Kim Batchelor
Goodreads Author
Born
in Fort Worth, Texas, The United States
Website
Twitter
Genre
Influences
Gabriel Garcia Marquez, Isabel Allende, Neil Gaiman, Erin Morgenstern,
...more
Member Since
May 2012
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The Island of Lost Children
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published
2013
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5 editions
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Golondrina and the White Butterflies: An Environmental Tale
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Provision of accommodation for the elderly
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* Note: these are all the books on Goodreads for this author. To add more, click here.
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Life in Year One: What the World Was Like in First-Century Palestine
by Scott Korb (Goodreads Author) |
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Antonia’s status update
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Kim
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Melissa Mc’tavish 's review
of
Nobody's Girl: A Memoir of Surviving Abuse and Fighting for Justice:
"Take a Xanax beforehand. The first half is tough to get through if you have a soul. "
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Kim
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“For last year's words belong to last year's language
And next year's words await another voice.”
― Four Quartets
And next year's words await another voice.”
― Four Quartets
“Whenever I'm asked why Southern writers particularly have a penchant for writing about freaks, I say it is because we are still able to recognize one. To be able to recognize a freak, you have to have some conception of the whole man, and in the South the general conception of man is still, in the main, theological. That is a large statement, and it is dangerous to make it, for almost anything you say about Southern belief can be denied in the next breath with equal propriety. But approaching the subject from the standpoint of the writer, I think it is safe to say that while the South is hardly Christ-centered, it is most certainly Christ-haunted. The Southerner, who isn't convinced of it, is very much afraid that he may have been formed in the image and likeness of God. Ghosts can be very fierce and instructive. They cast strange shadows, particularly in our literature. In any case, it is when the freak can be sensed as a figure for our essential displacement that he attains some depth in literature.”
― Mystery and Manners: Occasional Prose
― Mystery and Manners: Occasional Prose
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