Who Is The Author Of 'Carry On'?

Creepy as it sounds, I once watched a lone rat skitter across a flooded alley and couldn’t help wondering what it might carry with it. Rats can technically carry rabies, but in practice it's extremely rare. Their small bodies often don't survive long enough for rabies to progress to the infectious stage, so documented cases are few. That said, that doesn't mean they're harmless — sewer rats are vectors for a bunch of other nasty things. Leptospirosis is a big one: it's caused by bacteria in rat urine and can get into broken skin or mucous membranes, and it can lead to fever, liver and kidney issues. Rat-bite fever (usually Streptobacillus or Spirillum) is another risk if you get bitten or scratched. Rats also carry fleas and ticks that can spread things indirectly, and historically rats were central to plague transmission via fleas, though that's now rare in most urban areas. Beyond those, rats can harbor Salmonella, various parasites, and in certain regions even hantaviruses — for example, the 'Seoul virus' is associated with rats and can cause serious illness. Practical stuff I follow: never touch a rat, avoid standing water in sewers, keep pets away, and make sure any bite or scratch is washed immediately and medically evaluated. If a rat ever nicks you, I’d go to urgent care — antibiotics are often needed for rat-bite fever and tetanus shots are checked. All in all, rabies is unlikely from a sewer rat, but there are plenty of other reasons to treat them with caution. I still shiver thinking about that night in the alley, but knowledge helps me sleep better.

As someone who frequents bookstores and keeps an eye on popular romance series, I can confidently say that 'Bridgerton' books by Julia Quinn are widely stocked in many bookshops due to their massive popularity, especially after the Netflix adaptation. Most major chains like Barnes & Noble or Waterstones typically carry them in the romance section, often with eye-catching displays. Independent bookstores might have them too, though it’s worth calling ahead to check availability. If they’re temporarily out of stock, staff can usually order copies for you within a few days. For a quicker check, I’d recommend searching the store’s online inventory or using apps like BookFinder to locate nearby sellers. The series is so in-demand that even supermarkets with book sections sometimes stock the first few titles.

I still get a little thrill whenever I come across an old gemstone or talisman stamped with that strange, squat name — Abraxas. The figure itself, historically shown with a rooster's head, a human torso, serpentine legs and a whip-and-shield motif, feels like someone sketched a whole myth into a single image. In modern occult circles that compact weirdness is read as a kind of visual shorthand for totality: Abraxas unites animal instinct, human consciousness, and chthonic force. Its Greek-letter numeric value adding up to 365 is often pointed to as symbolic of a full year or the circle of time, which makes it an attractive emblem for people thinking about cycles, fate, or a cosmology that refuses tidy binaries. People in occult communities treat Abraxas in several overlapping ways. Some lean into Jungian readings — citing ideas from 'The Red Book' — where Abraxas functions as an archetype that contains both light and dark, forcing integration rather than scapegoating. Others approach it pragmatically: as a working name in ritual, a sigil for shadow-work, or a talisman that represents liberation from strict moral dualities. I've seen it on necklaces, on sketchbook covers, and as a tattoo on friends who wanted a constant reminder to reconcile their contradictions. For me, the modern symbolism is less about worship and more about invitation: an invitation to hold complexity, to accept the ugly and the luminous as parts of one map, and to remember that synthesis can be magnetic, dissonant, and strangely comforting all at once.

Waking up to the idea of phantaminum felt like finding a weirdly shaped key lodged in the story's lockbox — and once I started turning it, so many doors creaked open. To me, phantaminum works mostly as a mirror of desire and consequence: it's seductive, raw power that reveals what characters secretly want and what they fear becoming. In quieter scenes it hums as temptation, in louder ones it detonates as corruption. I’ve been the kind of reader who underlines lines and doodles little arrows in the margins, and whenever phantaminum shows up I always scribble a question mark — because it asks the characters (and us) who they are when rules slide away. Beyond just being a plot engine, phantaminum often stands for ambiguous knowledge — the sort that promises salvation but asks for a price. That ambiguity lets the author explore moral greys without clumsy preaching: someone might use phantaminum to heal a wound, another to seize a throne, and both choices expose different kinds of hubris. It also echoes mythic tokens in stories like 'The Lord of the Rings' or the forbidden artifacts in 'Fullmetal Alchemist' where an object amplifies human flaw and virtue. I also see it as a social comment. When entire institutions get tangled around phantaminum — hoarding it, militarizing it, or worshipping it — the plot lays bare how societies bend around coveted power. On my commute I sometimes sketch scenes from the book in my head: a marketplace where phantaminum glitters behind glass, children playing with counterfeit shards, old leaders whispering at dawn. Those images remind me that symbols like this become storytelling shortcuts for readers and characters alike, pulling us into debates about ethics, identity, and the cost of change.

I still get a little thrill when I tell people who did the music for 'The Wind Will Carry Us' — it's Hossein Alizadeh. Watching the film late one evening, the score's sparse, resonant tones felt like another character: patient, ancient, and quietly insistent. Alizadeh is a towering figure in Iranian music, known for the tar and setar, and his touch here is more about mood than melody. Kiarostami uses sound and silence as storytelling tools, and Alizadeh's compositions slide into that space perfectly. The music isn't constantly foregrounded; it appears as subtle threads that tie the rural landscape to the film's contemplative pace. If you like hearing traditional Persian timbres woven into minimalist film scoring, this is a beautiful example. If you haven't listened to Alizadeh beyond the film, try searching out his solo pieces or ensembles — they give you a fuller sense of why Kiarostami invited him into the project. For me, the score still lingers whenever I think of those long, patient shots.

Whenever the eight of swords shows up for me in a reading, it rarely feels like a mystical warning from a dusty book — it feels like a mirror held up to my phone screen. I was shuffling cards in a noisy café last week, earbuds in, and this card landed face-up like a small electric shock: eight upright swords, bound and blindfolded. The modern twist is obvious — this is less about literal imprisonment and more about mental paralysis. It’s the anxiety that comes from too many choices, the loop of rumination after scrolling through other people’s highlight reels, the perfectionism that freezes bold moves into small, safe habits. Swords = thought; eight of them bound = thought patterns doing the binding. The card frequently points to cognitive distortions: catastrophizing, overgeneralizing, or assuming there’s only one ‘right’ timeline to follow. In practice I read it as a call to map the invisible fences. That can mean different things depending on context: in relationships it might show how shame or fear keeps someone from asking for what they need; at work it often signals analysis paralysis or impostor syndrome; in legal or bureaucratic settings it can literally reflect red tape or feeling trapped by rules. I like to pair it with cards that show action or insight — a reversed eight can mean the first glimpses of release, while pairing with 'Justice' or 'Strength' shifts the interpretation toward reclaiming agency and setting boundaries. I also lean into practical translations: identify the specific thought telling you you ‘can’t,’ test it with small experiments, or externalize the problem by writing down the rules you think you must follow and checking which ones are actually yours. What helps me personally is turning the card’s imagery into tiny, doable rituals: remove the blindfold (journal one honest sentence about the fear), loosen the bindings (commit to one 10-minute experiment that challenges the belief), and name an ally (text a friend to be an accountability buddy). On a deeper level it invites compassion — most of the binding comes from protective habits born of past hurts. So I usually close a reading by reminding people that unbinding is incremental; the nine and ten of swords don’t get fixed overnight. That slow, stubborn kindness toward myself is the thing I keep coming back to when this card shows its stark, modern face.

Libraries are treasure troves for spiritual seekers, especially beginners. I remember walking into my local library and being amazed at the sheer variety of spiritual books available—from 'The Power of Now' by Eckhart Tolle to 'The Alchemist' by Paulo Coelho. These books are perfect for anyone just starting their spiritual journey because they explain complex ideas in simple, relatable ways. The best part? Libraries often categorize them under 'Self-Help' or 'Spirituality,' making them easy to find. Many libraries also stock beginner-friendly guides on meditation, mindfulness, and even introductory texts on Buddhism, Taoism, and other traditions. Some even have audiobooks or e-books if you prefer digital formats. I’ve noticed librarians are usually happy to help if you’re unsure where to start. They might recommend gems like 'The Four Agreements' or 'Autobiography of a Yogi,' which are both profound yet accessible. Libraries also host events—think book clubs or guest speakers—that can deepen your understanding. It’s a low-pressure way to explore spirituality without spending a dime.

If you peek at the tags and warnings most folks paste under fanfiction links, you'll probably see 'Mature' or 'Explicit' next to 'THE ALPHA'S NANNY.' and that’s not an accident. I view it as an 18+ read: explicit sexual content, strong language, and adult themes like intense romantic power dynamics and caregiving boundaries are central to the plot. On many platforms the content warning boxes will flag sexual scenes and adult situations, so the rating is less a numeric code and more a clear adult-only label. I break it down to what actually matters to someone deciding whether to read: if you’re uncomfortable with vivid sex scenes, blunt language, or stories that lean heavily into dominant/submissive tension, this isn’t for younger teens. If you’re into spicy romance with emotional ups and downs, it lands squarely in the mature romance category for me — enjoy it if you’re over 18 and okay with explicit content. I found it messy and oddly satisfying in places, and it definitely isn’t bedtime reading for my younger cousins.