Tag Archives: Louis L'Amour

Reading Room and Gallery 43

Things I read or view or listen to that you might like too. Things will be added – up to about 20 or so – before this installment in the Reading Room and Gallery series is archived. For previous and future installments in this series, use the search feature to the right. Possible warning for adult language and themes.


“When he left, Marley was despondent, feeling betrayed by the country he had given his life to…”


“It’s harder than you think it is…” – Lindsey Ellis


“Hurricanes that stagger like a betrayed lover barreling through the islands until its rage is spent on the sands of our beaches/littered with masks and plastic bottles” – ‘Archipelagos‘ by Geoffrey Philp


“I’ve known rivers:
I’ve known rivers ancient as the world and older than the flow of human blood in human veins.” – from Langston Hughes’ ‘The Negro Speaks of Rivers


“When Kali fights Raktavera it seems impossible because every drop of his blood generates new demons. She figures out how to defeat him. She lifts him above the earth, slays him, and drinks his blood. Consuming Raktavera’s blood, Kali goes into a destructive trance. She can’t control herself. She kills.” – from ‘Journey to Ashes‘ by Joy Mahabir


“In the beginning Leona thought the river was a horrible way to meet men. She thought Nell and I should meet them through normal channels, at church or a coffee shop, and not immediately after they’d tried to end their lives. Over the years, though, she’d accepted that my sister and I weren’t attracted to churchgoing, coffee-shop sorts, that we liked men who’d reached the ends of their ropes, guys who’d been gut-punched by life enough times to know they would be gut-punched several more.” – from ‘The Narrows by Janet Jodzio


“…all in all I loved this book (both books), and find it consistent with the author’s oeuvre, which I’ve found to have strong, athletic and adventurous females, some element of fantasy, some mystery to be solved or problem to trouble shoot, within a Caribbean setting that just is. It’s very accessible for young readers and I can see it becoming a favourite of a young girl who is in to art, science, and sports, or perhaps just likes a bit of fantasy.” – from Blogger on Book (2021) – Quick Takes III. The Blogger on Books series used to run on this blog and has since moved to Jhohadli. This post is quick takes of the Antigua and Barbuda Review of Books Volume 12 Number 1 Summer 2019, and two Big Cat books How to be a Calypsonian and The Lost Sketchbook (the review of the latter excerpted here)



‘Writing forty to fifty short stories annually provided Louis with just enough money to live comfortably as long as he kept tight control over his budget. Maintaining his morale was also a reason for the high productivity: “My system was to have so many stories out that when one came back its failure was cushioned by the chances that were left,” he wrote to author and editor Ken Fowler, “and by the time they returned I had others out.”’ – from Louis L’Amour and the Legend of the West: Beau L’Amour remembers the Life and Work of His Famous Father in Crime Reads


Something I made…


Moko: Caribbean Arts and Letters in 2021 featured the photographic art of Nadia Huggins, a Trinidad-Tobago born, St. Vincent and the Grenadines raised artist and director. The series of images is part of her documentation of the La Soufriere eruption. See more images and read more about her work here.


This was a promotional reading posted to her publisher’s YouTube by Turtle Beach author Barbara A. Arrindell. This book is part of the Caribbean line of Big Cat books and Arrindell is a Wadadli Pen team member.


It’s crazy to me that this film didn’t get more awards love. Why? See my review of both the movie and the book from which it was adapted.


“I could work on a song for an hour or two and then I want to jump off to the next one…working on one song I can get bored and fall out of love with it…he has no problem just sitting with one song.” – Anderson.Paak on working with Bruno Mars


“We Often Have Dope Crew Jackets On My Joints. I Often See Them On Ebay For Big Money.” – ‘Remembering the Iconic Visuals and Creative Process of Spike Lee’s School Daze‘ by Spike Lee


“Creative writing in an of itself is a form of journalism…if you’re speaking to an issue, you’re speaking to something that has a spine, you’re just altering the delivery method in which someone gets the information.” – Roy Wood Jr. in conversation with Steven Barnes and Tananarive Due


“We need to know what a particular form does for storytelling so we can make an informed decision about if we want to use it, when we want to use it, or if we want to dismiss it altogether.” – Tiphanie Yanique on Breaking the Rules of Form in LitHub


“The entry point for me with this particular story though it’s an aquatic adventure set under the sea, the entry point for me was friendhsip.” – Joanne C. Hillhouse at Write the Vision’s Aspiring Authors and Writers Virtual Literary Event, speaking on ‘The Art of Writing Children’s Books?’, speaking at this point on writing Lost! A Caribbean Sea Adventure


“The problem with canons is how they squeeze people out, it’s not how they include people.”


 “But who I am is my father’s son…” – Sydney Poitier, Academy Class of 2014, Full Interview

His story about the slap back he insisted on in ‘In the Heat of the Night’ and the story he tells about the role he turned down pre-fame (when things were so bad he had to take out a street loan against his furniture to pay for his daughter to be born in hospital) have in common his awareness of his responsibility to his character, characters, and community, and determination not to make money his only motivator.


“Poetry and fiction publishing by Caribbean women has been on-going for decades. Readers should have had more multilingual anthologies available during the last twenty years. We have such a significant number of excellent writers coming from the region and the larger Caribbean world.” – Loretta Collins Klobah in interview (alongside Maria Grau Perejoan) with Plume


“How come we are so visible, yet we are invisible.” – Edith Oladele of the African Slavery Memorial Society, discussing how she came to an awareness of her connection to slavery and to Africa.

As with all content on wadadlipen.wordpress.com, except otherwise noted, this is written by Joanne C. Hillhouse (author of The Boy from Willow Bend, Dancing Nude in the Moonlight, Musical Youth, With Grace, Lost! A Caribbean Sea Adventure, The Jungle Outside, and Oh Gad!). All Rights Reserved. If you enjoyed it, check out my page on AmazonWordPress, and/or Facebook, and help spread the word about Wadadli Pen and my books. You can also subscribe to the site to keep up with future updates. Thanks.

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