By Allyn Farach
Your quest for an Egg McMuffin just got a lot easier. McDonald’s announced that it would start serving breakfast all day throughout the United States.
“All Day Breakfast is the number one request we hear from customers,” McDonald’s spokeswoman Lisa McComb said in a press statement. “In fact, More than 120,000 people tweeted McDonald’s asking for breakfast throughout the day in the past year alone. We’re excited to make this dream a reality this year.”
The program went into effect last year at select chains to test how well all day breakfast would sell. Safety issues were also considered, as issues of grill space for both breakfast and lunch menu options were tested. McDonald’s added a rolling cart for eggs to ease workers with the transition.
Some menu options were also removed from the original breakfast menu to make room for lunch options as well. The announcement comes after news that McDonald’s has been doing badly in previous quarters, which led to the closing of several McDonald’s chains across the United States.
In response to such, McDonald’s President Mike Andres told USA Today that “The turnarounds we have seen in the past, both in the U.S. and around the world, there always is a catalyst that starts the turnaround…We believe that all-day breakfast could be the next big thing.”
Cover Photo Credit: Mike Mozart/Flickr (CC by 2.0)
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By Mariam Ansar
For the reader, whether partial to the Young Adult genre or not, John Green’s name is a familiar one.
Recognizable film titles like The Fault In Our Stars and more recently, Paper Towns are easy sentimental watches for many, based on Green’s meandering narratives of young people juggling life-threatening diseases, big swelling crushes on the girl next door, and generally attempting to survive life with all the emotions of your common teenager.
Green’s success as a writer is one which has enabled him to have two of his books translated to film already, and with another prospectively in the works, many now place him as the face of Young Adult literature.
Whether it’s the realism that is seen as relatable in his writing, or the fact that his fame partly derives from Green’s Internet presence, creating educational videos with his brother under the name Vlogbrothers, there’s no getting around the fact that John Green’s name is one which is either greeted with contempt, or adoration.
Teenagers have no qualms listing Green alongside J.K Rowling, Suzanne Collins, and Stephenie Meyer. While his books are not so widely renowned as the Harry Potter series, The Hunger Games, or The Twilight Saga- some see this as indicative of substance.
Green’s books feature stand-out lines readers of his find relatable and inspiring at the same time. To search his name on any social media source is to come face to face with this outpour. But exactly what is it about this man’s writing which has propelled him to book-to-film fame? To be hailed as a permanent, important member of the Young Adult genre?
Before and alongside Green’s writing, chock-full of painful love, identity crises and existential doubts that plague his intelligent-pretentious-boy-protagonists, there existed, and exists, a treasure trove of Young Adult books and writers who delve into those exact same feelings.
Dessen was given one shot at the silver screen when two of her novels were combined to produce the 2003 rom-com How To Deal.
Rosoff’s How I Live Now, a staple of formative reading experiences as a recurrent feature in classroom book collections and libraries, took 9 years to reach the big screen.
“It is no surprise that the Young Adult genre is dominated by women writers. To place Green on a pedestal then, is to reinforce the notion that the creative white male voice is the most important.”
This isn’t to say that the measure of a book’s success, the integration of it as a frontrunner of the Young Adult genre, relies on whether it has been converted into a film or not. It is merely significant to note exactly the size of Green’s cultural impact and how the cinematic treatment of his books bookends this. The truth is, Green’s writing being centralised as the most prominent of the Young Adult genre in the minds of teenagers and teachers feels unfair, and a little sexist.
After the release of The Fault In Our Stars in 2014, The Wall Street Journal was happy to congratulate Green in “ushering in a new golden era for contemporary, realistic, literary teen fiction following more than a decade of dominance by books about young wizards, sparkly vampires and dystopia.“
Now that Paper Towns is out and talks on Looking For Alaska’s screen-time are rumoured, that ‘new golden era’ looks to be continuing. But actually, there is nothing new about this golden era. Where book editors are looking for ‘contemporary realism’, relatable characters after what some call ‘the John Green effect’, writers of important teenage discourse, Anderson’s Speak, Dessen’s Dreamland, Blume’s entire track record, are shoved to the background, ignored despite their effort to communicate important experiences like body issues, mental illness, sexual and physical abuse, alongside relatable characters. Contemporary realism at its ignored best.
It is unfair to also argue that the genre, as diverse as it is, is only valuable if it is solely realistic. Books about young wizards, sparkly vampires and dystopia do not feature somehow superficial sentiments if the character in goofy infatuation also happens to wield a wand or if the girl struggling to save the life she knows is living in a dystopia which, actually, may not be so dystopian depending on which part of the world one lives in. To take this view of the Young Adult genre is to erase the significant triumphs of many books and their effects on the consciousness of young people.
“crucially, YA books present the teenage perspective in a fundamentally uncritical way.”
It is this perspective which is truly indicative of the Young Adult genre and which deserves to be lauded, whether it is by Green or by his contemporaries.
Alongside those I have mentioned previously, Meg Cabot, Malorie Blackman, Lois Lowry, and many more equally deserve to be congratulated for well-written analyses of the teenage experience, of teenage emotion, whether they have the Internet, book agents, and Hollywood idolizing them or not.
It is no surprise that the Young Adult genre is dominated by women writers. To place Green on a pedestal then, is to reinforce the notion that the creative white male voice is the most important.
It is to, as literary tradition makes the mistake of doing and despite both their valued contributions to literature, cast aside Austen’s voice for Salinger’s. To portray the male narrative as a bildungsroman with all the integrity we afford men speaking and to cast off the female narrative as YA self-satisfying trash, just one part of a much bigger pile.
Green himself seems to be aware of the issues surrounding discourse on the genre. He said the following on his Youtube show, as quoted by The Atlantic:
“From a pop culture perspective, or a general media perspective, there can only be one thing…. There can only be paranormal romance, there can only be dystopia, or now, there can only be The Fault in Our Stars. But it’s not the truth, that isn’t the way the actual world of YA books looks or has ever looked.
“To me, the real story of young adult literature is not actually about whatever the big cultural book of the moment is. The real story of young adult literature is that more than a thousand books are read by at least ten thousand teenagers a year, that we have incredible breadth, that we have great dystopia and great fantasy, great sci-fi, great mystery, great romances, and all of that stuff can live together and be in conversation because they all – we all – share the same shelf.”
So it is important to recognize that the general media perspective is not the one we should consistently place value in. When it comes to something as immersive, as personal, as the reading experience, it may be beneficial to pay attention to the reading trends, but it is a significant move to take stock of the whole shelf.
It is the shelf which is the most important feature of a teenager’s love of literature, and if that literature is mostly of the YA genre, it may feature John Green’s writing- and may also feature the writing of many, many others.
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By Staff Report
The Daily Show will not be airing a new episode tonight because the host of the program, Trevor Noah has been raced to a hospital for an emergency appendectomy.
The news came from the Comedy Central Press Twitter account:
— Comedy Central Press (@ComedyCentralPR) November 4, 2015
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By Staff Report
This is live coverage of a meeting of the student senate of the University of Mississippi where the body will decide whether to pass a resolution supporting the removal of the state flag (which contains the Confederate battle flag) from campus.
For more context, read this: Ole Miss Students Want To Take Down Racist Mississippi State Flag
10:35 PM EST- Ole Miss student senate votes to remove state flag from campus by a vote of 33-15-1.
10:28 PM EST- Motion to have a roll call vote fails.
10:27 PM EST- Debate ends.
9:18 PM EST- Watch the Senate Debate here
9:11 PM EST- So its sort of a tough debate.
As the flagship university, we should keep the state flag and honor the citizens of Mississippi. – Senator Soper
— Ole Miss Senate (@OleMissSenate) October 21, 2015
8:58 PM EST- 30 minutes for debate starts now. 8:54 PM EST- Student Senator Andrew Soper started a Change.gov petition opposing the resolution. Over 500 people signed on to it. 8:45 PM EST- Motion to extend debate has passed. Debate will continue for 10 more minutes according to the Daily Mississippian. 8:43 PM EST- Greek student senators indicate hostility to resolution.
What if fraternities fly the flag? Well, their houses are on campus, Coon says. You can guess how the rest of that went. — Sierra Mannie (@SKEEerra) October 21, 2015
8:31 PM EST- Vote moves closer. Authors of the resolution are now being questioned for the next 15 minutes.Post Views: 45
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