I am a book reviewer. I write for a glossy magazine called 'SCI FI.' The money is not life-changing, but it's a low-stress gig. Publishers send me their books. More than I could possibly read. I pick a few and write about them, put a very few others on the shelf, to be perused at my leisure, someday.
I was 230 kg, with a size 81 waist. I couldn't buy anything off the shelf and needed more than one tailor to measure and stitch my clothes.
I used to eat the batter raw. My sister would make it and I'd lick the bowl and then I started to get it off the shelf and whip it up and eat it with a spoon.
Every artiste's shelf life... is their destiny.
It's really clear to me that you can't hang onto something longer than its time. Ideas lose certain freshness, ideas have a shelf life, and sometimes they have to be replaced by other ideas.
Sometimes with people I know, they're playing the hunky action guy and there's resistance to them coming out because it's so connected to straight masculinity. There's a plastic kind of movie star who has a very short shelf with very small kind of ambition. I see that but I still don't agree with it.
As demand shifts from offline retailers with limited shelf space to online channels with much larger assortments, the sales distribution is not getting fatter in the tail.
Most of my colleagues have research awards on the shelf. I have party invites.
I think what you have to do in print is to create even more memorable images and more memorable pieces because what one consumes online or in social has a much shorter shelf life, so to speak, so what print has to have is no more weight, but it has to be something that you can't find so easily online. It has to really stand for print.
My books are often shelved around those of Chinua Achebe and Margaret Atwood, or Chimamanda Adichie and Monica Ali. All of this depends, of course, on the bookstore and how conversant the shelf stocker is with the alphabet.
