fulfilling book riot's 2018 read harder challenge task #5: A book set in or about one of the five BRICS countries (Brazil, Russia, India, China, or Sofulfilling book riot's 2018 read harder challenge task #5: A book set in or about one of the five BRICS countries (Brazil, Russia, India, China, or South Africa)
extry points given to me, by me, for choosing a book that has been in my house for more than a year.
extry points given to me, by me, for piggybacking this onto my october is spoooooooky reading goals.
WHAT DO I WIN???
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this is the second part of a very loosely-related trilogy. you don’t have to have read The Mall to understand this one, but you’ll clock on to what’s happening more quickly if you have.
come, i’ll take you partway there.
like The Mall, this book follows the experiences of two characters who find themselves in a harrowing situation which starts out just south of normal and quickly plummets down to crazytown.
this one takes place in a hospital, and i learned some scary-ass things about the health care system in south africa c. 2012. horror novel’s gonna horror, so i’m sure “no hope” is a little filthier and crueler than the reality, but my casual googling turned up enough shocking reportage that i can see where s.l. grey (i.e. sarah lotz and louis greenberg) drew their inspiration.
i didn’t like this as much as The Mall. some of that is down to character; The Mall’s david and rhoda were flawed but sympathetic characters, whereas here both farrell and lisa were hard to root for - one a shallow misogynist, one a body dysmorphic cosmetic surgery addict drawn to shallow misogynists.
it’s also about the novelty of the situation. reading this one, you already know what the downside is (inasmuch as one can know what the downside is), and the general values and preoccupations and hierarchy of its inhabitants.
you may very well have forgotten many of these details because you a dummy, but you start to remember pretty quickly once characters start talking like a college freshman - using fancy words in a slightly incorrect and stilted manner.
there’s plenty of medical ickiness for those of you us who like that sort of thing, and some unexpected developments along the way.
there’s one irritating thing worth mentioning that connects these two books, which is its characters’ tendency to squander opportunities. it makes no sense, in either of these books, to derrrrr back into peril once peril’s in your rearview. stop being dummies, dummies!
but it’s a good book for spoooooky month, and i look forward to reading the final volume.
fulfilling book riot's 2018 read harder challenge task #10: A romance novel by or about a person of color.
no extry points. just...romance.
you might lofulfilling book riot's 2018 read harder challenge task #10: A romance novel by or about a person of color.
no extry points. just...romance.
you might look at the two-star rating i have given this book and say, “well, yeah - you don’t like romance novels, karen, so obviously you wouldn’t like this.”
and it’s true - i am not a fan of the genre, and lines like When his fingers enclosed hers, Josephine felt a small frisson of heat, and when she looked down, sparks of light seemed to be dancing along their intermingled skin make me squirm, but that’s just a taste thing, and i’ve been schooled around the readers’ advisory block enough to know how to put my personal preferences aside when necessary in order to assess a book’s merits through a filter of pure objectivity.
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thing is, it's not (only) the romance aspect that ruined the book for me. the biggest problem is that the book is inconsistent with its own origin story.
quick aside - i do watch Jane the Virgin. it is a cheesy-sweet romance-centric show, not my usual thing, but dana kept bugging me to watch it (i miss you, dana!!!), and once i start something, i see it through, so even though it is not my favorite thing on teevee, it's one of those second-tier shows i watch while i'm peeling vegetables or sewing on buttons or whatnot. (do not ask me about my third-tier shows).
before we discuss the book part of the book, this is what appears on its back cover, next to the “author” photo of actress gina rodriguez:
Snow Falling is a sweeping historical romance based on Jane’s now notorious true story of being accidentally artificially inseminated as a Catholic virgin, becoming the target of the nefarious crime lord Sin Rostro, and ultimately marrying her true love who died tragically young.
these are the events of the show. if this book is meant to be based on those specific events, it has done a poor job of it.
and if it is meant to be the book jane is writing on the show, it is also consistent with that.
correct me if i'm wrong on any of this, and i know you will. on the show, jane’s big breakthrough moment as a writer was when she realized that she could write through her grief and incorporate michael’s death into this romance she was writing about her abuela, and it became both cathartic and gave the story more literary weight.
it is not. first of all, it’s barely historical - it's very easy to keep forgetting it's supposed to be 1902 - there are no historical details, no context to ground the reader, no sense that life was any different then - for women and immigrants especially. instead, all the characters are more or less as they appear in the show, with different names, occasionally slightly different professions.
one difference is that the sex is consensual and the pregnancy a result of that sex rather than a medical oopsie (which is, i suppose, ONE concession to historical authenticity).
second of all, it is not about her grandparents' relationship at all. it is about a character who is writing a story about her grandparent’s relationship. got that? Jane the Virgin is a show written about a woman writing a book about a character writing a book. the book on the show is about her grandparents, the book published pretending to be the book published on the show is not, and its "whatness" is used as a plot point to propagate another book into existence.
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in the book, she is never the target of any crime lord, although her fiancé is.
speaking of that fiancé, the dumbest deviation is that - spoiler alert - michael does NOT die in this book. (view spoiler)[and, if you are watching the show, you will have just learned that michael didn’t actually die either, and just skipped a season or two but whatever (hide spoiler)] so in what way is this the book "as seen on Jane the Virgin?" because the blurbs are by characters from the show? because it has the same title?
the only reason this book got published is because of the show, and it doesn't even follow its own rules! you had one job!
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a more accurate synopsis would be:
Snow Falling is a sweeping historical romance based on Jane’s now notorious true story of being accidentally artificially inseminated as a Catholic virgin, becoming near the target of the nefarious crime lord Sin Rostro, and ultimately marrying her true love who died tragically young.
as a novelty item attached to a show, it's fine - you don't expect great writing from something ghostwritten by someone who was probably forced to shoehorn their writing into a premade mold of expectations and restrictions.
taking that fan-appeal away from it, it's just not a good book, it is both cheesy AND corny
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the writing is clunky and unsophisticated; exposition without nuance, dialogue without grace:
”Josephine is like no one else I’ve ever known. She’s smart and independent. Caring. When I’m with her everything just feels…right.” He was smiling, but then heaved a sigh. “I hope we can finish up this case before we get married.”
“Why is that?” Nita wondered aloud.
“Because I worry that by working at the hotel, she may be in danger the closer we get to this Sin Sombra character. As much as I want to catch him, I can’t let my work put her in jeopardy.
"wondered aloud" is particularly vexing.
also, the word “spunky” appears far too many times. gross.
the characters are shockingly superficial - even in a romance-fantasy, no man is going to feel guilty and apologize to his fiancée for feeling conflicted about the fact that she got herself knocked up after letting some other dude take her virginity. the first time he gets to experience sexual bliss with a woman he's loved for two years is after she's already pooped some rich guy's baby out of her stretched-out bliss-hole. that earns you some justified ambivalence in my book. not in this book.
anyone reading this who is unfamiliar with the show would be baffled by the interjections of the om narr which are dumb-charming on the show but completely distracting and unnecessary on the page. it's also another example of how little this project was thought through, because the show's om narr isn't part of jane's book, he's part of the framing device that is presenting jane's life as a telenovela (which encapsulates her writing of the novel and writing of the character who is writing a novel who is writing a novel &turducken etc) and she's not aware that his voice is a thing that exists and so wouldn't have written him into her own book, so unless the big season five reveal is going to be some sort of bullshit
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actually, given the chekhov's snow globe in this book, i might not be far off!!!
i wrote (and thought) way more about this than i should have for some forgettable media tie-in novel.
but at least i never let myself get knocked up by a man named Rake.
april is national poetry month, so here come thirty floats! the cynics here will call this plan a shameless grab for votes. and maybe tHAPPY POETRY MONTH!
april is national poetry month, so here come thirty floats! the cynics here will call this plan a shameless grab for votes. and maybe there’s some truth to that— i do love validation, but charitably consider it a rhyme-y celebration. i don’t intend to flood your feed— i’ll just post one a day. endure four weeks of reruns and then it will be may!
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fulfilling book riot's 2018 read harder challenge task #1: A book published posthumously
I PRAY FOR COURAGE
I pray for courage Now I'm old To greet the sickness And the cold
I pray for courage In the night To bear the burden Make it light
I pray for courage In the time When suffering comes and Starts to climb
I pray for courage At the end To see death coming As a friend
i mean, it’s leonard cohen, and it’s the last leonard cohen book we’re ever going to get, so even though i didn’t breathlessly love every single poem, lyric, scrawled note-to-self he may have been planning to polish at a later date, it gets five stars for legacy.
this book covers a great chunk of time, and some of the early writing here does in fact become something else later in his career; there’s even evidence of that occurring within this collection - echoes, phrases repurposed, the underghosts of familiar songs peeking out elsewhere.
if there had to be a farewell at all, this is a fitting one - the whole range of his writing is on display; all of his wit and erotic spirituality, his self-deprecation and his gratitude, his respect and his delight in the fluidity of language.
the book is almost like being at a memorial ceremony - there are humorous moments to stave off getting too gloomy or somber:
I sincerely hope you have not come to believe, that simply because you ran off & got married behind my back, you are somehow entitled to keep
my tape measure
***
GRATEFUL
The huge mauve jacaranda tree down the street on South Tremaine in full bloom two stories high It made me so happy And then the first cherries of the season at the Palisades Farmers Market Sunday morning “What a blessing!” I exclaimed to Anjani And then the samples on waxed paper of the banana cream cake and the coconut cream cake I am not a lover of pastry but I recognized the genius of the baker and touched my hat to her A slight chill in the air seemed to polish the sunlight and confer the status of beauty to every object I beheld Faces bosoms fruits pickles green eggs newborn babies in clever expensive harnesses I am so grateful to my new anti-depressant
*** and also the gentle regret and wistfulness of remembrances:
We will be forgiven the crummy things we did to one another because we didn’t enjoy them
We’ll be leaving now we’ll be leaving for a good long time and we want to say goodnight we want to say goodnight we want to say farewell
We had a little love we had it for a while It wasn’t quite enough but thank you anyhow
Thank you for your kindness in the field and thank you for your kindness in the room
The horses ran away but we were not to blame and when they turned so beautiful in their silver flight it wasn’t our idea at least it wasn’t mine
I want to be with other people now I’m growing old I want to be another drunk who’s given up the bottle I want to watch the lonely men who still go out with women I want to see the bridal gown cover up the sequins This is my very night of nights the past was a rehearsal
***
You must have heard it in my voice the sound that I no longer love you I would never disguise that sound I would never do that to you O shining one you have moved beyond my love you have turned your face to others I was not strong enough for this test I turned away I wear an iron collar and I give my chain to anyone but I never pretend that they are you O shining one who held my spirit like a match in your cupped hands while I thought I was warming you O shining one who teaches with her absence
***
it’s a beautiful collection, and so much better than the janked-up scansion and garbage word-salad passing itself off as poetry these days. oops, who said that?
also, i am choosing to believe, since there is precedence, that leonard cohen wrote this one about me. i refuse to be dissuaded from this belief, so don’t send me any documentation about some “other” karen with whom leonard cohen had a more deep and abiding relationship than the one we had, or even that there is another karen in the world out there, if there is. i’m not hearing it LALALALALAAAAAAAA:
Karen’s beauty is very great it lies on her heart like a paperweight She haunts the edges of her beauty like a ghost on sentry duty If beauty is the motherland she lives on the furthest strand Her back toward the capitol that the pilgrims call so beautiful She hears them make a joyous sound but she cannot turn around The lover’s song and the victim’s rack they soar and creak behind her back Through her beauty many pass like penitents on broken glass But once inside there is no cure for hearts so wounded at the door
Trying to find a place to kneel between the poets of pain Trying to find a world to feel that feels like the world again My darling says her love is real then why does she complain
*** there’s not much more to say - if you like leonard cohen, you will like this book. if you don’t like leonard cohen, i’m sorry you are such a broken person.
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oooh, goodreads choice awards semifinalist for best poetry 2018! what will happen?
if lang leav wins over leonard cohen, i will burn down the world.
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a story that is one-half true
me when i did not win the goodreads giveaway for this book:
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me when connor surprised me by having it shipped to my house the very same day:
fulfilling book riot's 2018 read harder challenge task #7: A western. extry points given to me, by me, for choosing a book i've owned for more than a fulfilling book riot's 2018 read harder challenge task #7: A western. extry points given to me, by me, for choosing a book i've owned for more than a year.
this may not be a super-traditional western, but i figure the whole point of the read harder challenge is to get people to explore out of their readerly comfort zones, and since i already like westerns, i can do what i waaaaaaant here.
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i felt a little cheaty reading this one for the book riot challenge, since it’s not a “traditional” western. turns out i needn’t have fretted - this is a weird western that’s really only just a little bit weird. or - it’s weird, but the aspect of it that makes it weird is so undefined it’s barely a ripple, and if we’re label-making, this is more hardboiled mystery than supernatural; thugs and guns and murder and a femme fatale turning man against man. which, true, are all also frequent flyer elements of westerns, but it’s got the interior monologue of a noir, with a protagonist a bit more sentimentally evolved than found in either your typical western or noir:
People are tied together in one way or another. Most men want to believe we are alone and dependent upon ourselves. But I had learned long ago life is like one big knot around your neck from the day you are born. Everyone in the world is tugging on their separate ends.
The trick is learning how to live without having the life choked from you.
it opens with a murder - a man is found stripped, nailed to a tree with railroad spikes through his wrists and ankles, his eyelids are cut away, and he's been left to die out in the desert sun. this is not the only crime between the book’s pages, but it is the ickiest.
ordinarily, the notion of “crime” in a western would be cause for laffter because rules, schmools
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pyew pyew imma cowboy!
but john t. marwood has been called to the town of haxan to bring the law, if not always the order. and whoooo called him? hard to say. he’s not even sure himself
Thermopylae. Masada. Agincourt. And now, Haxan, New Mexico. We go where we’re sent. We have names and we stand against that which must be faced. Through a sea of time and dust, in places that might never be, or can’t become until something is set right, there are people destined to travel. Forever. I am one.
marwood’s got a pretty squirrelly memory, leaving the reader informationally hamstrung, but there are hints - shimmers - of something … extra: people who are a little too adept with their weapons, visions and dreams, a half-defined calling and a something coiled within him which he is powerless to defy. in a certain angle and in certain light, none of this is necessarily supernatural any more than his inexplicable love-at-first-sight for the daughter of the (first) murdered man is necessarily romance.
but it’s czp, so you know they’re not gonna publish a straight-up western. even though we don’t know the specifics of what’s layered over the world as we understand it, we do see the eerie presence flickering throughout the text
The howls sounded like they were circling Haxan in an ever-moving ring, closing in. It gave you the crawlies.
Without thinking, I rested my hand on my gun.
It was then the howling stopped, and an uneasy silence filled the night air.
i’m hoping that the second book, Quaternity, which is a prequel to Haxan, goes a little further in explaining what all of this issssss, but as it stands, it’s a very entertaining mystery/western; somewhat episodic, sprinkled with mini-events, but also plenty of wide-arcs rainbowing over the whole story. the romance bits are shoehorned in there and feel unnecessary and implausible, but the rest of it is really good. and it is not cheating!!
fulfilling book riot's 2018 read harder challenge task #3: A classic of genre fiction AND #23: A book with a female protagonist over the age of 60. i fulfilling book riot's 2018 read harder challenge task #3: A classic of genre fiction AND #23: A book with a female protagonist over the age of 60. i didn't want to double up like this, but i have been neglecting this challenge for a couple of months and now i have to scramble.
i started this reading year off in a very ambitious frame of mind. in addition to setting my own reading goals as far as # of books to read and personal reading challenges, i decided to join the cool kids and participate in book riot's read harder challenge. i started off strong and organized - jotting down the titles of books i already owned for the individual tasks; birds & stones &etc.*
it went well for a few months, i even managed to get ahead at one point, but then it all fell apart because life is the worst and suddenly here i was, four months away from the end of the year and thirteen books behind, realizing i'd have to do the old “double ‘em up” LGM just to get them all done.
and even though there’s no oversight committee on this, i feel like i’m cheating with this one. for #3 - can every book by agatha christie be considered a “classic,” just because she was such an influential author?
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One does not applaud the tenor for clearing his throat, after all.
and for #23 - i’d hardly call miss marple the protag here. she’s in the book, but she delegates a lot of the legwork to other people, outsourcing the research, evidence-gathering, investigating/interrogating and even the final unveiling is graciously bequeathed to her friend mrs. mcgillicuddy, a woman of excellent principles and no imagination.
i’m willing to let myself off the hook a bit, because when i’d ultimately decided to bundle the two challenges under the miss marple banner, i read a bunch of gr reviews to figure out which marple to read, and several of the reviews said of several different titles that “there’s not much marple here”** or “this is only nominally a marple,”*** and i specifically did not choose those. the point is, i tried. i guess miss marple is like bunnicula in the bunnicula series or morrissey in concert - she’s the draw, but she’s only prepared to give so much of her time - she’s got other things to do.
anyway - i read this book. it was fine. i certainly wouldn’t call it a masterpiece or a classic, but it was the perfect thing to read when my back betrayed me and i was forced to spend an entire day in bed, reading and dipping into my hoarded-after-surgery pain pill stash.
in a “this should tell you all you need to know about the book” statement, i actually read all but the last nine pages (i.e. up to the “whodunnit”) before succumbing to sleep. which either means that i wasn’t even invested enough in the mystery to stay awake for the big reveal or it means that those pain pills are gooooood. i wasn't. they are.
this is my favorite part of the book, in which cozy crime scene preservation standards are very low, indeed, and victim's dignity/privacy rights disregarded so little boys can experience a rite of passage:
"Sir. Please, sir."
Inspector Bacon turned. Two boys had arrived, breathless, on bicycles. Their faces were full of eager pleading.
"Please, sir, can we see the body?"
"No, you can't," said Inspector Bacon.
"Oh, sir, please sir. You never know. We might know who she was. Oh, please, sir, do be a sport. It's not fair. Here's a murder, right in our own barn. It's the sort of chance that might never happen again. Do be a sport, sir."
...
"Take 'em in, Sanders," said Inspector Bacon to the constable who was standing by the barn door. "One's only young once!"
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and even though i know perfectly well that this does not mean what i think it means
"How well I remember my own dear father. 'Got a lot of old pussies coming?' he would say to my mother. 'Send my tea into the study.' Very naughty about it, he was."
i have also managed to use FOUR visual references to "stuff i loved in the 80's," which is at least three more than i'd anticipated when i sat down to write this review. just to round it out, here you go:
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MARPLE MARPLE MARPLE MARPLE MARPLE
* for example, the books i’d selected as possible candidates for task #23: “A book with a female protagonist over the age of 60” were:
fulfilling book riot's 2018 read harder challenge task #13: an oprah book club selection
extry points given to me, by me, for choosing a book that i hafulfilling book riot's 2018 read harder challenge task #13: an oprah book club selection
extry points given to me, by me, for choosing a book that i have owned for more than a year.
it has been a long time since i have given a book a two-star rating, but this book earned it.
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i’m not someone who takes delight in negativity, and even if i’m not in love with a book, i’m usually able to find something neutral and deflecting to say about it, or at the very least, i'm able to suggest the correct audience for it, in that “people who enjoy ___ will find much to appreciate in this book &yadda" way.
this time, though, i’m at a loss.
it tells a clear, if psychologically unrealistic, story, it has distinct characters and dialogue that is competently written and the shape of it meets all of the criteria for “how a novel is structured,” so it deserves more than a single star, but i did not enjoy reading it. nor can i come up with a profile of the reader who would enjoy it, even though, clearly, people have. and do. people who are oprah and people who are not oprah.
it’s been on my radar for a while, because i'll read any retelling of wuthering heights. many most of them are not good, but they’re not good in ways that were easy-to-predict from their précis: shoehorning in a bunch of erotic scenes or costuming heathcliff as a rock star or a vampire isn’t going to improve upon the original - sex is sex is sex, after all, and you can read about it anywhere, and heathcliff doesn’t suddenly become more charismatic or predatory by giving him pointy teeth or a guitar. heathcliff has so often been the inspiration for antiheroic male leads, including vampires and rock stars, that turning literal heathcliff into a literal vampire feels unnecessary and derivative.
but i get why you'd try. wuthering heights is deliciously complicated and tempestuous and it's full of shitty people being shitty to each other and scorching the earth until pretty much everyone's left broken or dead, and what's more fun than unrestrained melodrama? but this is just...blah. it doesn't use the characters or the situation to any real advantage. it's as though by using WH as its jumping-off point, it can just shorthand its own central relationship, which lies flat on the page, not earning its own tragedy, seeming to assume the reader is filling in the emotional gaps with whatever bronte-borrowed intensity is showing through its cracks.
hoffman keeps the basic framework of wuthering heights, translating the tone into contemporary smalltown realism with these occasional outbursts of gothic melodrama, which is confusing and pleasing to no one. meanwhile, so much of what makes wh work is left out entirely, and you're left with such a pale version of the original it's no wonder so many readers missed the connection entirely.
i have questions and complaints, and in order to vent about them, i'm going to need to discuss the plots of both wuthering heights and here on earth, so if you want those books to keep their secrets, stop reading this review right here.
these questions and complaints will be scattershot and underexplicated; i'm typing as they occur to me, but since it's likely that no one's reading past this point anyway, i can do what i waaaant.
most of the problems i have with this book can be summed up as: who does that?
march murray (catherine earnshaw) is 11 years old when her father goes to boston for a conference and returns with a 13-year-old orphan named hollis (heathcliff). her twenty-one-year old brother alan (hindley) declares, “He found him wandering the streets or something.” no further information is given. pause to reflect that what works in a novel set in 18th century rural england does not necessarily work in modern-day america, where you can’t really just grab a kid off the city streets and take him home without some kinda paperwork.
to repeat, alan/hindley is twenty-one. a grown-ass man, who has finished college in a desultory fashion, and is living at home, taking some law classes, in as desultory a way as undergrad, super-disappointing to his dad, who definitely likes his new pet urchin more than alan. which makes alan resentful, sure, but he behaves like a child:
Alan took every opportunity to humiliate Hollis. In public, he treated Hollis as though he were a servant; at home he made certain the boy knew he was an outcast. Often, Alan would sneak into Hollis’ room, where he’d do as much damage as possible. He poured calves’ blood into Hollis’s bureau drawers, ruining Hollis’s limited wardrobe, knowing full well Hollis would rather wear the same clothes every day than admit defeat. He left a pile of cow manure in the closet, and by the time Hollis figured out where the stench was coming from, everything Henry Murray had given him, the books and the lamps and the blankets, had been contaminated by the smell.
and then, later, alan and his similarly-aged pals beat hollis up, and tie him to a tree in the snowy middle of winter, leaving him there for hours until march finds him and frees him. a gaggle of adult men beating up a 13-year-old boy because one of 'em's jelly that his daddy kidnapped a runaway and loves him more.
usual wh bits follow - march and hollis hit it off, go wilding together, spy on the wealthy neighbors, have more explicit intercourse than is mentioned in wuthering heights, daddy kiddiestealer dies, alan kicks hollis up to the attic, starts charging him backrent and such, hollis leaves for three years, but before he returns, fortune made, ready to take his revenge on everyone, march marries fancy next-door-neighbor richard and moves to california, where she has a daughter named gwen, and they all stay put there for nineteen years. which is different from how wh plays out.
why is this important? because march does not return home during all that time, even though many of the other events of wh do repeat here; events that would cause a normal person to buy a plane ticket: hollis marries richard's sister, they have a kid, wife and kid both die. alan has a wife and a kid, wife dies, hollis takes kid and raises him as ward (in a much less evil way than heathcliff raised hareton). and none of those deaths or "nephew being raised by former lover/adopted brother" cause march to come home. but when this book's nelly dean dies, off goes march, leaving richard at home, but taking their teenage daughter in tow, to settle her affairs and oopsie-whoopsie - resume her affair with hollis. who has naturally been waiting for her all this time, but has also bedded all the local ladies because he's dreamy and rich and a man has needs.
march is in no way a catherine. she's got no spark, no cruelty, not enough to withstand hollis' douchiness. after some pretty unconvincing resistance, march goes full-bore back into hollis’ arms, with no sense of discretion - in full view of the gossipy townsfolk, her rivals for hollis’ backseat affections, and her fifteen-year-old daughter, who's trying to deflect he father's frequent calls and even when he finds out, he's way more chill about it than he ought to be.
the hollis/march thang very quickly turns from “all-consuming greedy passion” to “super controlling and abusive,” and march becomes this sleepwalker, drifting through town in clothes from the goodwill, pale and scrawny and neglecting her self-care and her daughter, who finds her own distraction with hollis' adopted son hank, which you will recall is alan's son, so her own first cousin. which relationship march is fully aware but recklessly uncaring of taboo as she loses more and more of herself to increasingly violent intercourse and jealous rages from hollis, who's still sleeping with other women. none of this is anything like the dynamic in withering heights, and it's all very tedious. so much is glossed over - march and gwen were supposed to be there for two weeks and then suddenly months have passed and gwen is enrolled in school there and how much did they even pack for this?
and gwen and hank are totally overwhelmed by the situation. less so the "we're cousins" part, more just the march-and-hollis boning part. sure, hollis is a jerk and march is letting herself go to seed and everything's a mess, but they seem to be taking on all the melodrama that really should be more evenly distributed throughout the rest of the story.
They sit in silence, at two in the morning, as if they were an old married couple, drinking coffee and holding hands. They’re trapped by circumstance. They can feel their situation chipping away at what they might have had.
that seems more tragic than it needs to be.
On this night...they don't talk about how their future is unraveling; they don't think about all they have to lose. They go into that small bedroom off the kitchen and curl up together on the single bed, on top of the woolen blanket, arms entwined. If she could, Gwen would whisper that she loved him. If he could, he would vow that everything would turn out right. But that's not the way things are now, and they both know it. That's not the way things are at all.
i mean, really. be normal teenagers and don't let your parents' affair get in the way of your own intercourse.
i dunno - i had a lot of problems with this one. the hollis/march connection didn't seem strongly developed enough in their youth to set in motion this whole cannonball, it changed the whole point of wuthering heights to have it be some lifetime movie version about a woman too consumed by her love of a man who smells like sulphur (i mean, really...) to acknowledge her own abuse - this is not my wuthering heights.
my tepid reaction to this book is in no way the fault of nancy pearl, who gave me exactly what i’d asked for:
any type of celebrity; any gender, age, race, or currency, and my only criteria is that it be more substance than flash, and that it not follow the narrative-arc-cliché of “early success ruined by overindulgence in perks of success leading to downfall, followed by peace and self-reflective wisdom.” Good stories, decent writing, humor a plus.
i just didn’t respond to it the way i’d expected/hoped.
on the one hand, patti smith writes a highly detailed account of what it was like to be young and poor and artistically ambitious in the creative powderkeg of new york city in the late 60’s-70’s.
on the other hand, patti smith writes a highly detailed account of what it was like to be young and poor and artistically ambitious in the creative powderkeg of new york city in the late 60’s-70’s.
the details killed it for me. there’s so much here that feels like an itinerary - what they wore and where they walked and all the trinkets they collected, photographed, then lost along the way, and it’s a focus on props at the expense of any emotional appeal - what should be an intensely moving elegy for youth, for new york, for power-twin/bestie/lover mapplethorpe,
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is instead frustratingly detached and the reader is kept at arm’s length with details about ribbons, huaraches, hats, haircuts, portfolios, and grilled cheeses.
smith mentions more than once her “flexible imagination,” so the improbable “i remember every moment of every day, many of which had tremendous import/foreshadowing/symbolism” slant is somewhat mitigated by poetic license, but it’s equally true that pattiandrobert’s days had a disproportionately high level of import, just from the circles they were lucky enough to break into across the entire spectrum of the arts - music, literature, theater, painting, photography, every one of them bristling with mentors generous with their time, advice, introductions to still more luminaries, raw materials for their artistic pursuits, and other gifts that pile up into those listy details; a sweater from jackie curtis, a tattoo from vali, a guitar from sam shepard, Crosses of braided hair, tarnished charms, and haiku valentines made with bits of ribbon and leather and on and on &etc.
and the things that most interested me were often floated without introduction or context; surfacing and withdrawing - her buying and selling of used books, her reviewing records - just mentioned as “things i did” without any of the details so very cluttered elsewhere. one does not just casually mention finding a twenty-six volume set of the complete henry james in perfect condition and reselling it in a mere two sentences.
and how does she get to go to paris three times when she can’t even afford to eat some days, and she and robert are splitting sandwiches? true, her parisian hotels were rundown and lice-ridden, but given the choice between lice and finery, i’m pretty sure patti would have chosen to slum it after a quick WWRD* consultation in order to achieve maximum artistic authenticity through squalor.
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but yeah, the details around that bit of financial magic is something i would love to know. for a friend.
it’s an okay read - it wasn’t a drag or anything, but i never felt like i was being encouraged to enter into the story, and at a distance, you don't feel the fire. it’s a couple of sweetly pretentious kids dreaming about art and being so, so earnest and self-conscious about looking the part, surrounded by the trappings of capital-a art.
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but it has its moments:
One evening in late November Robert came home a bit shaken. There were some etchings for sale at Brentano’s. Among them was a print pulled from an original plate from America: A Prophecy, watermarked with Blake’s monogram. He had taken it from its portfolio, sliding it down his pants leg. Robert was not one to steal; he hadn’t the nervous system for theft. He did it on impulse because of our mutual love of Blake. But toward the end of the day he lost courage. He imagined they were on to him and ducked into the bathroom, slid it out of his trousers, shredded it, and flushed it down the toilet.
I noticed his hands were shaking as he told me. It had been raining and droplets trickled down from his thick curls. He had on a white shirt, damp and sodden against his skin. Like Jean Genet, Robert was a terrible thief. Genet was caught and imprisoned for stealing rare volumes of Proust and rolls of silk from a shirt maker. Aesthetic thieves. I imagined his sense of horror and triumph as bits of Blake swirled into the sewers of New York City.
We looked down at our hands, each holding on to the other. We took a deep breath, accepting our complicity, not in theft, but in the destruction of a work of art.
“At least they’ll never get it,” he said.
“Who are they?” I asked.
“Anyone who isn’t us,” he answered.
there's a great deal of struggle, but there's just as much coincidence, timing, and right place right time at play. here's some understatement: for ya:
I had no concept of what life at the Chelsea Hotel would be like when we checked in, but I soon realized it was a tremendous stroke of luck to wind up there.
i'll say.
i do like her description of the “shabby elegance” of the chelsea; everyone who has ever even walked by the place has written about it, but hers is memorable:
The Chelsea was like a doll’s house in the Twilight Zone, with a hundred rooms, each a small universe. I wandered the halls seeking its spirits, dead or alive. My adventures were mildly mischievous, tapping open a door slightly ajar and getting a glimpse of Virgil Thomson’s grand piano, or loitering before the nameplate of Arthur C. Clarke, hoping he might suddenly emerge. Occasionally I would bump into Gert Schiff, the German scholar, armed with volumes on Picasso, or Viva in Eau Sauvage. Everyone had something to offer and nobody appeared to have much money. Even the successful seemed to have just enough to live like extravagant bums.
three stars - fine but not the riveting tearjerking rock and roll experience everyone built it up to be.
and even though no one asked me, i hate deckle edges on paperbacks.
oooh, goodreads choice awards semifinalist for BEST MEMOIR & AUTOBIOGRAPHY 2019! what will happen?
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fulfiloooh, goodreads choice awards semifinalist for BEST MEMOIR & AUTOBIOGRAPHY 2019! what will happen?
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fulfilling book riot's 2018 read harder challenge task #14: A book of social science
this one might be more memoir than social science, but it's ehrenreich-approved and that's good enough for me!!
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okay, so i would say this is definitely more memoir than social science, but i went into it with good intentions, and it's too close to the end of the year* for me to be a stickler for reading challenge precision. if the bookriot police wanna come for me. i'll be here, trying to accomplish my remaining annual reading goals. i do not know why this year was such a difficult one for my reading. or, i do, but this is not the place to moan about it. although part of it is actually a good segue into reviewing this book - finding work that pays the bills has become my most prolonged struggle.
my situation is in no way as difficult as the author’s, but the fears that keep her up at night, the distance she perceives between herself and those of even average financial means, the anxiety and shame and sacrifices - i found myself relating to it more than was pleasant to relate:
Most of my friendships had faded over the last year because I’d isolated myself and hidden from the embarrassment of my daily life.
again, and i cannot stress this enough - my situation is in no way as dire as hers was. i’m not comparing - i’m empathizing with the way it feels to work hard and still be struggling, to exhaust yourself for barely enough to get by.
The child support I received barely covered the cost of gas. The entire $275 a month went to the trips back and forth so Mia could see her dad.
i am only responsible for my ownself and i can’t imagine having to care and provide for a child on what i’m able to earn, nor can i imagine having to navigate the truly byzantine web of government assistance agencies, especially having to navigate them in the condition motherhood and poverty can leave a person - depleted by anxiety attacks, hunger, illness, exhaustion, and perpetual physical pain from hard manual labor.
so much of her account is exasperating, illuminating the ways that logic is broken:
The most frustrating part of being stuck in the system were the penalties it seemed I received for improving my life. On a couple of occasions, my income pushed me over the limit by a few dollars, I'd lose hundreds of dollars in benefits. Due to my self-employment, I had to report my income every few months. Earning $50 extra could make my co-pay at day care go up by the same amount. Sometimes it meant losing my childcare grant altogether. There was no incentive or opportunity to save money. The system kept me locked down, scraping the bottom of the barrel, and without a plan to climb out of it.
and how degrading and soul-killing the cycle:
I thought of how many times the police, firemen, and paramedics had come to our building in the last couple of months; of the random checks to make sure living spaces were kept clean or to make sure broken-down cars in the parking lot had been repaired; to patrol us so that we weren’t doing the awful things they expected poor people to do, like allowing the laundry or garbage to pile up, when really, we lacked physical energy and resources from working jobs no one else wanted to do. We were expected to live off minimum wage, to work several jobs at varying hours, to afford basic needs while fighting for safe places to leave our children. Somehow nobody saw the work; they only saw the results of living a life that constantly crushed you with its impossibility.
so, it’s a memoir with social science appeal. it absolutely leaves an impression about what it’s like to be trapped in the struggle, trying to stay healthy enough to work a thankless job when even ibuprofin is a luxury, to take online courses after a full day’s work on an empty stomach, to sacrifice, to swallow pride, and to work really hard, whether people “see” the work or not.
i’m going to be annoying and type out a whole thing now, but i think this part of the book does the best job at highlighting both the social science bits (how unreasonable the system) and the memoir bits (how humiliating to endure the perceptions of needing the system). it also gives you a good sense of her writing style, and you can always not read it if you don’t like reading.
Even though I really needed it, I stopped using WIC checks for milk, cheese, eggs, and peanut butter — I never seemed to get the right size, brand, or color of eggs, the correct type of juice, or the specific number of ounces of cereal anyway. Each coupon had such specific requirements in what it could be used for, and I held my breath when the cashier rang them up. I always screwed up in some way and caused a holdup in the line. Maybe others did the same, since cashiers grew visibly annoyed whenever they saw one of those large WIC coupons on the conveyor belt. Once, after massive amounts of miscommunication with the cashier, an older couple started huffing and shaking their heads at me.
My caseworker at the WIC office even prepared me for it. The program had recently downgraded their qualifying milk from organic to non-organic, leaving me with a missing chunk in my food budget I couldn’t afford to make up. If at all possible, I tried to give Mia only organic whole milk. Non-organic, 2 percent milk might as well have been white-colored water to me, packed with sugar, salt, antibiotics, and hormones. These coupons were my last chance for a while to offer her the one organic food she ingested (besides her boxes of Annie’s macaroni and cheese).
When I’d scoffed at losing the benefit to purchase organic whole milk, my caseworker nodded and sighed. “We just don’t have the funding for it anymore,” she’d told me. I somewhat understood, since a half gallon had a price tag of nearly four dollars. “The obesity rates are going up in children,” she added, “and this is a program focused on providing the best nutrition.”
“They don’t realize that skim milk is full of sugar?” I asked, allowing Mia to climb out of my lap so she could play with the toys in the corner.
“They’re also adding ten dollars for produce!” she added brightly, ignoring my grumpy attitude. “You can purchase any produce you want, except potatoes.”
“Why not potatoes?” I thought of the large batches of mashed potatoes I made to supplement my diet.
“People tend to fry them or add lots of butter,” she said, looking a little confused herself. “You can get sweet potatoes, though!” She explained I’d have to purchase exactly ten dollars’ worth or less, and I wouldn’t be able to go over, or the check wouldn’t work. I wouldn’t get any change if the produce I selected rang in under ten dollars. The coupons didn’t have any real monetary value.
That day at the store, with it being the last month of organic milk, I wanted every bit I could get.
“Your milk isn’t a WIC item,” the cashier said again. “It won’t ring up that way.” She started to turn to the young man bagging our other groceries and sighed. I knew she was going to tell him to go run and get the right kind of milk. It happened to me with the eggs all the time.
My checks weren’t expired, but the store had already updated their system. Normally, I would have cowered, taken the non-organic milk, and run out, especially with two old people shaking their heads in annoyance. I glanced at them again and caught the man standing with his arms crossed and head tilted, eyeing my pants with holes in the knees. My shoes were getting holes in the toes. He loudly sighed again.
I asked to speak to the manager. The cashier’s eyebrows shot up as she shrugged her shoulders and put up her hands in front of me, like I’d pulled out a gun and ordered her to give me all her money.
“Sure,” she said, evenly and coolly; the voice of a customer service representative faced with an unruly shopper. “I’ll get the manager for you.”
As he walked over, I could see his flustered employee following behind him, red-faced and gesturing wildly, even pointing at me, to explain her side of the story. He immediately apologized and overrode the cash register. Then he rang up my organic whole milk as a WIC item, bagged it, and told me to have a wonderful day.
As I pushed my cart away, my hands still shaking, the old man nodded towards my groceries and said, “You’re welcome!”
I grew infuriated. You’re welcome for what?” I wanted to yell back at him. That he’d waited so impatiently, huffing and grumbling to his wife? It couldn’t have been that. It was that I was obviously poor, and shopping in the middle of the day, pointedly not at work. He didn’t know I had to take an afternoon off for the WIC appointment, missing $40 in wages, where they had to weigh both Mia and me. We left with a booklet of coupons that supplemented about the same as those lost wages, but not the disgruntled client whom I’d had to reschedule, who might, if I ever needed to reschedule again, go with a different cleaner, because my work was that disposable. But what he saw was that those coupons were paid for by government money, the money he’d personally contributed to with the taxes he’d paid. To him, he might as well have personally bought the fancy milk I insisted on, but I was obviously poor so I didn’t deserve it.
ugh, right? don't go over, don't go under, buy this, don't buy that, jump through hoops and get it all right and people will STILL look down on you for the fun carefree life you're having living hand to mouth. good grief.
so, yeah - it's just one woman's experience, but it exposes a lot of systemic cracks and maybe it'll make one old man at a grocery store less of a jerk someday.
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* you are not time-traveling! i started this review months ago and got distracted by shiny things.
i just realized that this is A children’s classic published before 1980 and as such, i can use it to fulfill book riot's 2018 read harder challenge tai just realized that this is A children’s classic published before 1980 and as such, i can use it to fulfill book riot's 2018 read harder challenge task #11: A children’s classic published before 1980 although i will sacrifice the extry points of the self-challenged "read something i've owned for more than a year. i'm okay with that. review still to come, but i'm please to check off another box.
this is the book my dad sent in my easter package this year, along with a metric ton of candy and these two friends:
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and while i'm showing off my toys, here's the awesome easter sloth erica sent in her easter basket:
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easter is the best holiday. i'm gonna go read this book while shoving refined sugar into my facehole....more
fulfilling book riot's 2018 read harder challenge task #16: the first book in a new-to-you YA or middle grade series
extry points given to me, by me, ffulfilling book riot's 2018 read harder challenge task #16: the first book in a new-to-you YA or middle grade series
extry points given to me, by me, for choosing a book that i have owned for more than a year.
i am an adult who decided to read this book because the cover demanded my attention, because i like foxes, and because books about animals having adventures still own a piece of my heart. everything i write after this introduction is my own, personal opinion of a middle-grade book i chose as a leisure read, with no professional angle attached, so if you find yourself tempted to come on here and tell me that “kids like it,” or “i should review this in terms of how well it appeals to its target audience,” or whatever other scoldings people have directed my way when i haven’t been wowed by a book that “their students” or “their children” love, please fight that urge. i'm thrilled that kids are finding books to love, and there have certainly been times when my tastes and the tastes of a 7-12 year old reader have overlapped, but sometimes they don’t, and that’s okay.
this one wasn’t a fall-in-love book for me. i wish it had been, because that cover is magic:
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and the endpapers are divine:
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but the story itself didn’t grab me. it was actually kind of boring. i understand it’s the first book in a trilogy and the table-setting needs to be done, but there’s not much to this one apart from laying out the geography, the key players, and the mythology. there’s a plot, and there are dangers and conflicts, but many of the conflicts are just variations of the same theme, and except for one “big” scene that’s pretty fun, it’s a pretty low-key book of walking and talking around most of the interesting stuff. there’s also a very distancing quality to the prose, which is the opposite of what i expected in a book for such young readers. i never felt immersed or transported; i felt like i was watching a TED talk given by animals. and oddly enough given that criticism, the only page i bookmarked to quote in this review was probably the most didactic part of all:
”Here’s what you should have been told, and told again, from the day you were born: of all Canista’s cubs, Fox has suffered the most from the cruelty of the furless. Dog longs, more than anything, to fit in. He thrived in the Graylands, digging a comfortable place for himself as a servant to the furless. He was fed and cared for, but there were terms to his acceptance. He would live as a prisoner, tethered at the end of a rope. Soon he was so well fed on the spoils of then furless that he forgot all memory of his time in the wild, and he lacked the desire to free himself. He lived in a pack with the furless as his leader. His own will withered like a plant without water.
“Wolf was an ancient and noble creature, the largest and fiercest cub of Canista. He would not be controlled by the furless. He ran to the Snowlands, the frozen realms beyond their reach, where he howled to his ancestors to save him. But in his eagerness to be free, he found himself in a land so brutal that he needed the help of his enemies to stay alive, for a lone wolf cannot feed his cubs. In time, fights emerged between the wolves, battles for the best of the kill, for the warmest place to sleep. The strongest claimed that they were kings and that weaker wolves were their slaves. A system of control emerged, more brutal and no less binding than the furless’s imprisonment of Dog. In the end, despite his size and power, Wolf cowered before the spirits and bowed to the rule of the pack. Confused and superstitious, he forgot how to survive alone.”
[…]
Siffrin went on. “Only Fox had the courage to live without rules, without the hierarchies of others - to hunt and survive in freedom and peace. For while Wolf and Dog are so brutalized that they will gladly kill their own kind, Fox avoids conflict at all cost. She does not yearn to control others - only to live by her own wits. She does not scare or torture her prey, like a cat - she does not gain pleasure from the chase. For that, she is distrusted by her brutish cousins, the other sons and daughters of Canista. For her independence, she is tormented by the furless. The Graylands are haunted by snatchers, who round up foxes and take them away. Even in the Wildlands the furless hunt us, using dogs and poison to kill us. They shoot us with metal sticks and gas our dens. They give us no peace.”
that passage was more interesting to me than any of the magical aspects, visions, prophecies or action sequences, except for the one i already admitted was “fun.”
i dunno - i will probably eventually read the other two books in the trilogy, since i already bought them because of coverlove,
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but i don’t feel a lot of urgency about getting around to them. this one ends in a weird place - neither cliffhanger nor revelation. a thing happens, the journey continues, but it doesn’t feel like there has been any closure nor any attempt to stoke the "can't miss book two!" fever that most series try to provoke. but perhaps your children or students love it, which is great.
in other pretty visual details, the cover beneath the dust jacket has a little embossed fox:
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and there are illustrations at the start of every chapter. here are some of them:
oooh, goodreads choice awards semifinalist for best nonfiction 2018! what will happen?
fulfilling book riot's 2018 read harder challenge task #2: A boooooh, goodreads choice awards semifinalist for best nonfiction 2018! what will happen?
fulfilling book riot's 2018 read harder challenge task #2: A book of true crime
no extry points this time.
there’s almost no point in my writing a content-based review of this book - i’m late to the party and better folks than me have already admirably and exhaustively covered both what the book is about and the unusual circumstances occurring beyond its covers - michelle mcnamara’s sudden death two years before the book’s publication, and the arrest of the golden state killer two months after it hit shelves.
i’m not going to say much more than that this man was a monster (duh) and i’m glad he’s finally been caught and i hope he lives long enough to suffer profoundly for what he’s done. and, seemingly at odds with this unsavory part of me wishing bad things upon a bad person, that mcnamara’s writing is vivid and empathetic and even though i am not well-read in the true crime genre, she seems to bring something extra to the table, which is better-articulated in gillian flynn’s introduction:
I love reading true crime, but I’ve always been aware of the fact that, as a reader, I am actively choosing to be a consumer of someone else’s tragedy. So like any responsible consumer, I try to be careful in the choices I make. I read only the best: writers who are dogged, insightful, and humane.
It was inevitable that I would find Michelle.
I’ve always thought the least appreciated aspect of a great true-crime writer is humanity. Michelle McNamara had an uncanny ability to get into the minds of not just the killers but the cops who hunted them, the victims they destroyed, and the trail of grieving relatives left behind.
she’s empathetic and observant throughout, and it’s so unfortunate that parts of this book had to be compiled and cobbled together from articles she published elsewhere or assorted notes, and (double, triple, quadruple duh) even more unfortunate that she never got to see it published, or to see the overwhelmingly positive response to it, or to see this man finally behind bars.
i’m just going to share a few passages that struck me while i was reading this, and you can go out and read the book for yourself and find your own striking passages, because there will probably be more than a few.
this one gave me chills and anger:
He was brazen. Twice he entered homes, pressing on undeterred when he knew victims had spotted him and were frantically dialing the police. Children didn’t bother him. He never hurt them physically, but he would tie up the older ones and put them in another room. He put Jane’s toddler son on the bedroom floor during the attack. The boy fell asleep. When he awoke, he peered over the bed. The EAR had left. His mother lay bound in strips of torn towels and was gagged with a washcloth. He mistook the ligatures for bandages.
“Is the doctor gone?” he whispered.
this one made me feel awe and admiration:
It was a little after four a.m. when the first officer entered the opened rear patio door, hesitantly making his way toward the woman calling out to him. She lay face down on her living room floor, naked, her wrists and ankles tied behind her with shoelaces. A ski-masked stranger had just spent an hour and a half terrorizing Fiona and her husband. He brutally raped her. Fiona was five two, 110 pounds - a wisp of a woman. She was also a native Sacramentan, in possession of a dry, matter-of-fact manner, a clear-eyed resilience that belied her petite size.
“Well, I guess the East Area Rapist is the South Area Rapist now,” she said.
and this long one made me really appreciate that empathetic, observant part of the author. people like her should really be consultants for writers and actors and employed as “perspective coaches,” if that is such a thing. it should be a thing.
After spending enough hours with them, I’ve noticed a few things about detectives. They all smell vaguely of soap. I’ve never met a detective with greasy hair. They excel at eye contact and have enviable posture. Irony is never their go-to tone. Wordplay makes them uneasy. The good ones create long conversational vacuums that you reflexively fill, an interrogation strategy that proved to me through my own regrettable prattle how easily confessions can be elicited. They lack facial elasticity; or rather, they contain it. I’ve never met a detective who pulled a face. They don’t recoil or go wide-eyed. I’m a face maker. I married a comedian. Many of my friends are in show business. I’m constantly surrounded by big expressions, which is why I immediately noticed the lack of them in detectives. They maintain a pleasant but vigorous blankness that I admire. I’ve tried to imitate it, but I can’t. I came to recognize subtle but discernible shifts in the blankness - a narrowing of the eyes, a jaw squeeze, usually in response to hearing a theory they’ve long since eliminated. A veil comes down. But they’ll never tip their hand. They’ll never tell you, “We already looked into that angle ages ago.” Instead they’ll just absorb it and leave you with a polite “Huh.”
In their reserve and in virtually every other way, detectives differ from show-biz folks. Detectives listen. They’re getting a read. Entertainers get a read only to gauge their influence on a room. Detectives deal in concrete tasks. I once spent an hour listening to an actress friend analyze a three-line text that hurt her feelings. Eventually I’ll see the cracks in a detective’s veneer, but in the beginning their company is an unexpected relief, like fleeing a moodily lit cast party loud with competitive chatter and joining a meeting of determined Eagle Scouts awaiting their next challenge. I wasn’t a native in the land of the literal-minded, but I enjoyed my time there.
so, although you don’t need one more review from a stranger telling you that this book is worth reading, i have written one anyway.
fulfilling book riot's 2018 read harder challenge task #15: a one-sitting book
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yop, i think this pretty much clinches it - i was not put on thisfulfilling book riot's 2018 read harder challenge task #15: a one-sitting book
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yop, i think this pretty much clinches it - i was not put on this earth to appreciate plays.
i read a couple last year* when their titles piqued my interest at the book factory; The Pitchfork Disney and Knives in Hens, and then another - Written for You, at the request of the playwright himself, and i had the same reaction to all three of them; the sense that i was reading words, but nothing was really sticking, you know?
and then some dude named nick popped onto my thread for The Pitchfork Disney, suggesting i read this play, which his own review praises as One of the most beautiful pieces of literature I've read, a suggestion i remembered on the day i went to work without remembering to pack the book i was reading when scrambling to get ready in the weary-bleary darkness of 3 am (and people - the predawn commute is not one you want to forget your reading material for - it is not the ideal hour to be making eye contact with strangers on the nyfcmta), so i decided to pluck it from the shelf during my break and see if it would engage me.
and it just…didn’t. is it me? is it really just down to the script format? is it the quality of the play itself?
Still doesn’t have a ton of ratings here on goodreads, but those it does have are pretty positive: 9 five-stars, 7 four-stars, 3 three-stars (one of which is mine) and nothing lower than that.
in the world *outside* of goodreads, it won the 2013 DC Horn Foundation/Yale Drama Series Prize, which sounds prestigious, and its synopsis praises it as “darkly comic” as well as “poignant, lyrical, ingeniously absurd…outrageously funny,“ and “brave and remarkable.” which, i know - a publisher praising its own book is about as objective as a parent praising their own child, but a publisher has more veto power over its progeny than a human does, once emerged. it is frowned upon when parents consign their children to the slush pile.
so it’s either me not liking plays or me not liking this play, and i think it really is down to the format. plays just slide right off of me.
i only have 45 books on my “plays” shelf, and to return to the ranking-stat, only 5 of them were given five-stars by me, although there’s also only a single two-star (and no one-stars because i’m not rude).
so i think i’m just medium on plays in general.
scripts are all dialogue, which increases reading pace unless an effort is deliberately made by the reader to regulate it, and i don't, so plays just gliiiiide by my speedy eyes without digging in and it might be why the plays i have enjoyed have mostly been the olde timey shakespeare and greek stuff, where i'm more conscious and mindful of what i'm reading because of the need to take historical context into consideration and the slowing-down effect and poetic gravitas of an antiquated vocabulary and syntax, etc, while the modern drama i’ve read is much snappier, conversational, more weighted towards presenting a situation than the richness of its language. maybe this play/plays in general are better appreciated as performances, although i fell asleep halfway through the last play i went to, so that idea doesn’t work either.
who knows - you’d think that a play in which there is a character named constantinople who is a newborn/stillborn baby played by an adult male actor stage directed to be slippery, as unclothed as possible, unearthly, disturbing, and charming, would be right up my alley, but nope.
and i know i’ve gone and written a “review” that’s more an examination of “why i don’t like plays” than an actual review of *this* play, but sometimes that’s what happens when me and a book completely fail to connect.
but at least it counts towards fulfilling one of my book riot/read harder challenges!
fulfilling book riot's 2018 read harder challenge task #8: a comic written or illustrated by a person of color
and that color is tie dye.
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extra pfulfilling book riot's 2018 read harder challenge task #8: a comic written or illustrated by a person of color
and that color is tie dye.
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extra points given to me, by me, for choosing a book that i have owned for more than a year. *
review to come.
* which is a teensy fib, because technically this book belongs to sean of the house, so it's only a common-law ownership, but there is no oversight committee on this self-imposed portion of the challenge, so - unspecified amount of points granted to ME!...more
fulfilling book riot's 2018 read harder challenge task #21: A mystery by a person of color or LGBTQ+ author
extry points given to me, by me, for choosifulfilling book riot's 2018 read harder challenge task #21: A mystery by a person of color or LGBTQ+ author
extry points given to me, by me, for choosing a book that has been in my house for more than a year.
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i loved The Unfortunate Decisions of Dahlia Moss so, so much. when i was working at the bookstore, i would put it on tables and displays, when i was curating lists for other jobs, i would always be sure to add it to the appropriate lists and channels, and i would suggest it to people who were looking for mysteries that weren't too gruesome/disturbing or sf geeks looking for something (f)unexpected.
so i was really excited when i had my "derrr" moment and realized i'd be able to read this second book in the DM trilogy as part of my book riot challenge, because i've had the second and third books on my shelves for ages without picking them up for all of the usual reasons i don't get around to reading books i really want to read.
this one is slightly less fun than the series opener, but it has enough of the same zany energy and silliness to remind me how great TUDoDM was, and in my experience, the second book in most trilogies tends to be the low point, so i'm ready to check the math on that with book three: The Questionable Behavior of Dahlia Moss.
but for now, book two!
now that ms. moss has gotten a taste of the girl-detective lifestyle, she's taking online certification courses to officially get her private eye license. but although she's still matriculating, she's not going to turn down real-world experience if she happens to stumble upon it, even if it brings her back into the stony-frowned sights of detective maddocks:
"Are you the person that found the body? Tell me that you aren't."
"I did find the body. Also, I had sort of a reaction to it, and I may have, you know, thrown up a tiny amount in there."
"I've been in there," said Maddocks.
"Maybe it was more of a moderate amount."
"There are gallons of vomit on the floor."
"I was surprised!"
in her defense, she has not yet taken the "learn not to vomit" class.
what follows is more of the same kind of fun n' murderrrrr, as dahlia spouts sass, makes many geek-culture references, gets kidnapped a few times, learns proper nautical terminology, and follows the criminal breadcrumbs while many online nerds via twitch advise her, cheer her on, or are... less supportive.
"Hi, everyone! Guess where I am now?"
Murdered, said Twitch chat. Is it murdered?
"It's not murdered," I told them.
"Buried alive," someone guessed. "Like in that old Twilight Zone episode."
"That was the Outer Limits," said another Twitch chatter, and then a flame war began, as it obviously would, given that we were on the Internet.
and once again, i find the world has failed me (or i have failed myself, but i'm not into taking responsibility today), for not informing me about yet ANOTHER awesome x-men character:
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for those of you who, like me, were NEVER GIVEN THE HEADS-UP, marrow is a lady whose bones grow out of her skin, and she can YANK THEM OUT AND USE THEM AS WEAPONS TO CLUB FOOLS WHAT CROSS HER.
dear hollywood: why are you wasting our time with Rogue when there is a mutant USING HER OWN BONES AS WEAPONS????? use your special effects budget on this, please.
anyway, i still love dahlia and i love the adventure part of this one, but it was a little more relentlessly goofy than the first, and it wore me out a bit. also, although there wasn't too much of it, the relationshippy parts got in the way. as far as that goes, the focus was mostly on the david/charice romance, but also - i really liked shuler as a character, so even though i'm not a big shipper or romance fan or anything, and i don't care who dahlia's kissing, i was disappointed by the underuse of shuler here, and while dahlia seems perfectly content with nathan, i still wanna hang out with shuler once in a while, ya know?
still excited to see what comes next for dahlia, and hopefully i will manage to read the third one even without a challenge-prompt.
fulfilling book riot's 2018 read harder challenge task #19: A book of genre fiction in translation
extry points given to me, by me, for choosing a bookfulfilling book riot's 2018 read harder challenge task #19: A book of genre fiction in translation
extry points given to me, by me, for choosing a book that has been in my house for more than a year.
extry points given to me, by me, for piggybacking this onto my october is spoooooooky reading goals.
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As in so many fairy tales, the cruelest part is often overlooked. It’s not the depravity of the witch, but the mourning of the poor woodcutter over the loss of his children.
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this is a breezy-fast horror novel with a phenomenal hook and weak characterization - it’s like a 400-page nick cave song where everything goes bananas at the end.
i liked the premise and atmosphere in this one more than enough to overlook its soft spots and once it starts panning back so you can see what’s actually going on, you realize that the characters are the celery on the crudité platter - no one’s remarking on how good that celery tastes, it’s just the thing providing structural support so you can get the delicious dip into your face. where ‘dip’ = ‘concept.’ and ‘your face’… well, it’s still your face. it’s not my finest metaphor.
it’s a dark and fairly astonishing story. it’s so deadpan, direct, expository at the beginning that you trust it implicitly, confident that you have the lay of the land - but reader assumptions built upon character assumptions = a passel of asses.
it’s about a small witch-cursed town called black spring whose residents have long been suffering for the ancestral sins of their town’s founders, who were cruel to the wrong woman back in the 17th century, and her punishment for this mistreatment has been echoing down the years ever since. the punishment may not look like much - just the constant physical presence of katherine van wyler; eyes and mouth sewn shut, walking through the town as a silent judgment and symbolic reminder of the town’s shame, but touching her, listening to the words she is constantly whispering around her mouth-stitches, leaving town for more than a few hours, most of the time this results in a sickening despair and a brutal suicide for the toucher/listener/leaver, but it can get worse. much worse.
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and, sure, the town has mostly adapted to having the corporeal manifestation of a 17th century witch in their midst, as one does - regulating the flow of outsiders, keeping those borders tight, setting up a high-tech control center with cameras and a citizens-on-patrol app for reporting katherine sightings so she is fully monitored at all times and can be maneuvered out of the path of any unsuspecting tourist so she’s only their own dirty little secret, and like anything else made less-formidable by familiarity, black spring has become pretty casual about it all, have let their collective guard down. and that’s when the fun can really begin.
this was written in 2013 and originally set in a small dutch town, and i really liked this part of the author’s afterword:
…the secular nature of small-town Dutch communities and the down-to-earthness of its people. If a sane person sees a disfigured seventeenth-century witch appear in a corner of the living room, he runs for his life. If a Dutch person sees a disfigured seventeenth-century witch appear in a corner of the living room, he hangs a dishcloth over her face, sits on the couch, and reads the paper.
before i came to nyfc for school, i was a new england girl, which is a much-haunted land: you got your salem witches and your headless horsemen and your houses with more gables than is strictly necessary and ghosties galore. and, much like the residents of black creek, there’s a certain resignation that comes with that territory, a ‘ghosts *shrug* whaddare ya gonna do?’ attitude that i thought was perfect in this book and won me over from the very beginning.
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it’s not a perfect book - again, the characters are just there to move the plot along, there’s a sexual assault in the jail that seems unlikely and gratuitous, and it doesn’t quite commit to exploring all the doors of its own reveal, but it’s winky-clever and surprising and it just explodes into smalltown mass-panic chaos at the end like stephen king writing salem directed by michael bay.
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it was fun and fast and creepy - i’ve never understood why witches were supposed to be scary; they’re just…magical ladies. but i would not want to live in this town, with this witch. or these people, for that matter. i'm glad i finally got around to reading this one.
fulfilling book riot's 2018 read harder challenge task #20: a book with a cover you hate
extra points given to me, by me, for choosing a book that i hafulfilling book riot's 2018 read harder challenge task #20: a book with a cover you hate
extra points given to me, by me, for choosing a book that i have owned for more than a year. extra-extra points for having posting an excited "look, i got this book!" photo-"review" in 2015 and STILL not reading it until now.
yes, i give myself points for sucking. LGM. and the characters in this series.
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i feel good and bad about choosing this book for this particular challenge. good because it made me finally pick up a book i’ve been looking forward to reading for ages, and bad because it feels mean. i love manna francis, but her covers are always so unappealing and sludgy, which makes them difficult to hand-sell, especially since Mind Fuck is a rather provocatively-titled book to hand to a stranger, no matter how much fun the series (usually) is.
however, this 289-page book took me eight days to read. usually, i tumble into her books with ease and a sense of coming home to beloved characters, but this was not my favorite of the series, plus it’s been difficult for me to concentrate lately because of things and stuff, so two strikes were keeping this book at arm’s length from my heart. still, it’s an easy three and a half, and there were some high points.
i’m not going to summarize the seven previous books, so if you’re not into the series, whatever happens next in this review might be confusing, but hopefully also intriguing.
Innocent Blood
this is the first novella in the book, and it sends toreth across the pond from new london to america in order to investigate a delicate matter; doctor rebekah campion is working out of the european administration’s embassy in america, when she is accused of assisting a senator’s daughter with the termination of her pregnancy. this is considered to be murder in francis’ ultra-fundamental vision of future america, but not even slightly criminal in europe. something happened during the procedure that caused the woman to go into a coma, so she’s not able to explain the circumstances or exonerate doctor campion, who swears she had nothing to do with the woman’s predicament, and despite her diplomatic immunity, she might be facing some serious consequences if found guilty. and so, our favorite complicated hero val toreth reluctantly teams up with a socioanalyst with the memorably inappropriate name of Darcy Grimm to get to the bottom of it, coming up against the obstacles of a less-than-helpful police force, limited resources and methods of interrogation because of pesky american laws, plus the culture shock of a whole new set of social cues, political pressures, and a family with many secrets.
first things first - is toreth really the one you want handling your delicate…business? unless you’re warrick? second things second - there are some really wonderful moments here that help round out the world beyond what we’ve seen thus far in the series. america is a very rigid and repressed land that is much less kind to its women and homosexuals than new london, but much kinder to its criminals. and its suspected criminals. it’s interesting to see the world through his eyes, as he tiptoes through the minefield of do’s and don’ts, trying not to cause an international incident between two great nations already a little wary of each other. again - has toreth ever been the best tiptoer? and yet he does, he tiptoes like a pro, and it’s a little confusing, because he’s not naughty either sexually OR professionally, so it’s like some alt-world, well-behaved toreth that’s been in a vault somewhere all this time.
plus, for nearly the entire duration of this 130-plus page story, he and warrick are in different countries and what’s fun about that? i’ve said a million times that sexxytimes in books don’t do anything for me, but i’ve loved watching this relationship evolve over the course of the series, and the absence of this dynamic was deeply disappointing. considering there were 4 years in between the publication of book 7 and book 8, it feels doubly cruel and withholding to keep them apart after not giving fans anything new for so long.
even though this novella is the one that took me the longest to get into and get through, in retrospect, it’s a tidy little mystery with some important culture shock moments and some fun exchanges between toreth and agent ruiz, who returns here to the series, which mostly involve the perception of “deviant behavior.” I&I, and especially toreth, doesn’t often get involved with what consenting adults do in their own bedrooms, but things are different in america, where ruiz helpfully explains,
”Well, you can get a long way if you keep in mind that the Founding Fathers Amendment to the Constitution guaranteed this is a Christian country, established on Christian principles, and that’s how our laws are framed.”
Unfortunate that Toreth’s knowledge of Christianity was more or less limited to expressing feelings like, “Jesus fucking Christ, this case is a pain in the arse.”
i didn’t say he was a saint, just a tiptoer. and the toreth/grimm antler-locking is equally entertaining; confrontational, begrudging, occasionally collegiate, but peppered throughout with toreth’s helpful professional observations.
”Do you know the basic principle of coercive interrogation?” Toreth asked.
“Hurting people?” Grimm suggested.
Toreth laughed. “No, that’s just an option. Interrogation is about changing priorities. Making people value the things that you control. When someone will swap the information you want for five minutes’ rest, or a sip of water, then you win.”
this one is pretty much just an investigation. eventually, there are blowies, but they’re like the end-credit scenes of a marvel movie. in that you gotta wait for them. they in no way involve stan lee.
Weekend Plans
this one is the best of the bunch, but it’s only thirty pages long! boooo! i’m in the minority of really liking sara, so i’m happy she gets a chunk of the story. there’s also a furthering of the continuing story arc involving the resisters and the revolution and warrick’s family involvement. and on top of all that is a third storyline showcasing the very best of warrick and toreth. it’s funny and winky and playful and then very serious indeed. and she does all of this in only thirty pages! it was outstanding.
i love warrick, and i missed him so much in that first story:
Better to be early then late, but early was still an annoying scheduling inefficiency.
i swoon.
Constellation of Falling Stars
this third part is just an under-ten-page teaser-intro to the second novella in the book,For Your Entertainment, in which there is zero warrick and barely any toreth and the whole thing is helmed by barret-friggin’-connor, because WHY? seriously, the biggest problem with this book is how little warrick is in it. who requested that we see more barret-connor? not one person. the story itself is fine, it’s another investigation that widens the scope of the series, focused here on the entertainment industry and its chilling commodification of the boy band, in which young boys are raised up like tender veal-calves and given many surgeries to keep them young and profitable and it is a very ghoulish business model indeed.
”Investigator, 343 is an enormously profitable brand. We have lifestyle strategies in place for all our product, and that includes their closedown. Ideally, we shift fanbase to another product within our stable, at least until they move out of our demographic. 343 had good long-term projections, but even another year or two would let us complete their cycle in a controlled way, with better fan retention.”
the story itself is good, but in a volume with very little of what has been the draw of the series, i wouldn’t have minded one more thirty-pager to close out the book.
and if the internet would see fit to GIF me a photo of julian sands making out with hugo weaving, i would insert it here.