable. Anonymity runs in their blood....
So the fact that few women instead succeeded in becoming classic writers   - let's just think of  Jane Austen or the Brontes - and that they did excel at writing is due to their refusal toconform to the female stereotype of the age they lived in. They were brave andfocused, though not exactly competitive.For the majority of us, if we bake it is becausewe feel it is right, if we draw or paint watercolours it is because we like it,if we stay at home and play with our children it is because we married a man weloved and chose to create a family.
Many women at the time of Jane Austen had tomarry for convenience or not to starve, couldn't have money of their own nor aprofession, their writing was thought improper and had to hide behind a malename. They were limited by law and conventions in a totally male-orientedsociety. Jane Austen decided not to marry and to live on her writing. Do we really have to ask why so few tried and succeeded?
There have been centuries in which women wereeducated only to become wives or accomplished ladies. No other role in societywas meant for them. They could only learn what we today love doing as hobbiesor part of our family life (gardening, drawing, sewing, take care of the house,look after their children). Do we still wonder why they couldn't excel as artists or intellectuals?



If we think about nowadays and modern careers we can wonder why women are still socially less competitive than men, because that is true. Few women get to the highest positions in society, economics,  finance, politics, science, industry, banking system and so on. 
We can all agree it is not because they are not brilliant or smart,  or less than their male equivalent. We can even agree that for many men  it is still difficult to overcome certain old stereotypes hence our society is still latently and hypocritically male-oriented. However,  women are more and more competent and successful in so many fields. 
Why are there still so few in the positions which count? Their psychology? I mean, their tendency to put affections and feelings first or their being ready to self-sacrifice?  Their  being not too ambitious nor greedy?  But these are also generalizations, which is something I really can't bear. What do you think? 

REVISITING THE GREAT GATSBY - BY GUEST BLOGGER KELSEY

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The Great Gatsby is a great American classic that everyone should read at least twice. Here is your chance to brush up on the novel before the new movie comes out. The Great Gatsby, written by F. Scott Fitzgerald in 1925 is a book based in during the time when American had made it through World War I and the country was regaining its footing with prosperity. The Roaring 20’s was in full swing and alcohol was banned, causing trouble for the rich. The plot follows a Midwestern named Nick Carraway as he moves into an affluent and young community in Long Island that has a taste for extravagance. Here he meets the mysterious neighbor Jay Gatsby and the young couple Daisy and Tom Buchanan. Nick gets consumed with Jay Gatsby’s ways and witnesses what really goes down behind a troubled man and his muse. 

Jay Gatsby is presented as a mysterious character. He rarely takes part in the lavish parties he organises. Rich and attractive with some secret hidden in his past, he has the stature of a romantic hero but he also embodies the self-made man who tries to recreate the past through the power of money and is finally destroyed. Fitzgerald puts across the idea that the American dream has been corrupted by the desire for materialism. 
Nick Carraway is at the same time observer and participant in the novel. He is the only character  to show and hold onto a sense of morals and decency. Nick can be seen to represent the outsider that Fitzgerald felt himself to be.
This hypnotic novel was turned into a film in 1974 thanks to the dark screenwriter Frances Ford Coppola. Starring the handsome Robert Redford as Jay Gatsby and Mia Farrow as Daisy Buchanan, this slow film made it difficult for any high school student to follow. The film has been looked at as mediocre but close to the original plot. 
Watch this clip from the movie




However,  there is good news, The Great Gatsby is getting a makeover and with a star studded cast, it is sure to hit big. The talented Leonardo DiCaprio will take the part of Jay Gatsby, Carey Mulligan as Daisy Buchanan and Tobey Maguire as Nick Carraway. The trailer has been released and the breath taking costumes, stellar acting and extravagant set are sure to bring this remake to the forefront of all remakes.
The Great Gatsby is set to be released this Christmas, now go pick up your tattered copy and read to prepare you for the wild and mysterious world of The Great Gatsby!




Author Byline 

Kelsey  is the editor in chief for findananny. She loves to write article and ideas that parents & nannies would be interested in hearing. She helps society on giving information about nannies through  online nanny finder. She is a professional writer & loves writing on any thing.


VICTORIAN VICES - AUTHOR GUEST POST BY PAUL EMANUELLI (AVON STREET - A TALE OF MURDER IN VICTORIAN BATH)

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The Victorian Era was in many ways like our own. It was the first age of consumerism, and the Industrial Revolution was the forerunner of the current Technological Revolution. New discoveries and inventions revolutionised manufacturing processes in the Victorian age. Railways and steamships made travel faster and cheaper, rapidly shrinking the world. Mass production and increased international trade made more and more products available and affordable.  And with the growth in industry and trade, the middle classes grew in number and wealth, and wanted to buy as much as possible of what was on offer. 
Yet while the Middle Classes prospered in the Victorian era, the working class did not.  Work in factories, sweat-shops and mines was dirty and dangerous; hours were long and poorly paid. Children had to work, in order for families to survive, and working conditions were often worse for children than they were for their parents. Towns and cities grew quickly to house the workers, but much of the housing was poor quality and overcrowded. Vast slum areas sprung up, putting pressures on water supplies and the disposal of waste. Coal fires and factories filled the air with smoke and other pollutants. The reaction to living conditions and the gap between the haves and have-nots generated rebellion and revolt in many parts of Europe, as people fought for basic human rights.
These first lines from “A Tale of Two Cities” by Charles Dickens are certainly amongst the best openings to a novel ever written. But not only do they set the tone and atmosphere of the book and give a flavour of what is to come, they also capture a taste of the challenges and uncertainties of the Victorian era.
It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way...”
Nowhere were these contradictions in Society more obvious than in the Morality of the Victorians. They say the Victorians invented Childhood, treating the child as someone who needed to be protected and nurtured, and yet children as young as five were working in mines and factories, quite legally, during much of Queen Victoria’s long reign. Women too, in the middle-class household were regarded almost as saints, “protected” from anything that might offend or morally corrupt. Yet they were often little more than prisoners in their own homes with few freedoms in terms of what they could own or how they could behave, and outside the home, prostitution and pornography were rife.
We also know that drugs were readily available in Victorian times. Sir Arthur Conan Doyle’s fictional detective, Sherlock Holmes injects cocaine when there are no stimulating cases to occupy his mind, much to the disapproval of Dr Watson. Opium dens also feature in Dickens’ “The Mystery of Edwin Drood” and Oscar Wilde’s “The Picture of Dorian Gray.” Yet the real drugs “problem” in Victorian times was not with the illicit drugs that they frowned upon, but the propriety medicines they consumed in great quantities. Numerous popular household remedies and tonics contained substantial amounts of opium and yet could be bought over the counter. These included “Dr Collis Browne’s Chlorodyne” a general nerve tonic, “Dover’s Powder” used to treat a wide variety of common complaints and “Godfrey's Cordial” which was commonly given to children and infants to “help” them sleep. Opium and a range of other drugs were also used by brewers to strengthen beer
Opium Dens were publically condemned and the smoking of opium was seen as a mainly Oriental vice, though few questioned the fact that China had been forced into accepting opium by the British. The wealthier classes in Victorian England had an almost insatiable demand for tea, silk, porcelain, and manufactured goods from China, but had nothing that the Chinese wanted to trade in return. So the East India Company began sending them opium until addiction was rife. The Chinese government resisted the trade, writing to Queen Victoria asking her to stop it. Eventually they dumped 20,000 chests of opium in the sea. Britain’s response was to go to war with China and impose the drug trade.
My first novel “Avon Street,” is set in Bath in 1850. In writing it I have tried to bring the Victorian era to life, with all its contradictions and its similarities to modern life. “Avon Street” takes the reader on a journey behind the fine Georgian facades of Bath to expose the darker side of the city. It’s there that James Daunton has to fight for his life. His survival depends on the help of others, but who can he trust – the gentleman, the actress, the seamstress, the doctor, the priest, or the thief? – and how far can he trust them?

Paul Emanuelli 

Paul Emanuelli was born in Stoke-on-Trent, of Welsh parents and Italian grand- parents. He went to University in Cardiff and stayed in Wales for a few years before moving to Shropshire and then toSomerset. He is married and has two  children who have now flown the nest. Paul studied creative writing for several years at his local further educationcollege and on occasional courses at Bath University, concentrating at first on short stories. He was a prize winner in the short story competition at the  Wells Literary Festival in 2004.  "Avon Street" is his first novel. It is set in Victorian Bath in 1850,    a city which  by then was in decline.  Going behind the Georgian facades beloved of innumerable period dramas, it exposes a city rife with poverty, crime and hypocrisy. Paul is now working on a second historical novel, also based in Somerset.
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