![]() ![]() Hung deleted her photos with Zhang after that allegation, but he denied the allegation in May 2019 and said Bi had resigned. The rumour emerged again in April 2019, after Zhang and Bi were spotted together at a hotel at night by the media. He denied the allegation through his agency, with Hung expressing support for him at that time. Hung and Zhang have been plagued by rumours that their marriage was on the rocks, since Zhang was accused of having an affair with his female manager Bi Ying in July 2018. The actress also has a 22-year-old son from a previous relationship with Hong Kong singer-actor Max Mok, now 60. The couple wed in 2009 and have a nine-year-old daughter. Their posts trended on Weibo, with more than 25,000 comments on Hung’s post and more than 29,000 comments on Zhang’s as of Monday afternoon. ![]() Zhang, 42, wrote a post on Weibo at about 4.30am, tagging Hung: “Yes, no more.” ![]() Tagging Zhang in the post, she wrote: “Zhang Danfeng and I are no longer husband and wife.” Hung, 52, made the unexpected announcement on Chinese social media platform Weibo at about 3am on Monday (May 1). Hong Kong actress Catherine Hung has announced her divorce from Chinese actor Andy Zhang Danfeng after 14 years of marriage. ![]()
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![]() ![]() Where we do shine, so to speak, is in the number of hot and humid days, but somehow, “Welcome to the Muggy State” or “Florida: The Partly Cloudy State” just don’t work as marketing slogans.Īlso contrary to popular perception, Florida was not named for its abundant flowering species. Florida averages only ninety-seven clear days annually (days with no clouds, a number that depends in part on where in Florida you live), which is fewer than the number of clear days in twenty-two other states. The state’s percent-sun number (the average percentage of time between sunrise and sunset that the sun reaches the ground) is a respectable 66 percent, but that is exceeded by Arizona (85 percent), Nevada (79 percent), New Mexico (76 percent), Colorado (71 percent), Hawaii (71 percent), California, Wyoming, and Oklahoma (68 percent each). (They also announce that Florida is OPEN FOR BUSINESS, an addition at the behest of the very conservative Governor Rick Scott.) But contrary to the implication of the state’s famous motto, Florida is not the nation’s sunniest state. ![]() ![]() When you cross over into Florida from Georgia or Alabama, there are large signs that read WELCOME TO THE SUNSHINE STATE. ![]() ![]() ![]() The Candy House is less a sequel to Goon Squad than a fraternal twin. It’s this sense of paradoxical isolation that Egan revisits in her new book. In an era of screen-curated selfhood, autofiction surged instead.Ī dozen years on, and Egan’s cult novel now feels like the end of something, a kind of techno-optimist elegy: a study in time’s “incremental deflations”, and the loneliness of hyper-connectivity. But if A Visit from the Goon Squad carried the promise of a grand wave of tech-inflected fiction, that literary trend never quite materialised. And the plot ricocheted like a browsing-addled brain. The cast was a neon collision of kleptomaniacs, philanderers, It girls, autocrats and a guitar band called the Flaming Dildos. One chapter was written entirely in PowerPoint slides another in textspeak (“if thr r children, thr mst b a fUtr, rt?”). ![]() It was a tale as gimmicky and restless as the smartphone era threatened to be. A visit from the Goon Squad, Jennifer Egan’s 2010 Pulitzer-winning rock’n’roll novel, felt like the beginning of something. ![]() ![]() Orwell uses these passages to identify the elements of bad writing, such as “inflated prose” or a “mixture of vagueness and sheer incompetence.” In describing the features of “inflated prose,” Orwell posits that laziness is the primary driver of “inflated style.” That is, instead choosing words and phrases carefully, lazy writers use inflated style to grab whatever smart-sounding words and phrases they have on hand. Reading each passage, it’s difficult (if not impossible) to make out the writer’s point. ![]() He begins by listing a series of passages. Orwell then takes a step back to what explain constitutes bad writing. He contends that language is both prescriptive and descriptive of civilization’s decline. Language, he argues, also shapes society. ![]() Orwell claims language doesn’t just reflect the condition society. That is, language only reflects the state of the world. Specifically, Orwell claims that most readers-even those who think language and politics are in a bad state-presume that language is merely a mirror of society. Orwell starts with the premise that the distortion of “language” reflects a “corruption” of “civilization.” But Orwell objects to the conclusion he believes readers usually draw from this initial premise. ![]() ![]() George Orwell’s central argument is that the normalization of bad writing leads to political oppression. ![]() ![]() ![]() ![]() This is done in a variety of manners, from hiding them in the shadows to showing them from only a distance in the woods. Instead of just showing the wytches straight away, the reader is given only glimpses of them. ![]() What we get instead are ancient and horrible creatures that lurk in the shadow, full of violent blood lust. It’s a fantastic way to set the tone and distance the reader from preconceived notions. However, when you turn the page, it’s revealed that this definition has been violently scratched out. The first page shows the dictionary definitions of the word “witch”. All expectations about what the wytches are are thrown out of the window in the first two pages. ![]() It’s established early on that these aren’t the witches you know from popular culture. This is because she has been pledged to the Wytches. The daughter, Sailor, is haunted by these creatures and her past. The problem is there’s something even worse waiting for them when they arrive at the remote town of Litchfield – wytches. After some tragic incidents, the Rook family decided to relocate to escape the misfortune of their recent history and start fresh. ![]() |