Cottage

cottage

The next day Lord Raymond called at Perdita’s cottage, on his way to Windsor Castle

The Brothers Karamazov by Fyodor Dostoyevsky is part of the HackerNoon Books Series. You can jump to any chapter in this book here . A Laceration In The Cottage Chapter VI. A Laceration In The Cottage He certainly was really grieved in a way he had seldom been before. He had rushed in like a fool, and meddled in what? In a love‐affair. “But what do I know about it? What can I tell about such things?” he repeated to himself for the hundredth time, flushing crimson. “Oh, being ashamed would be nothing; shame is only the punishment I deserve. The trouble is I shall certainly have caused more unhappiness.... And Father Zossima sent me to reconcile and bring them together. Is this the way to bring them together?” Then he suddenly remembered how he had tried to join their hands, and he felt fearfully ashamed again. “Though I acted quite sincerely, I must be more sensible in the future,” he concluded suddenly, and did not even smile at his conclusion. Katerina Ivanovna’s commission took him to Lake Street, and his brother Dmitri lived close by, in a turning out of Lake Street. Alyosha decided to go to him in any case before going to the captain, though he had a presentiment that he would not find his brother. He suspected that he would intentionally keep out of his way now, but he must find him anyhow. Time was passing: the thought of his dying elder had not left Alyosha for one minute from the time he set off from the monastery. There was one point which interested him particularly about Katerina Ivanovna’s commission; when she had mentioned the captain’s son, the little schoolboy who had run beside his father crying, the idea had at once struck Alyosha that this must be the schoolboy who had bitten his finger when he, Alyosha, asked him what he had done to hurt him. Now Alyosha felt practically certain of this, though he could not have said why. Thinking of another subject was a relief, and he resolved to think no more about the “mischief” he had done, and not to torture himself with remorse, but to do what he had to do, let come what would. At that thought he was completely comforted. Turning to the street where Dmitri lodged, he felt hungry, and taking out of his pocket the roll he had brought from his father’s, he ate it. It made him feel stronger. Dmitri was not at home. The people of the house, an old cabinet‐maker, his son, and his old wife, looked with positive suspicion at Alyosha. “He hasn’t slept here for the last three nights. Maybe he has gone away,” the old man said in answer to Alyosha’s persistent inquiries. Alyosha saw that he was answering in accordance with instructions. When he asked whether he were not at Grushenka’s or in hiding at Foma’s (Alyosha spoke so freely on purpose), all three looked at him in alarm. “They are fond of him, they are doing their best for him,” thought Alyosha. “That’s good.” At last he found the house in Lake Street. It was a decrepit little house, sunk on one side, with three windows looking into the street, and with a muddy yard, in the middle of which stood a solitary cow. He crossed the yard and found the door opening into the passage. On the left of the passage lived the old woman of the house with her old daughter. Both seemed to be deaf. In answer to his repeated inquiry for the captain, one of them at last understood that he was asking for their lodgers, and pointed to a door across the passage. The captain’s lodging turned out to be a simple cottage room. Alyosha had his hand on the iron latch to open the door, when he was struck by the strange hush within. Yet he knew from Katerina Ivanovna’s words that the man had a family. “Either they are all asleep or perhaps they have heard me coming and are waiting for me to open the door. I’d better knock first,” and he knocked. An answer came, but not at once, after an interval of perhaps ten seconds. “Who’s there?” shouted some one in a loud and very angry voice. Then Alyosha opened the door and crossed the threshold. He found himself in a regular peasant’s room. Though it was large, it was cumbered up with domestic belongings of all sorts, and there were several people in it. On the left was a large Russian stove. From the stove to the window on the left was a string running across the room, and on it there were rags hanging. There was a bedstead against the wall on each side, right and left, covered with knitted quilts. On the one on the left was a pyramid of four print‐covered pillows, each smaller than the one beneath. On the other there was only one very small pillow. The opposite corner was screened off by a curtain or a sheet hung on a string. Behind this curtain could be seen a bed made up on a bench and a chair. The rough square table of plain wood had been moved into the middle window. The three windows, which consisted each of four tiny greenish mildewy panes, gave little light, and were close shut, so that the room was not very light and rather stuffy. On the table was a frying‐pan with the remains of some fried eggs, a half‐eaten piece of bread, and a small bottle with a few drops of vodka. A woman of genteel appearance, wearing a cotton gown, was sitting on a chair by the bed on the left. Her face was thin and yellow, and her sunken cheeks betrayed at the first glance that she was ill. But what struck Alyosha most was the expression in the poor woman’s eyes—a look of surprised inquiry and yet of haughty pride. And while he was talking to her husband, her big brown eyes moved from one speaker to the other with the same haughty and questioning expression. Beside her at the window stood a young girl, rather plain, with scanty reddish hair, poorly but very neatly dressed. She looked disdainfully at Alyosha as he came in. Beside the other bed was sitting another female figure. She was a very sad sight, a young girl of about twenty, but hunchback and crippled “with withered legs,” as Alyosha was told afterwards. Her crutches stood in the corner close by. The strikingly beautiful and gentle eyes of this poor girl looked with mild serenity at Alyosha. A man of forty‐five was sitting at the table, finishing the fried eggs. He was spare, small and weakly built. He had reddish hair and a scanty light‐colored beard, very much like a wisp of tow (this comparison and the phrase “a wisp of tow” flashed at once into Alyosha’s mind for some reason, he remembered it afterwards). It was obviously this gentleman who had shouted to him, as there was no other man in the room. But when Alyosha went in, he leapt up from the bench on which he was sitting, and, hastily wiping his mouth with a ragged napkin, darted up to Alyosha. “It’s a monk come to beg for the monastery. A nice place to come to!” the girl standing in the left corner said aloud. The man spun round instantly towards her and answered her in an excited and breaking voice: “No, Varvara, you are wrong. Allow me to ask,” he turned again to Alyosha, “what has brought you to—our retreat?” Alyosha looked attentively at him. It was the first time he had seen him. There was something angular, flurried and irritable about him. Though he had obviously just been drinking, he was not drunk. There was extraordinary impudence in his expression, and yet, strange to say, at the same time there was fear. He looked like a man who had long been kept in subjection and had submitted to it, and now had suddenly turned and was trying to assert himself. Or, better still, like a man who wants dreadfully to hit you but is horribly afraid you will hit him. In his words and in the intonation of his shrill voice there was a sort of crazy humor, at times spiteful and at times cringing, and continually shifting from one tone to another. The question about “our retreat” he had asked as it were quivering all over, rolling his eyes, and skipping up so close to Alyosha that he instinctively drew back a step. He was dressed in a very shabby dark cotton coat, patched and spotted. He wore checked trousers of an extremely light color, long out of fashion, and of very thin material. They were so crumpled and so short that he looked as though he had grown out of them like a boy. “I am Alexey Karamazov,” Alyosha began in reply. “I quite understand that, sir,” the gentleman snapped out at once to assure him that he knew who he was already. “I am Captain Snegiryov, sir, but I am still desirous to know precisely what has led you—” “Oh, I’ve come for nothing special. I wanted to have a word with you—if only you allow me.” “In that case, here is a chair, sir; kindly be seated. That’s what they used to say in the old comedies, ‘kindly be seated,’ ” and with a rapid gesture he seized an empty chair (it was a rough wooden chair, not upholstered) and set it for him almost in the middle of the room; then, taking another similar chair for himself, he sat down facing Alyosha, so close to him that their knees almost touched. “Nikolay Ilyitch Snegiryov, sir, formerly a captain in the Russian infantry, put to shame for his vices, but still a captain. Though I might not be one now for the way I talk; for the last half of my life I’ve learnt to say ‘sir.’ It’s a word you use when you’ve come down in the world.” “That’s very true,” smiled Alyosha. “But is it used involuntarily or on purpose?” “As God’s above, it’s involuntary, and I usen’t to use it! I didn’t use the word ‘sir’ all my life, but as soon as I sank into low water I began to say ‘sir.’ It’s the work of a higher power. I see you are interested in contemporary questions, but how can I have excited your curiosity, living as I do in surroundings impossible for the exercise of hospitality?” “I’ve come—about that business.” “About what business?” the captain interrupted impatiently. “About your meeting with my brother Dmitri Fyodorovitch,” Alyosha blurted out awkwardly. “What meeting, sir? You don’t mean that meeting? About my ‘wisp of tow,’ then?” He moved closer so that his knees positively knocked against Alyosha. His lips were strangely compressed like a thread. “What wisp of tow?” muttered Alyosha. “He is come to complain of me, father!” cried a voice familiar to Alyosha—the voice of the schoolboy—from behind the curtain. “I bit his finger just now.” The curtain was pulled, and Alyosha saw his assailant lying on a little bed made up on the bench and the chair in the corner under the ikons. The boy lay covered by his coat and an old wadded quilt. He was evidently unwell, and, judging by his glittering eyes, he was in a fever. He looked at Alyosha without fear, as though he felt he was at home and could not be touched. “What! Did he bite your finger?” The captain jumped up from his chair. “Was it your finger he bit?” “Yes. He was throwing stones with other schoolboys. There were six of them against him alone. I went up to him, and he threw a stone at me and then another at my head. I asked him what I had done to him. And then he rushed at me and bit my finger badly, I don’t know why.” “I’ll thrash him, sir, at once—this minute!” The captain jumped up from his seat. “But I am not complaining at all, I am simply telling you ... I don’t want him to be thrashed. Besides, he seems to be ill.” “And do you suppose I’d thrash him? That I’d take my Ilusha and thrash him before you for your satisfaction? Would you like it done at once, sir?” said the captain, suddenly turning to Alyosha, as though he were going to attack him. “I am sorry about your finger, sir; but instead of thrashing Ilusha, would you like me to chop off my four fingers with this knife here before your eyes to satisfy your just wrath? I should think four fingers would be enough to satisfy your thirst for vengeance. You won’t ask for the fifth one too?” He stopped short with a catch in his throat. Every feature in his face was twitching and working; he looked extremely defiant. He was in a sort of frenzy. “I think I understand it all now,” said Alyosha gently and sorrowfully, still keeping his seat. “So your boy is a good boy, he loves his father, and he attacked me as the brother of your assailant.... Now I understand it,” he repeated thoughtfully. “But my brother Dmitri Fyodorovitch regrets his action, I know that, and if only it is possible for him to come to you, or better still, to meet you in that same place, he will ask your forgiveness before every one—if you wish it.” “After pulling out my beard, you mean, he will ask my forgiveness? And he thinks that will be a satisfactory finish, doesn’t he?” “Oh, no! On the contrary, he will do anything you like and in any way you like.” “So if I were to ask his highness to go down on his knees before me in that very tavern—‘The Metropolis’ it’s called—or in the market‐place, he would do it?” “Yes, he would even go down on his knees.” “You’ve pierced me to the heart, sir. Touched me to tears and pierced me to the heart! I am only too sensible of your brother’s generosity. Allow me to introduce my family, my two daughters and my son—my litter. If I die, who will care for them, and while I live who but they will care for a wretch like me? That’s a great thing the Lord has ordained for every man of my sort, sir. For there must be some one able to love even a man like me.” “Ah, that’s perfectly true!” exclaimed Alyosha. “Oh, do leave off playing the fool! Some idiot comes in, and you put us to shame!” cried the girl by the window, suddenly turning to her father with a disdainful and contemptuous air. “Wait a little, Varvara!” cried her father, speaking peremptorily but looking at her quite approvingly. “That’s her character,” he said, addressing Alyosha again. “And in all nature there was naught That could find favor in his eyes— or rather in the feminine: that could find favor in her eyes. But now let me present you to my wife, Arina Petrovna. She is crippled, she is forty‐ three; she can move, but very little. She is of humble origin. Arina Petrovna, compose your countenance. This is Alexey Fyodorovitch Karamazov. Get up, Alexey Fyodorovitch.” He took him by the hand and with unexpected force pulled him up. “You must stand up to be introduced to a lady. It’s not the Karamazov, mamma, who ... h’m ... etcetera, but his brother, radiant with modest virtues. Come, Arina Petrovna, come, mamma, first your hand to be kissed.” And he kissed his wife’s hand respectfully and even tenderly. The girl at the window turned her back indignantly on the scene; an expression of extraordinary cordiality came over the haughtily inquiring face of the woman. “Good morning! Sit down, Mr. Tchernomazov,” she said. “Karamazov, mamma, Karamazov. We are of humble origin,” he whispered again. “Well, Karamazov, or whatever it is, but I always think of Tchernomazov.... Sit down. Why has he pulled you up? He calls me crippled, but I am not, only my legs are swollen like barrels, and I am shriveled up myself. Once I used to be so fat, but now it’s as though I had swallowed a needle.” “We are of humble origin,” the captain muttered again. “Oh, father, father!” the hunchback girl, who had till then been silent on her chair, said suddenly, and she hid her eyes in her handkerchief. “Buffoon!” blurted out the girl at the window. “Have you heard our news?” said the mother, pointing at her daughters. “It’s like clouds coming over; the clouds pass and we have music again. When we were with the army, we used to have many such guests. I don’t mean to make any comparisons; every one to their taste. The deacon’s wife used to come then and say, ‘Alexandr Alexandrovitch is a man of the noblest heart, but Nastasya Petrovna,’ she would say, ‘is of the brood of hell.’ ‘Well,’ I said, ‘that’s a matter of taste; but you are a little spitfire.’ ‘And you want keeping in your place,’ says she. ‘You black sword,’ said I, ‘who asked you to teach me?’ ‘But my breath,’ says she, ‘is clean, and yours is unclean.’ ‘You ask all the officers whether my breath is unclean.’ And ever since then I had it in my mind. Not long ago I was sitting here as I am now, when I saw that very general come in who came here for Easter, and I asked him: ‘Your Excellency,’ said I, ‘can a lady’s breath be unpleasant?’ ‘Yes,’ he answered; ‘you ought to open a window‐ pane or open the door, for the air is not fresh here.’ And they all go on like that! And what is my breath to them? The dead smell worse still! ‘I won’t spoil the air,’ said I, ‘I’ll order some slippers and go away.’ My darlings, don’t blame your own mother! Nikolay Ilyitch, how is it I can’t please you? There’s only Ilusha who comes home from school and loves me. Yesterday he brought me an apple. Forgive your own mother—forgive a poor lonely creature! Why has my breath become unpleasant to you?” And the poor mad woman broke into sobs, and tears streamed down her cheeks. The captain rushed up to her. “Mamma, mamma, my dear, give over! You are not lonely. Every one loves you, every one adores you.” He began kissing both her hands again and tenderly stroking her face; taking the dinner‐napkin, he began wiping away her tears. Alyosha fancied that he too had tears in his eyes. “There, you see, you hear?” he turned with a sort of fury to Alyosha, pointing to the poor imbecile. “I see and hear,” muttered Alyosha. “Father, father, how can you—with him! Let him alone!” cried the boy, sitting up in his bed and gazing at his father with glowing eyes. “Do give over fooling, showing off your silly antics which never lead to anything!” shouted Varvara, stamping her foot with passion. “Your anger is quite just this time, Varvara, and I’ll make haste to satisfy you. Come, put on your cap, Alexey Fyodorovitch, and I’ll put on mine. We will go out. I have a word to say to you in earnest, but not within these walls. This girl sitting here is my daughter Nina; I forgot to introduce her to you. She is a heavenly angel incarnate ... who has flown down to us mortals,... if you can understand.” “There he is shaking all over, as though he is in convulsions!” Varvara went on indignantly. “And she there stamping her foot at me and calling me a fool just now, she is a heavenly angel incarnate too, and she has good reason to call me so. Come along, Alexey Fyodorovitch, we must make an end.” And, snatching Alyosha’s hand, he drew him out of the room into the street. About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. Fyodor Dostoyevsky (2009). The Brothers Karamazov. Urbana, Illinois: Project Gutenberg. Retrieved October https://www.gutenberg.org/cache/epub/28054/pg28054-images.html This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org , located at https://www.gutenberg.org/policy/license.html .

A Laceration In The Cottage

No. VIII. Cottage Economy, to Which is Added The Poor Man's Friend

Cottage Economy, To Which Is Added The Poor Man's Friend, by William Cobbett, is part of the HackerNoon Books Series. Read this book online for free on HackerNoon! Title: Cottage Economy To Which Is Added The Poor Man's Friend Author: William Cobbett Release Date: June 17, 2010 [eBook #32863] Language: English TABLE OF LINKS Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. William Cobbett (2010). Cottage Economy To Which Is Added The Poor Man's Friend. Urbana, Illinois: Project Gutenberg. Retrieved May 2022, from https://www.gutenberg.org/files/32863/32863-h/32863-h.htm This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org , located at https://www.gutenberg.org/policy/license.html .

Table of Links - Cottage Economy to Which Is Added the Poor Man's Friend 

Debugging Kubernetes: Part 1 - Introduction and Core Concepts

Technology shapes every facet of our lives from how we communicate to how we consume stories and the Archie Comics universe, a cornerstone of American pop culture, is embracing this transformation. Goldie Chan, a figure renowned in the tech world for her insightful commentary and innovative thinking, is at the forefront of this evolution, bringing a unique blend of tech-savvy storytelling to the heart of Riverdale. Her latest comic, "BETTY & VERONICA FRIENDS FOREVER: FAIRY TALES”: 'The Frumpy Duckling,'" showcases this fusion, blending the nostalgic charm of Archie with contemporary themes and digital-age sensibilities. Chan's venture into Riverdale is not just another comic book story; it's a narrative that reflects our modern world's complexities, wrapped in the comforting aesthetics of the Archie universe. "The Frumpy Duckling," starring Cassie Cloud, is a modern fairytale that echoes the timeless theme of transformation, yet it's imbued with elements that speak directly to the digital generation. References to cottagecore, a trend that gained momentum on social media platforms, alongside a nod to "The Devil Wears Prada," infuse the story with a fashion-forward sensibility that resonates with today's readers. This sneak peek of ‘The Frumpy Duckling” was done by Bill and Ben Galvan, a father-son team, who completed the art for Goldie Chan’s original script. So there exists the generational appeal of the Archie characters is with the Archie Comics internal talent as well. “Writing for Archie is a dream come true. As an avid reader of Archie from my youngest days to a (hopefully) wiser adult, I have grown up with Archie, Betty, Veronica, Jughead, Reggie, Ethel, Sabrina and all the other amazing characters in vast universe of Archie Comics. I love sharing heartwarming, thoughtful and curious stories in Riverdale with these nostalgic and wonderful characters and can’t wait to share my next stories with you all!” offers Goldie Chan, Archie Comics writer. The inclusion of Archie-approved puns like "Let's quack this case" adds a layer of playful engagement, reminding us of the power of language in an age dominated by quick, digital communication. Chan's narrative is a bridge between the print media tradition of comic books and the fast-paced, visually driven culture of social media, showcasing how stories can adapt and thrive in a new era. What makes Chan's contribution to the Archie Comics universe particularly noteworthy is her approach to integrating modern technology themes and digital culture insights into the fabric of her storytelling. This blend of tech awareness with the timeless appeal of Archie represents a significant shift in how stories are told within established universes. Chan is not just writing a comic; she's writing a comic for the digital age, where her characters, though rooted in a classic setting, navigate issues and experiences reflective of today's technologically driven world. "Archie has a distinct place in pop culture of being comfortable and familiar for generations while working to remain fresh and relevant, reflecting current trends.  From passing notes back in the day to texting now, people have the same feelings, people still have crushes and share it all with their best friends. At Archie we allow fans access to all those emotions and universal experiences wrapped up in a fun presentation, this recent one a fairy tale type story of your favorite Archie gang by Goldie." - Mike Pellerito, President and Editor In Chief at Archie Comics. “Since its inception, Archie Comics has always been a reflection of modern society. We keep our fingers on the pulse of pop culture, and want to make sure all our readers can see themselves in our comics; be it trends, fashion, technology, celebrities, or even social issues. Goldie's vibrant personality shines through in her stories, not only continuing our commitment to relevancy but propelling our stories and characters even further forward into the future.” - Jamie Rotante, Senior Director of Editorial, Archie Comics. Her focus on creating woman-focused storylines within this context further amplifies the importance of diversity and representation in media, a conversation that is pivotal in both the tech and creative sectors. By infusing her stories with these themes, Chan is contributing to a broader dialogue about how women are portrayed in media, leveraging the Archie platform to inspire and empower a new generation. The Tech Behind the Tales Chan's work in the Archie universe offers a compelling case study. It's not just the content of the stories that's innovative but also the process behind their creation. The comic book industry, much like the tech industry, has seen significant changes in how content is produced, distributed, and consumed, thanks in part to digital tools and platforms. Exploring her creative process could reveal insights into how digital tools facilitate storytelling, from the use of software for design and layout to social media for marketing and community engagement. Additionally, understanding how Chan leverages her tech background to inform her storytelling could provide valuable lessons for content creators operating at the intersection of these two worlds. Engaging the Digital Generation As we look forward to the release of BETTY & VERONICA FRIENDS FOREVER: FAIRY TALES: 'The Frumpy Duckling,'" it's clear that the future of storytelling lies in the seamless integration of traditional narratives with modern technology. Goldie Chan's work is a testament to the potential of this integration, offering a blueprint for how classic universes like Archie's can evolve to meet the expectations of the digital generation. This approach to comic writing highlights the importance of adaptability, technological literacy, and innovation in storytelling. As the digital landscape continues to evolve, the synergy between technology and tradition in storytelling will undoubtedly become more crucial, with creators like Chan leading the charge. Goldie Chan's innovative return to Riverdale not only entertains but also inspires. It serves as a reminder that in the age of digital transformation, stories have the power to connect us, teach us, and propel us forward, bridging the gap between the world we know and the world we imagine. ** Technology shapes every facet of our lives from how we communicate to how we consume stories and the Archie Comics universe, a cornerstone of American pop culture, is embracing this transformation. Goldie Chan , a figure renowned in the tech world for her insightful commentary and innovative thinking, is at the forefront of this evolution, bringing a unique blend of tech-savvy storytelling to the heart of Riverdale. Her latest comic, "BETTY & VERONICA FRIENDS FOREVER: FAIRY TALES”: 'The Frumpy Duckling,'" showcases this fusion, blending the nostalgic charm of Archie with contemporary themes and digital-age sensibilities. Goldie Chan Chan's venture into Riverdale is not just another comic book story; it's a narrative that reflects our modern world's complexities, wrapped in the comforting aesthetics of the Archie universe. "The Frumpy Duckling," starring Cassie Cloud, is a modern fairytale that echoes the timeless theme of transformation, yet it's imbued with elements that speak directly to the digital generation. References to cottagecore, a trend that gained momentum on social media platforms, alongside a nod to "The Devil Wears Prada," infuse the story with a fashion-forward sensibility that resonates with today's readers. This sneak peek of ‘The Frumpy Duckling” was done by Bill and Ben Galvan, a father-son team, who completed the art for Goldie Chan’s original script. So there exists the generational appeal of the Archie characters is with the Archie Comics internal talent as well. “Writing for Archie is a dream come true. As an avid reader of Archie from my youngest days to a (hopefully) wiser adult, I have grown up with Archie, Betty, Veronica, Jughead, Reggie, Ethel, Sabrina and all the other amazing characters in vast universe of Archie Comics. I love sharing heartwarming, thoughtful and curious stories in Riverdale with these nostalgic and wonderful characters and can’t wait to share my next stories with you all!” offers Goldie Chan, Archie Comics writer. “Writing for Archie is a dream come true. As an avid reader of Archie from my youngest days to a (hopefully) wiser adult, I have grown up with Archie, Betty, Veronica, Jughead, Reggie, Ethel, Sabrina and all the other amazing characters in vast universe of Archie Comics. I love sharing heartwarming, thoughtful and curious stories in Riverdale with these nostalgic and wonderful characters and can’t wait to share my next stories with you all!” offers Goldie Chan, Archie Comics writer. The inclusion of Archie-approved puns like "Let's quack this case" adds a layer of playful engagement, reminding us of the power of language in an age dominated by quick, digital communication. Chan's narrative is a bridge between the print media tradition of comic books and the fast-paced, visually driven culture of social media, showcasing how stories can adapt and thrive in a new era. What makes Chan's contribution to the Archie Comics universe particularly noteworthy is her approach to integrating modern technology themes and digital culture insights into the fabric of her storytelling. This blend of tech awareness with the timeless appeal of Archie represents a significant shift in how stories are told within established universes. Chan is not just writing a comic; she's writing a comic for the digital age, where her characters, though rooted in a classic setting, navigate issues and experiences reflective of today's technologically driven world. "Archie has a distinct place in pop culture of being comfortable and familiar for generations while working to remain fresh and relevant, reflecting current trends.  From passing notes back in the day to texting now, people have the same feelings, people still have crushes and share it all with their best friends. At Archie we allow fans access to all those emotions and universal experiences wrapped up in a fun presentation, this recent one a fairy tale type story of your favorite Archie gang by Goldie." - Mike Pellerito, President and Editor In Chief at Archie Comics. "Archie has a distinct place in pop culture of being comfortable and familiar for generations while working to remain fresh and relevant, reflecting current trends.  From passing notes back in the day to texting now, people have the same feelings, people still have crushes and share it all with their best friends. At Archie we allow fans access to all those emotions and universal experiences wrapped up in a fun presentation, this recent one a fairy tale type story of your favorite Archie gang by Goldie." - Mike Pellerito, President and Editor In Chief at Archie Comics. “Since its inception, Archie Comics has always been a reflection of modern society. We keep our fingers on the pulse of pop culture, and want to make sure all our readers can see themselves in our comics; be it trends, fashion, technology, celebrities, or even social issues. Goldie's vibrant personality shines through in her stories, not only continuing our commitment to relevancy but propelling our stories and characters even further forward into the future.” - Jamie Rotante, Senior Director of Editorial, Archie Comics. “Since its inception, Archie Comics has always been a reflection of modern society. We keep our fingers on the pulse of pop culture, and want to make sure all our readers can see themselves in our comics; be it trends, fashion, technology, celebrities, or even social issues. Goldie's vibrant personality shines through in her stories, not only continuing our commitment to relevancy but propelling our stories and characters even further forward into the future.” - Jamie Rotante, Senior Director of Editorial, Archie Comics. Her focus on creating woman-focused storylines within this context further amplifies the importance of diversity and representation in media, a conversation that is pivotal in both the tech and creative sectors. By infusing her stories with these themes, Chan is contributing to a broader dialogue about how women are portrayed in media, leveraging the Archie platform to inspire and empower a new generation. The Tech Behind the Tales The Tech Behind the Tales Chan's work in the Archie universe offers a compelling case study. It's not just the content of the stories that's innovative but also the process behind their creation. The comic book industry, much like the tech industry, has seen significant changes in how content is produced, distributed, and consumed, thanks in part to digital tools and platforms. Exploring her creative process could reveal insights into how digital tools facilitate storytelling, from the use of software for design and layout to social media for marketing and community engagement. Additionally, understanding how Chan leverages her tech background to inform her storytelling could provide valuable lessons for content creators operating at the intersection of these two worlds. Engaging the Digital Generation Engaging the Digital Generation As we look forward to the release of BETTY & VERONICA FRIENDS FOREVER: FAIRY TALES: 'The Frumpy Duckling,'" it's clear that the future of storytelling lies in the seamless integration of traditional narratives with modern technology. Goldie Chan's work is a testament to the potential of this integration, offering a blueprint for how classic universes like Archie's can evolve to meet the expectations of the digital generation. This approach to comic writing highlights the importance of adaptability, technological literacy, and innovation in storytelling. As the digital landscape continues to evolve, the synergy between technology and tradition in storytelling will undoubtedly become more crucial, with creators like Chan leading the charge. Goldie Chan's innovative return to Riverdale not only entertains but also inspires. It serves as a reminder that in the age of digital transformation, stories have the power to connect us, teach us, and propel us forward, bridging the gap between the world we know and the world we imagine. **

Tech and Tradition in Established Universes: Goldie Returns to Riverdale

প্রতিষ্ঠিত মহাবিশ্বে প্রযুক্তি এবং ঐতিহ্য: গোল্ডি রিভারডেলে ফিরে আসেন

Technik und Tradition in etablierten Universen: Goldie kehrt nach Riverdale zurück

Tecnología y tradición en universos establecidos: Goldie regresa a Riverdale

Technologie et tradition dans les univers établis : Goldie revient à Riverdale

स्थापित ब्रह्मांडों में तकनीक और परंपरा: गोल्डी रिवरडेल में लौटता है

確立された世界における技術と伝統: ゴールディがリバーデイルに戻ってくる

확립된 세계의 기술과 전통: Goldie가 Riverdale로 돌아옴

Tecnologia e tradição em universos estabelecidos: Goldie retorna a Riverdale

Технологии и традиции в устоявшихся вселенных: Голди возвращается в Ривердейл

Yerleşik Evrenlerde Teknoloji ve Gelenek: Goldie Riverdale'e Geri Dönüyor

Công nghệ và truyền thống trong các trường đại học đã thành lập: Goldie trở lại Riverdale

既定宇宙中的科技与传统：戈尔迪重返河谷镇

581 Stories To Learn About Non Fiction

Scientific American Supplement, No. 711, August 17, 1889, by Various, is part of the HackerNoon Books Series. You can jump to any chapter in this book . ANCIENT LAKE DWELLINGS. here ANCIENT LAKE DWELLINGS. Among the many traces which man has left of his existence in long past ages on the face of the earth, says a correspondent of the , none are more interesting and instructive than the lake dwellings of Switzerland and other countries, which have been discovered within the last fifty years or so. Although these relics of the past are far more modern than those which we referred to in a late article on "Primeval Man," and are probably included within the range of Egyptian and other chronologies, yet they stretch far beyond the historic period, so far as Europe is concerned, and throw a flood of light on the habits of our ancestors, or at any rate predecessors, in these regions. We are tolerably well acquainted with the history of the Jews when David worked his way up from the shepherd's staff to the royal scepter, or when Joshua drove out the Canaanites and took possession of their land, but of what was going on in Europe in these times we have hitherto had no knowledge whatever. These lake dwellings, however, were in all probability inhabited by human beings somewhere about the time when the events we have referred to took place, and may have been inhabited before the earlier of them. Scotsman The first hint we had of the existence of these remarkable dwellings was obtained in 1829, when an excavation was being made on the shore of a Swiss lake. Some wooden piles, apparently very old, and other antiquities were found by the workmen. Not much attention, however, was paid to this discovery till 1854, when a Mr. Aeppli drew attention to some remains of human handiwork found near his house, in part of the bed of a lake which had been left dry during a season of great drought. The workmen employed in recovering some land from the lake found the heads of a great many wooden piles protruding through the mud, and also a number of stags' horns, and implements of various descriptions. Stimulated by this discovery, search was made in various lakes, and the result was truly astonishing. In every direction remains of the habitations of prehistoric man were discovered, and relics were found in such abundance that the history of this unknown past could be traced through long ages, and the habits of the people ascertained with a very considerable amount of probability. The details are so numerous that it would be impossible in the space at our disposal to go into them all. Of course, during the long time that has elapsed since these structures were erected, their remains have been reduced to mere ruins, and it is only by comparing one with another that we are able to picture to ourselves what they were originally like and what sort of life was led by the men who inhabited them. The oldest of these dwellings belong to the stone age, when man had not acquired any knowledge of the use of metal; when all his instruments were merely sharpened stones, fixed in wooden handles, or pieces of bone, horn, or other natural material. They are therefore somewhat roughly finished, but at the same time exhibit considerable ingenuity and skill. The method of construction seems to have been somewhat as follows: A suitable situation, not far from the shore, where the water was not very deep, having been fixed upon, these prehistoric builders drove into the muddy bottom of the lake a number of piles or long stakes, arranged generally pretty close together, and in some sort of regular order. These piles were formed generally from stems of trees, with the bark on, but occasionally from split wood. The ends were sharpened to a point by the aid of fire or by cutting with stone axes. On a sufficient number being driven in, and their upper ends brought to a level above the surface of the water, platform beams were laid across, fastened by wooden pegs, or in some cases fixed into notches cut in the heads of the vertical piles. The platform was generally very roughly made, just a series of unbarked stems placed side by side and covered with layers of earth or clay, with numerous openings through which refuse of all kinds fell into the water beneath. In many cases connection with the shore was made by means of a narrow bridge or gangway, constructed in the same manner. On this rude platform huts were erected by driving small piles or stakes which projected above the floor, and to these were fastened boards standing edgeways like the skirting of our ordinary rooms, and marking out the size of each building. The walls of the huts were formed of small branches of twigs interwoven and plastered over with clay. The roof was made of straw or reeds like a thatched cottage. In size these huts were probably eighteen to twenty feet long, eight or ten feet broad, and about six feet high. They may have been divided into rooms, but there is no evidence of this. Each was provided with a hearth formed of three or four slabs of stone. The number of huts in each settlement must have been considerable, in fact, they must have formed villages of no mean extent, for as many as forty, fifty, or even a hundred thousand piles have been found spread over a large extent of ground, forming the foundation of one such settlement. It is probable, however, that these were not so numerous when first erected, but were gradually added to as the population increased. This fact, along with many others, shows that these dwellings were inhabited for long periods of time, during which the population pursued their ordinary life in comparative peace and quietness in their island homes. Such is, in brief, a general account of these remarkable structures. Of course there were several variations in the methods of fixing these piles, one of which may be mentioned as showing the ingenuity of the builders. Where the piles did not get a firm hold of the lake bottom, they carried out in boats or rafts loads of stones, which they threw down between the piles, thus firmly fixing them, just as modern engineers sometimes do for a similar purpose. As to the habits of the people who dwelt in these lake dwellings, we get a considerable amount of information from the various implements, refuse, etc., which fell through the imperfectly closed platforms into the lake, and which have been preserved in the mud at the bottom. They were fishers, hunters, shepherds, and agriculturists. Skeletons of fish are found in large abundance, and in some settlements even the fishing nets, and hooks made of boar's tusks, have been discovered. Then again there is an abundance of remains of the hunter's feast; bones of the stag, wild boar, bear, wolf, otter, squirrel, and many other wild animals are found in rich profusion, and often these are split and the marrow extracted. These ancient men, however, did not entirely rely on such precarious provision for their wants, but were so far advanced in civilization that they kept cattle and domestic animals of various kinds. They possessed dogs in great numbers, as well as cows, sheep, goats, and pigs, and in winter time had these housed on their settlements, as among the remains found are litters of straw, etc., which had evidently served as bedding for these animals. This, of course, necessitated the gathering of grass or other material for their food. They also cultivated wheat, barley, flax, and a number of other vegetable products. Their methods of cultivation were no doubt very rude, consisting of a mere scratching of the ground with crooked branches of trees or with simple instruments made of stags' horn; but, nevertheless, they succeeded in getting very good results. Among the relics which they have left are found stones for crushing corn, the grain which they used, and even the very cakes or bread which they made. There are also fruits, such as the apple, pear, nut, etc.; so that the bill of fare of prehistoric man was by no means contemptible. He had fish, game, beef, mutton, pork, bread, and fruit, besides a plentiful supply of water from the lake at his door. He was acquainted with the potter's art, and manufactured earthen vessels of various kinds. He seems to have produced two kinds—a coarser and a finer; the former made from clay mixed with a quantity of grains of stone, and the latter of washed loam. These he ornamented in an elementary fashion with certain lines and marks. Some of the vessels he used have been found with a burnt crust of the porridge which he had been making adhering. As to his clothes, these were probably formed in great part from the skins of wild or domestic animals, but he also used fabrics made from flax, which he had learned to weave, as remains of cloth, twine, rope, etc., are not infrequently found in his dwellings. One prominent feature in the history of these lake dwellers is their gradual advance in the arts of civilization. While the main features of their settlements remain very much the same during the whole period of their residence, there is a gradual improvement in the details; the settlements become larger, and the implements, etc., better finished. And this is especially observable in the change of material which the dweller uses. In the earlier stages of his existence stone is the predominant feature, all his knives, saws, chisels, axes, etc., are made from this substance; but as time rolls on, one or two implements are found made of bronze, which is a mixture of tin and copper, and requires for its production a certain amount of knowledge and mechanical skill. Gradually the number of bronze implements increases until eventually stone is superseded altogether, and improved forms of weapons of war make their appearance, and his work has a more finished look, arising from his improved implements. Whether the manufacture of bronze was an original discovery of his own, or whether it was an importation from some more advanced race, is not certainly known; but as he undoubtedly had intercourse with the East, it is probable that the first bronze was imported, and that afterward he discovered the way to manufacture it himself. However this may be, it seems evident that the introduction of this material greatly aided his development. As stone gave place to bronze, so in the course of time this latter gave place to iron, probably introduced in the same manner some considerable time before the dawn of history; and this metal held its place until these habitations were finally abandoned. With regard to the religion of these lake dwellers, if they had any, nothing is known. From some curious objects formed somewhat like the crescent of the moon, which are found in considerable numbers, it has been supposed that they worshiped that body; but there seems to be really no evidence for this supposition, and these objects may only have been ornaments, or perhaps charms, fixed above the doors of their huts something after the manner of the horse shoe nailed over the door in modern times to keep away evil spirits. So far as can be inferred from the remains that have been examined, the same race seems to have inhabited these dwellings from their commencement to their end. There is no appearance of invasion from without; all seems continuous. Probably his race came in early time from the East, and were a pastoral people, with flocks, herds, and domestic animals, and built their peculiar habitations to protect themselves from human enemies. Certainly the arrangements were well fitted for the purpose in those days, when the club and the spear were almost the only weapons of offense. Dr. Keller, who has investigated this subject with great care, is of the opinion that these lake dwellers were a branch of the great Celtic race. About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. Various (2004). Scientific American Supplement, No. 711, August 17, 1889. Urbana, Illinois: Project Gutenberg. Retrieved https://www.gutenberg.org/cache/epub/16972/pg16972-images.html This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at , located at . www.gutenberg.org https://www.gutenberg.org/policy/license.html

ANCIENT LAKE DWELLINGS

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