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cultivating-wildflowers · 5 months ago

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2024 Reading - August

There I was at the beginning of the month all worried about my potential page count for August, and then I went and read well beyond that. It's fine. I'm just a baby. The good news is that I seem to have caught my reading stride again--I actually wanted to spend my evenings reading a physical book, and didn't feel like reading was a slog. And even though I'm only halfway toward my original reading goal for the year, I've made good progress through my digital TBR.

Total books: 9 | New reads: 8 | 2024 TBR completed: 1 (0 DNF) / 27/36 total | 2024 Reading Goal: 53/100

July | September

potential reading list from August 1st

First of all, please admire this graph:

I haven't read this many pages in a month in like two years. (This does count pages and hours I read for books I ultimately DNF.)

Moving on.

#1 - The Unselected Journals of Emma M. Lion, Vol 1 by Beth Brower - 5/5 stars

A quick, charming read with surprising depth. I actually cried at one point. And I definitely want to read more. It’s a pity each volume is so small and that none are available through any library in the state.

Note from end-of-the-month Phoebe: I bought Volume 2. And another book by the same author.

#2 - Jonathan Strange & Mr Norrell by Susanna Clarke - 5/5 stars ('24 TBR)

Expertly crafted historical setting effortlessly blended with the dangerously fantastical. Rich, complex characters who are people of their time. A totally engrossing writing style with asides and footnotes and sharp dialogue that left me laughing with delight. So many tiny elements that combined to make up exactly the sort of story I crave. I wasn't expecting to be enthralled, but I was from the first page. Maybe it rewired my brain a little bit.

I will grant it's not for everyone, but it was PERFECT for me. Just don't ask me what the plot is.

Reasons you may not like it: 1) It's huge and a bit of a time investment. 2) It is largely character-driven and, while well-paced, doesn't have a lot of external pressure to keep the story exciting. 3) It's somewhat verbose, in a Tolkien sort of way. 4) Something of an open ending (which, weirdly, didn't bother me?). 5) As the magic tips from human to fairy, it develops a dark and occult flavor. This is nice for people who like their fairies to remain distinctly wicked within the narrative (rather than roguishly morally gray), but there are decidedly dark elements. I tried to watch the show a few years ago and didn't make it through the first episode, and as I recall it was because the fairies came off a tad too dark for me. Somehow it was better on the page.

#3 - Escape from Camp 14: One Man’s Remarkable Odyssey from North Korea to Freedom in the West by Blaine Harden - 4/5 stars

This is both the biography of a man who escaped the North Korean prison camp where he was born, and also a biography of North Korea itself over the past 50-odd years. Sparse and somewhat stilted, full of facts and figures, it reads more like an article than a story. I'll say it's an important story, despite the surrounding controversy, but the writing style didn't do it any favors.

Note regarding the peculiar controversy surrounding this book: A few years after the book was published, Shin Dong-hyuk contacted Harden and revised his story as told here. The base details remained the same, but timelines and locations had changed. Yeonmi Park faced the same controversy following the publication of her memoir of her childhood in North Korea (In Order to Live; which, weirdly, I read in August of last year), which to me says less about the veracity at the heart of both individuals' histories and more about how trauma, in particular that brought about by political violence, can impact emotions and memory. If you're interested in reading this book, definitely check out Harden's updated forward examining Shin's altered account. Harden himself repeatedly acknowledges Shin as "an unreliable narrator of his own life".

More like this: "In Order to Live" by Yeonmi Park with Maryanne Vollers; "A Long Way Gone" by Ishmael Beah; "Infidel" by Ayaan Hirsi Ali.

#4 - Time Travelling with a Hamster by Ross Welford - 4/5 stars (audio)

If you couldn't tell, I'm desperately trying to fill in some of the missing letters for my second year of a self-imposed alphabet titles challenge. This is my fifth attempt at a "T". Attempts three and four are below in the DNFs. I decided to bank on an extreme change of pace with this one.

A solid middle grade adventure, and one I'll definitely recommend in future. Fun and unpredictable and my head hurts, because time travel always does that to me. Ridiculously short chapters, for some reason.

More like this: A bit like "A Wrinkle in Time", a bit like "Meet the Robinsons" (the movie; haven't read the books).

#5 - The Empty Grave by Jonathan Stroud - 4/5 stars

I DNF'd this last year after trying and failing for a month to get into it. I had definitely been in the perfect mood when I started the series last year, but for some reason The Empty Grave gave me no end of trouble, and I gave it up about a quarter of the way through.

Not so this time. This time it took me all of four days to finish.

Thankfully this follows the tradition of refreshing the reader's memory of previous events in the series, because I'd forgotten some of the pertinent details. Either because of my foggy memory or because of something else in the story, the ending fell kind of flat for me, like it was missing an element to deliver a good emotional conclusion, or like it didn’t fully satisfy the stakes set up at the start of the book. I consider this series more young adult than middle grade, but the way it wrapped up definitely felt middle grade in style.

Still a solid ending for sure, just a little confusing.

#6 - A Swiftly Tilting Planet by Madeleine L'Engle - 5/5 stars (reread) - 50th read of the year!

Comfort book my belovéd.

#7 - The Swamp Fox: How Francis Marion Saved the American Revolution by John Oller - 4/5 stars (audio)

Francis Marion is one of my dad's favorite figures of the Revolutionary War, and man, I can see why.

The writing itself is somewhat dry, crammed full of names and dates technical details of battles; but Oller manages to weave a solid narrative as he combs through the legends surrounding Marion and picks out the facts.

More like this: "Lion of Liberty" by Harlow Giles Unger.

#8 - Heidi by Johanna Spyri - 4/5 stars (audio)

"Heidi" was one of the movies I watched on repeat as a kid. Not the Shirley Temple version, but the 1968 made-for-TV version that apparently took some liberties with the plot. (But according to Wikipedia, it's most memorable for interrupting a football game for its premier.)

The book is a cozy classic children's book, plain and simple. It feels a bit like The Secret Garden with an orphan coming to an unfamiliar place and thriving there (plus helping an invalid thrive as well); and a bit like L.M. Montgomery pushing all of us to get outside and breathe some fresh air.

#9 - The King of Elfland's Daughter by Lord Dunsany - 4/5 stars (audio)

Absolutely gorgeous.

You might like this is you like: The Ballad of the White Horse by G.K. Chesterton; or the narrative style of the legends told by characters in the Queen's Thief series.

Useless fun fact: Lord Dunsany's name was Edward John Moreton Drax Plunkett.

DNF

Hamnet by Maggie O'Farrell - Hilarious two-star reviews proved it's not something worth finishing and it doesn't deliver on the premise. (It's not even about Hamnet. It's a "re-imagining" of Anne/Agnes Hathaway-Shakespeare and guess what. She's a strong, wild woman who practices witchcraft in late 16th century England. Groundbreaking. I need to stop skimming summaries.)

The Hazel Wood by Melissa Albert - Got about a third of the way through this one before I realized...I just didn't care. The premise was good, and the delivery was kind of meh but not bad--which, considering how rarely I read newer YA these days, was actually a point in its favor. But then we got to the reveal and I went "Wait. That's it?" and lost interest. I don't think magical realism is for me. Also, it didn't affect my decision to stop reading, but I didn't like the audiobook narrator.

Tales from the Hinterland by Melissa Albert - A companion book to the Hazel Wood duology, presented as the book-within-a-book that the Hazel Wood revolves around. I read a couple of the stories out of curiosity, but the allure of that book-within-a-book is gone when it's told in the same voice as the actual story.

A Tree Grows in Brooklyn by Betty Smith - I...have no idea. What is this? I got a little over halfway through it before it got to be too much and I gave up. I liked the writing voice well enough but the story meandered along a plodding, darkly sentimental route and I got lost. And a little disgusted.

Bridge of Birds by Barry Hughart - I wanted to like it, but it was too bawdy for me.

The Outlaws of Sherwood by Robin McKinley - Robin is such a hit-or-miss author for me, and this one was a solid miss. The premise was too absurd for me to stick it out. I might have given it another chapter, but none of the characters were really grabbing me, and I wasn't fond of how McKinley chose to portray Marian.

Currently Reading:

The Disorderly Knights by Dorothy Dunnett - I swear I'll have finished this by the end of the year.

The Boys in the Boat by Daniel James Brown - I'll finish this one pretty quickly.

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mediaevalmusereads · 2 years ago

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Kent State: Four Dead in Ohio. By Derf Backderf. Abrams Comicarts, 2020.

Rating: 4.5/5 stars

Genre: graphic novel

Part of a series? No

Summary: On May 4, 1970, the Ohio National Guard gunned down unarmed college students protesting the Vietnam War at Kent State University. In a deadly barrage of 67 shots, 4 students were killed and 9 shot and wounded. It was the day America turned guns on its own children—a shocking event burned into our national memory. A few days prior, 10-year-old Derf Backderf saw those same Guardsmen patrolling his nearby hometown, sent in by the governor to crush a trucker strike. Using the journalism skills he employed on My Friend Dahmer and Trashed, Backderf has conducted extensive interviews and research to explore the lives of these four young people and the events of those four days in May, when the country seemed on the brink of tearing apart. Kent State: Four Dead in Ohio, which will be published in time for the 50th anniversary of the tragedy, is a moving and troubling story about the bitter price of dissent—as relevant today as it was in 1970.

***Full review below.***

Content Warnings: violence, blood, casual racism/misogyny

Overview: I can't quite articulate why I decided to pick up this book. I find Backderf's work to be definitely intriguing, but I've never been a close follower. I guess I was in the mood for something like a memoir, though this certainly isn't one (Backderf himself wasn't at Kent State). It's not quite historical fiction either, and Backderf himself likens it to a reenactment. Whatever genre we call it, Kent State: Four Dead in Ohio is a masterfully crafted graphic novel that evokes a lot of strong emotions. I could feel myself seething at the injustice of it all as I was reading, so for that, this book gets 4.5 stars.

Writing/Art: I've never been a huge fan of Backderf's art style, but I think it works better (for me, at least) in this book than in My Friend Dahmer. His use of exaggerated proportions and bold inks combined with the details he puts into his scenery seem to produce a sense of heightened emotion or tension that I think works with this story; the cartoonish anatomy mirrored the almost cartoonish incompetence of the military, and the facial expressions clearly set the tone for any given scene. Panel layout was also very clear and easy to follow, so there's no real chance of getting lost or reading panels out of order.

My only major criticism is that, with Backderf's style, it can be hard to tell some characters apart. Without the aid of color or distinctive clothing, it can be hard to make sure your reader knows who is who. But I also think Backderf did the best that he could, so maybe it's just an error in how I read.

Plot: The plot of this book covers the days leading up to the shooting at Kent State in May 1970. It covers the growing political tension between the government and college campuses as well as the anti-war protests during the Nixon administration. The book ends with a retelling of the fatal standoff between Kent State students and the Ohio National Guard. It doesn't delve too much into the aftermath of said standoff save for 2 pages of prose at the end, which describe what happened to the victims' families and the involved military personnel, but it does feel "complete," so to speak.

TL;DR: Kent State: Four Dead in Ohio is an incredibly moving and impactful rendition of the events at Kent State from May 1 to May 4, 1970. Backderf masterfully builds tension and dread while also not losing sight of the fact that the victims were people, and I highly recommend this book to anyone interested in graphic memoirs or anti-war movements of the 1960s-1970s.

This book was incredibly moving. While I had some knowledge of Kent State going into this book, I felt like I could more easily emotionally connect with that knowledge because Backderf takes the historical facts and makes them feel more personal. Not only does Backderf hit you in the face with bold art that sticks in your memory, but he also masterfully builds tension over the course of the narrative, giving the reader a greater and greater sense of unease and dread as the events unfold. By showing the escalation of conflict in the days leading up to the shooting and also inserting helpful blurbs about what's taking place on the national stage, I felt like Backderf connected larger, national concerns to local events, making them feel more real and less like abstractions. The result was that I could feel myself becoming more and more angry at how unjustly the National Guard treated the students; this was probably the point because the message of this book is definitely that Kent State was a tragedy, but not one without clear perpetrators. No matter what one might think about the violent, militant arm of the anti-war protesters, what happened at Kent State was not justice, nor was it law and order; it was an attack on innocent young people, motivated by increasing paranoia about opposition to the Vietnam War and the threat of communist sympathy. Given that I'm reading this book in 2023, a lot of the themes resonate with our current political landscape.

Characters: I feel a bit strange analyzing the characters of this book as if they were authorial creations because most (if not all) of them are/were real people. I can't speak to how well Backderf represents the actual victims, but I did appreciate the effort to make them feel like people with hopes and dreams. All of them had complex inner lives that were at times separate from Kent State but at times defined by the politics of the day. Some of them were politically active and some weren't, and seeing them simply try to do their best was both inspiring and heartbreaking.

When it came to the actual shooting and depictions of violence, I think Backderf handled the graphic nature well. Though I can't speak to what the victims' families might think, as a reader, I found Backderf's drawings to be emotionally impactful, especially his drawing of Bill. Because Backderf spent most of the book portraying each victim as a real human, the violence didn't feel necessarily gratuitous. Of course, the violence is meant to come as a shock, but it's not the kind of shock that's meant to be entertaining. It's insread meant to make us feel angry on behalf of the victims and to turn our ire against injustice, especially injustice at the hands of the government.

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spectrum-color · 2 years ago

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So Fitz and the Fool obviously had this insanely homoerotic relationship and were intensely devoted to each other. We as readers were all there for “I love you and all that is part of you” and “the man I had been would not survive this loss” and “Beloved, I have missed your company.” What do people in their lives think though? We get some hints, but I have my own ideas too.

Burrich-Way too hung up on Fitz having the Wit to be worried about his sexual orientation. Also, with the way he talks about Chivalry, he probably also has a very distorted view of platonic friendships between bros.

Nighteyes-He can literally read Fitz’s thoughts; he can hear the whole internal monologue about the Fools golden beauty at all times. He would also def rather Fitz take the Scentless One to mate than his existing choices (the Howling Bitch? Really?)

Chade-Def thinks that they’re on the DL and does not care. For all Chades faults he doesn’t gaf what Fitz does as long as it doesn’t impact the Farseers.

Kettricken-You cannot convince me that she isn’t like “they’re finally together; good for them” when they return to court as Lord Golden and Tom Badgerlock.

Patience-How much she knows is a huge mystery actually. I do headcanon Patience as bi and Lacey as her partner (imo it’s quite obvious and hilarious that Fitz doesn’t notice) so she would be open minded, but Fitz hides a lot from her.

Shrewd-We don’t get enough of him from Fitz’s POV to know but personally I would think it’s hilarious if he clocked that his jester was in love with his bastard grandson and was like well not sure what to do with that information.

Verity-The man is barely clinging to life for Fitzs entire adolescence; I think he only had the vaguest idea of what was going around him for like 5 years.

Molly-Fitz keeping the memory stone statue and the unsent letters he writes the Fool locked in his secret study implies that he never tells her about the Fool or their time as Prophet and Catalyst, which makes sense because he always used her to hide from that kind of thing.

Starling-She totally knew it and was outraged that Fitz would claim to have no idea. Def saw them snuggling at least once in the Mountains. Had no idea who Lord Golden really was but still thought he and Fitz were hooking up. Would hear about Lady Amber and Prince FitzChivalry and feel very validated.

Hap-He goes into full research mode after he sees Lord Chance (who looked strangely like Lord Golden?) go into the wolf with Fitz in preparation for the ballad he was going to write about it. Since this research involved talking to Starling, he now believes that Lord Chance was a woman in disguise who had a decades long torrid affair with his foster dad.

Dutiful-He discreetly approached Fitz about it and Fitz gave the weirdest most suspicious denial ever; he def thinks that they’re sleeping together. Plus he’s friends with infamous closet case Civil Bresinga.

Nettle-Also asks Fitz about it and is told “I loved that man as I have loved no one else,” then she meets him and sees that he strongly resembles her little sister who mysteriously appeared long after her mothers fertile years, and finally watched them go into a memory stone statue together. She def has her theories.

Bee-She knows what’s up. Fitz literally talks about raising her with the Fool while they all cuddle. Plus she read some of his unsent letters and his memoirs, and if they are in fact basically the first 6 books, they are gay af.

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phoneybeatlemania-bit-the-dust · 3 years ago

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do you have any theories about the india trip ?? personally, im not sure what to think about it, but i’d love to hear your thoughts !!

(Sorry its taken me so long to answer this - it just got lost in my drafts cause im an idiot lmao 🤦‍♀️)

Im not entirely certain on what I believe happened in India, if in fact anything did happen at all - but more on that later! I guess though that these are the main theories (though if you have any differing opinions/theories, feel free to discuss them!):

1. Paul rejected John’s advancements

2. John wanted to further their relationship, and Paul wanted to maintain the ‘friends with benefits’ situation they already had

3. Nothing significant happened between the two (yet something still changed in John)

I’ll try to discuss which theories I find the most convincing, compelling and substantiated - as well as offering my own opinions and hypothesis’s ^^ (discussion bellow the cut)

1. Paul rejected John’s advancements

The theory I would say im most drawn to - not the theory that im necessarily most convinced by though - is that John made a move on Paul, after a few years of pining for him, and was subsequently rejected. Its a theory that I tend to be compelled by, but I have to admit that its one I struggle to justify entirely. The problem with this theory, for me, is that this is a conclusion ive drawn based mostly off of what their relationship appeared to look like after India. It seems as though something must have happened between them to have ruptured their relationship as profoundly as it did - and because they were on relatively good terms before India*, combined with certain inferences we could draw from comments John made regarding his feelings towards Paul and their relationship, it feels as though it’s possible that he made an advance on Paul, which was rejected and thus caused the ultimate disintegration of the Lennon/McCartney relationship.

(*I mean, their relationship was always complicated and difficult - but it seems that it was okay-ish prior to India, and then just inexplicably plummeted after the trip)

But nobody (as far as im aware) has confirmed, or even really alluded to, this advancement or rejection ever having happened. And the lack of evidence substantiating the claim is a major draw back for me!

However, I do also feel as though nobody’s really come out about anything that happened in India - all ive heard is that they meditated, wrote songs, John and Cyn fought, and Ringo ate baked beans. But like, more must have happened on the trip, surely? Im not saying the absence of information regarding the trip is proof that there was a big “lovers quarrel” between John and Paul, and that everyone involved in that trip is now just sworn to secrecy or something - but like, id just like to see a biographer really investigate the holiday, and try to conclude what events might have occurred during the trip, because as of right now, with the information we have, it seems to have been, bizarrely, both a lacklustre and uneventful, yet still hugely impactful event. If the narrative of the “India trip” were to be shifted in the future in light of new information, the same way the narrative of “Let It Be/Get Back” is being changed, I wouldn’t be surprised!

2. John wanted more, but Paul didn’t

Another popular theory is that John and Paul were engaged in something of a physical affair, but in India John proposed (or perhaps demanded even) that they take their relationship further, and Paul just wasn’t compelled to do so.

Beliefs vary regarding this, based on how far you personally think their relationship went: some might say they only ever did a little drunken experimenting with one another, and that it was just a fun fling until John suggested they take it further. Others might argue that they were in fact in a committed relationship, and John wanted to go public with it - or at the very least, demanded exclusivity between him and Paul.

In entertaining this theory, im most compelled to believe that John and Paul were engaged in occasional “flings”, and perhaps by ‘68 were even acknowledging that there was some deeper and more sincere between them - but ultimately, I don’t think Paul would have ever been inclined to fully commit to John, because I think he always wanted children and a family. In addition to this, though its clear John and Paul were passionate about one another, it isn’t clear how compatible they were in the long term - and with Paul being the more grounded of the too, I suspect he would have recognised this incompatibility, which John (the idealist) might not have.

Though I admit that John could certainly be unrealistic and irrational, im not convinced that he suggested to Paul they go public with their relationship, because I think John still had a fairly strong sense of his place in popular culture, and would have still been able to recognise that if they were to “come out”, it would probably deeply and irreparably damage both their careers - as well as George and Ringo’s too - at least amongst the general public. They’d still have some ardent fans, but their following overall would have become far more niche, and the “beatlemania” would’ve worn off swiftly. Im not sure if either of them would’ve been willing to take that heat in ‘68, especially not Paul, who as I mentioned earlier, I think might have recognised the futility and incompatibility inherent in their relationship.

Then again though, John was always a little “cocky”* when it came to his sexuality - I think if an interviewer were to genuinely have enquired into his sexuality, straight up asking him “Are you bi? Gay?” I get the sense that he would have told us! Sure he’d probably have dressed the response up with a dozen quick quips and jokes, but ultimately, I think he would have given a sincere response. And so, perhaps he did feel he had the confidence, at least in India, to actually “come out”, but if Paul wasn’t willing to make this official with him, perhaps this confidence dissipated.

(*No pun intended you pervs🤦‍♂️)

Another thing to note about India is that they’d have been relatively secluded, as well as off the drugs/drinks for the most part - and this would have forced them to really reflect upon their relationship. Perhaps John saw that he wasn’t contented with Cynthia, and recognised his desire for more from Paul - and so in such a raw state of mind, I can see how he’d become so shattered if Paul were to have rejected him (that statement could relate both to the first and second theory, I feel). Perhaps John made an advance upon Paul whilst they were both sober for the first time, and that changed their relationship somehow? Just thinking out loud here!

But again, this theory overall has the same problem as the first in that, though it appears to make sense, it still lacks proof; it ultimately isn’t a substantiated claim.

3. Nothing happened between J&P, but something changed

This is probably the theory that everybody is least interested in hearing, but I still think its a pretty valid one, albeit the least dramatic (In my opinion though its still a really interesting perspective to explore though!).

Its possible that nothing of particular significance happened in India, but something still shifted in John, causing him to vilify and reject Paul. The issue with this though, is that it begs the question: why did John undergo such a significant change in India then?

Id argue that perhaps John was making very subtle and slight moves towards Paul, that Paul either ignored or didn't pick up on. Id assume that perhaps John had been hinting at this desire for awhile now, and maybe he got it into his head that in India, where him and Paul would have a lot of time to be alone and intimate, his feelings would finally be reciprocated. But then, Paul never picked up on these hints, and never made any advancements - and this broke something within John. It would fit neatly within the Yoko narrative, because it offers reasoning to the abrupt but intense attachment John formed towards her almost immediately after India - as well as explaining the sudden vilification of Paul. But I suppose that the first two theories also fit pretty neatly within the Yoko narrative, because they all relate to the same basic concept that John wanted more from Paul, and Paul didn’t - and so he tried to replace him with Yoko.

I suppose though, that the this theory overall could also be countered by making the argument that Paul also began to spiral after India, and so some occurrence presumably must have happened to Paul too. I wonder though if its possible that maybe Pauls spiralling was kind of a result of Johns? I get the sense though that Paul would need a change in his life to cause his mental health to seriously deteriorate, but I don’t feel like the same is necessarily true for John - I think John is sort of the type to spiral, irregardless of whether his life undergoes a significant change or not, because I think John was the force driving a lot of the drama and troubles throughout his lifetime. So if Johns mental well-being started seriously deteriorating, I can see this being a cause of panic and anxiety for Paul.

But something that further inclines me to believe that an actual event occurred between John and Paul is this extract from Geoff Emmericks memoir (x)(id recommend reading the entire extract, its interesting!):

‘I glanced in Paul’s direction. He was staring straight ahead, expressionless and weary. He didn’t have much to say about India that day, or any other. I sensed at that moment that something fundamental in them had changed.”’

It just really feels as though there was some confrontation between John and Paul that had to have happened to perpetuate the miscommunication later seen between them. Like if there hadn’t been some kind of confrontation, then I can’t really understand why Paul would be reluctant to speak about India, or harbour any regrets or dismay regarding the journey. Perhaps you could drill it down to the betrayal they appeared to have felt by Maharishi allegedly hitting on girls - but I feel like this was a “betrayal” mostly felt by John, I never really got the sense that Paul was deeply effected by it.

But yeah - those are the main theories I think.

Overall, I think that the third theory is probably the most substantiated claim, but I think it leaves a lot to desired. It just doesn’t feel like it totally fits together, as though theres more to the story - but I guess relationships and peoples psyches aren’t puzzles, and so not everything is always going to piece together perfectly; but I dunno.

Like I said though, the theory im most compelled by is the first. I acknowledge that it lacks evidence, but it just seems to make a lot of sense to me! But really, who knows what the hell happened in India?

If anyone else has an opinion on all this, or wants to expand upon or even suggest a new theory, feel free to! I always like hearing from you guys!

#mclennon #asks #@cinnamontoastandtears #thanks for the ask!#india #what the fuck happened in india #maharishi #pauls sexuality #discussion

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orlissa · 2 years ago

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January reading summary

My one New Year’s resolution this year was to read fifty books in 2023–that would mean 4.17 books per month, just for fun math’s sake. In January, I managed to finish nine. Okay, that’s a bit of a fib, because two of these nine were started back in 2022, and one was read twice (once when I translated it, and once when I proofread the manuscript, but I’m gonna count those too). Still, it’s a pretty strong start. Anyway, I thought I’d do like a monthly summary of my reads, partially to motivate myself, and partially just to review to books I read, because we Leos thrive on attention. So, January reads, here we go:

Richelle Mead: The Indigo Spell/The Fiery Heart/Silver Shadows/The Ruby Circle – I read these right after each other (I started The Indigo Spell on December 31), as a part of my Vampire Academy re-read I started early December, so they kinda bleed together in my mind and I’m not even gonna try and write separate reviews of them. Truth is, I like 75% percent decided to read Bloodlines because I wasn’t ready to let go the Vampire Academy world yet after finishing Last Sacrifice–I just needed more Rose and Dimitri. Sure, there were things I liked in Bloodlines beyond their cameos, like the new magic system, the theme of rebellion against oppressive structures, dealing with parental trauma, and I especially enjoyed the whole re-education sequence in book five (there are very few things more terrifying than psychological torture, and the whole storyline of Sydney not giving up and fighting against it was absolutely fascinating). Still, I couldn’t get into the characters as much as I did with the original series, and, let’s be honest here, the last book sucked. The plot was all over the place, and the author basically fridged two women for a fanservice twist within a storyline with a hamfisted outcome (I mean, as a fan I was very much serviced, but it could have been done in a better way).

John Gwynne: The Hunger of the Gods – This was my translation project, so one of the books I started last year and the book I read twice from this list. As for the book itself… So, it’s a Viking-lore inspired epic fantasy (second in a trilogy) with a huge cast, where warring factions are allying with gods to gain power over the continent called Vigrið. Is it something I would have chosen to read for myself? No, it had way too much blood, eye-gouging, disfigurement, and child abuse in it for my taste (extensive facial scaring of characters has always made me squeamish). Was it objectively a good book? Yeah, sure. There is a wide range of interesting and diverse characters with depth, an exciting plot, and remarkable worldbuilding. Do I manifest the editor stepping on a Lego? Yeah, that too, because on the textual level the book had some issues that had me wanting to rip my hair out. But if you are into hard-core bloody fantasy and Norse lore, yeah, I definitely recommend it.

George Takei – Justin Eisinger – Steven Scott – Harmony Becker: They Called Us Enemy – I read this one in preparation for a course of mine which I won’t be teaching after all. Still, no regrets here (I mean, I’m sad I won’t get to teach this class, but I’m not sad that I read this book). So it’s George Takei’s memoir about his family’s time in internment camps for Japanese-Americans during WWII, while also dealing with the impact that time had on his later life, in a graphic novel format. It’s poignant and heartbreaking and honest, and really helps to put this segment of American history into perspective.

Ali Hazelwood: The Love Hypothesis – I read this book out of morbid curiosity, because I’ve seen how divisive it is (having started out as a Reylo fic, the author talking about how her agent is feeding her tropes, etc.), and honestly, I did not expect to enjoy it as much as I did. Sure, there were icky parts, like it took actual willpower not to try to equate the main characters with Reylo/the actors, and not to try to match the supporting cast to the… well, to the Star Wars supporting cast (which I really needed to do, because I don’t like the new Star Wars, and although he has my absolute respect as a human being, I do not find Adam Driver attractive at all), the author sometimes really went overboard with the “OMG, what an actual giant the male lead is”–gushing, the sex scene had some questionable lines/metaphors, some of the side plots had a distinct fanfic crowd-pleaser feel (like Malcolm and Holden, who I’m pretty sure were originally Finn and Poe, going from “vaguely aware of each other’s existence” to “in a stable, have met the parents, banging like rabbits relationship” in like three days), and the ending was definitely rushed. However, on the other hand it was a fun little rom-com with a witty language and some commentary on sexism and sexual harassment, and although I’m not in STEM, the quips about academia and PhD candidacy really, and I mean really resonated with me. I’m definitely going to read more of the author’s stuff.

Brodi Ashton – Cynthia Hand – Jodi Meadows: My Imaginary Mary – I’m a big fan of The Lady Janies-series, but I’ll be the first one to say that they seem to be running out of steam. Sure, I know this book wasn’t even the original plan – they wanted to do one with Marie Curie, but they had to scrap that idea for some reason, so instead we get Mary Shelley and Ada Lovelace –, but still, in some aspects this book falls really… flat. While in the previous books the fantasy element felt like an integral part of the world, here it’s just… there, just thrown in, and the whole “fae godmother” introduction is just lazy writing (literally, a character just appears, brings one protagonist to the other, introduces them to each other, tells them she is their fae, not fairy, godmother, and she is now going to teach them magic. Just like that, in medias res, deus ex machina, and all that jazz). At the same time, Pan is sweetheart, the pop culture allusions are a stroke of genius, and the whole discourse about what is life is nice. So, yeah, the style is great, the message is great, but the plot is meh at best.

#orlissa reads #books

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jerseydeanne · 4 years ago

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When I last sat down with Prince Harry for an honest, candid, funny and frank interview, he told me he would use his “privileged position” for “good stuff” for “as long as I can, or until I become boring, or until [Prince] George ends up becoming more interesting.”

Harry, then 31 and one of the most popular royals, seemed aware of his sell-by date. “There’s nothing worse than going through a period in your life where you’re making a massive difference and then suddenly ... you drop off. You want to make a difference but no one’s listening to you.”

Recently it has been almost impossible not to hear Harry, although the jury is out on how much people are still listening. So when he announced last week that at the age of 36 he is writing his “intimate and heartfelt” memoirs, “not as the prince I was born but as the man I have become”, it felt as if Harry thinks his greatest hits are already behind him. After settling in America, why the rush so soon after the soul-baring interview with Oprah Winfrey and a glut of other interventions?

A friend of Harry’s says that while he was still a working royal, he harboured a Prince Andrew complex of slipping down the pecking order and becoming irrelevant: “Harry has always been in such a rush to make an ‘impact’, because he thinks he has a limited shelf-life before the public want to hear more from George and his siblings and he worries that after that, he’ll turn into his uncle.”

Harry now wants to tell us about his “dedication to service” and how he’s “worn many hats over the years”, because “my hope is that in telling my story — the highs and lows, the mistakes, the lessons learnt — I can help show that no matter where we come from, we have more in common than we think.”

The privacy-obsessed prince will let us into his head for a rumoured multimillion-pound advance, with “proceeds” from sales of the book published by Penguin Random House in late 2022, the Queen’s Platinum Jubilee year, going to charity. Harry is said to have been working on a manuscript for more than a year with the American ghostwriter JR Moehringer, who worked on Andre Agassi’s memoir. Whatever is — or isn’t — in the book it is certain to outsell Meghan’s The Bench, which has shifted 6,195 copies here. Yesterday, a spokeswoman for Harry denied reports of a four-book deal, with a second book after the Queen’s death, as “factually inaccurate”, confirming “there is only one memoir planned” and “no project co-ordinated around” the monarch’s demise.

We are likely to hear Harry’s take on the very public breakdown of his parents’ marriage, the impact on his childhood and more on the devastating effects of the death of Diana, Princess of Wales, when he was 12. He has said he failed to deal with it for years, leading to a period of “total chaos” and a near “total breakdown” in his twenties. Of walking behind his mother’s coffin, Harry has said: “I don’t think any child should be asked to do that, under any circumstances.” Will the book reveal who asked him and what choice, if any, he was given?

How Harry chooses to relay the “party prince” years, when he was living it up in London nightclubs and smoking cannabis at his father’s Highgrove home, leading Charles to arrange a visit to a rehab centre, will be fascinating. Will the period be analysed retrospectively as the reeling aftermath of his mother’s tragic death? Or will there be candour about a young, privileged prince having a blast and doing what many young men in his position would have done?

“I never thought he was out of control then,” says a source who knows Harry well. “In his new Californian guise, I think he’ll tell it honestly, framed in the context of his ‘journey’ towards ‘healing’. I think there will be a lot of the old broken me versus the new fixed me who dealt with the pain, and a lot about Meghan as the woman who liberated me to deal with it all.”

A seasoned royal watcher says they are “looking forward to the Vegas chapter”, one of Harry’s most notorious escapades when he was photographed naked playing strip billiards in a Las Vegas hotel suite in 2012 shortly before being deployed to Afghanistan. “Too much army, not enough prince,” Harry later said, admitting: “I let my family down.”

Having become so outspoken on race and “unconscious bias” after meeting Meghan, the first mixed-race woman to marry into the modern royal family, what will Harry tell us he learnt after calling an Asian army colleague “our little P*** friend” while at Sandhurst military academy in 2006? The incident was widely condemned, a year after he was forced to apologise for wearing a Nazi uniform to a fancy dress party. “He’ll be smart enough to know that to gloss over those incidents would undermine the book,” says a royal source who knows him.

Harry’s account of family life will be intriguing — how the triumphant trio of William, Kate and Harry briefly became the “Fab Four” with Meghan, their fairytale wedding with the no-show by Thomas Markle, the father-in-law he has never met, William and Harry’s rift, the painful split from the royal family and their new life in America, right up to the controversy last month surrounding the naming of their new daughter, Lilibet. The Sussexes called in lawyers to dispute a BBC report that the Queen was “not asked” about the intimate nickname. “False and defamatory” said team Sussex. The BBC stood by the story. Buckingham Palace did not dispute it.

What will Harry’s version of life inside and outside the royal goldfish bowl look like? He has pledged total honesty, and is “excited for people to read a first-hand account of my life that’s accurate and wholly truthful”. But as the Queen’s statement following the bombshell Oprah interview in March pointed out, “some recollections may vary”.

In that interview, and in the mental health documentary series Harry made with Winfrey, he claimed talking about mental health with his family was off-limits. Royal life “wasn’t an environment where I was encouraged to talk about it”. His comments left some scratching their heads. After all, Harry, William and Kate championed ending the stigma around mental health for years in their hugely successful Heads Together campaign.

On the Armchair Expert podcast in May, Harry also credited “a conversation I had with my now-wife” for his decision to have therapy. Yet in another podcast in 2017, Harry said he sought professional help “three years ago” encouraged by William, who told him: “You really need to deal with this.” The inconsistencies in some of Harry’s recent recollections have been well documented, leading some to describe him as a “revisionist historian”. Harry’s rumoured ghostwriter has spoken about the importance of honesty.

There is little hope in royal circles that will happen. The Sussexes’ recent outbursts have driven once-loyal aides to despair. “I fear they may sail into the sunset now, convinced they did the right thing by speaking ‘their truth’,” says one. “Now I hope everyone shuts the f*** up.”

Charles has been portrayed as an emotionally and financially stingy parent. A source close to him says: “He has genuinely been so upset by it all. He just doesn’t recognise any of the examples or narrative.” Friends of William and Harry say William, who was forced to publicly defend his family against accusations of racism after the interview with Winfrey, “despairs” of his brother but the shock factor is wearing off.

Harry has done brilliant things in his time. Moving the dial on mental health, serving his country at war and launching the Invictus Games are just a few of his achievements. Nobody should begrudge him wanting to bang the drum there, and if he wants to bare his soul on how he has coped with undeniable adversity and tragedy in his life, fair enough. But if his book becomes the main course of a score-settling feast then he will lose many more hearts and his greatest fear will be realised — “no one is listening”.

#prince harry #prince andrew #memoir #british royal family #meghan markle

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blackswaneuroparedux · 5 years ago

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Treat Your S(h)elf: Imperial Boredom: Monotony and the British Empire by Jeffrey A. Auerbach (2018)

The British Empire has had a huge impact on the world in which we live. A brief look at an atlas from before World War One will show over hundred colonies that were then part of the Empire but now are part of or wholly sovereign states. Within these states much remains of the commercial, industrial, legal, political and cultural apparatus set up by the British. In many former colonial areas, political issues remain to be solved that had their genesis during the British era.

The legacy of the British has been varied and complex but in recent years much attention has been on making value judgements about whether the Empire was a good or bad thing. Of course the British Empire was built on the use of and the continual threat of state violence and there were appalling examples of the use of force. As well as the slave trade, there was the Amritsar Massacre in 1919, the 1831 Jamaican Christmas Uprising, the Boer War concentration camps (1899-1902) and the bloody response to the Indian Mutiny of 1857. However, we must not just focus on these events but examine the Empire in all of its complexities.

In the current moment of our times, it would seem that as a nation we are more concerned about beating ourselves up and making the nation feel guilty than understanding how and why the British came to exist, and setting the growth of the British Empire into historical context to be wise about the good, the bad, and the ugly. History has to be scrupulously honest if it’s not to fall prey to propaganda on either side of the extreme political spectrum.

Truth be told I find these questions about the British Empire being good or bad either boring or unhelpful. It doesn’t really bring us closer to the complexity and the reality of what the British Empire was and how it was really run and experienced by everyone.

For myself personally the British Empire was part of the fabric of our family history. The Far East, the Middle East and Africa figured prominently and at the centre of which - the jewel in the crown so to speak - was India. In my wider family clan I’ve come to learn about - through handed down family tales, personal diaries, private papers, and photos etc - the diverse experiences of what certain eccentric characters got up to and they ranged from missionaries in India and Africa to military men strewn across the Empire, from titans of commerce in the Far East to tea farmers in East Africa, from senior colonial civil servants in Delhi to soldier-spies on the North West Frontier (now northern Pakistan).

My own experience of being raised in India, Pakistan as well as parts of the Far East was an adventure before being carted off to boarding school back in Britain and then fortunate in later life to be able to travel forth to these memorable childhood places because of the nature of my work. Having learned the local languages and respectful of customs I have always loved to travel and explore deeper into these profound non-Western cultures. Despite the shadow of the empire of the past I am always received with such down to earth kindness and we share a good laugh. So I always assumed that the British Empire played a central role in the life of Britain has it had in our family history just because it was there. But historians are more concerned with much more interesting questions that challenge our assumptions.

So when I was at university it was a great surprise to me to first read a fascinating history of the British Empire by Bernard Porter called ‘The Absent Minded Imperialists: Empire, Society and Culture in Britain’ (2004). Porter was, in his own words, “mainly a response to certain scholars (and some others) who, I felt, had hitherto simplified and exaggerated the impact of ‘imperialism’ on Britain in the nineteenth and twentieth centuries, after years in which, except by empire specialists like myself, it had been rather ignored and underplayed. […] the main argument of the book was this: that the ordinary Briton’s relationship to the Empire in the nineteenth and early twentieth centuries was complex and ambivalent, less soaked in or affected by imperialism than these other scholars claimed – to the extent that many English people, at any rate, possibly even a majority, were almost entirely ignorant of it for most of the nineteenth century.” It became a controversial book but a welcome one because it was well researched and no doubt made some imperial historians choke on their tea dipped biscuits (and that’s not even counting the historically illiterate post-colonial studies crowd in their English faculties who often got their knickers in a twist).

Years later I read another fascinating collection of scholarly chapters by different historians called ‘Anxieties, Fears, and Panic in Colonial Settings: Empires on the Verge of a Nervous Breakdown’ (2016) edited Harald Fischer-Tiné which challenged a rosy vision of Britain’s imperial past by tracing British imperial emotions: the feelings of fear, anxiety, and panic that gripped many Britons as they moved to foreign lands. To be fair both Robert Peckham’s Empires of Panic: Epidemics and Colonial Anxieties (2015) got there before him but Tiné’s history set the trend for others to follow such as Marc Condos’s The Insecurity State: Punjab and the Making of Colonial Power in British India (2018) and Kim Wagner’s Amritsar 1919: An Empire of Fear and the Making of a Massacre (2019).

They all set out their stall by highlighting the sense of vulnerability felt by the British in the colonies. Fisher-Tiné’s edited book in particular highlights the pervasiveness of feelings of fear, anxiety, and panic in many colonial sites. He acknowledges that: “the history of colonial empires has been shaped to a considerable extent by negative emotions such as anxiety, fear and embarrassment, as well as by the regular occurrence of panics.”

The book suggests that these excessive emotional states were triggered by three main causes. First, the European population in British India was heavily dependent on Indian servants and subordinates who might retaliate against unfair masters or whose access to European dwellings could be used by malevolent others to poison the white elite. Second, anxieties about the assumed toxic effects of the Indian climate fuelled also poisoning panics. Diseases such as malaria and cholera were considered to be the ultimate outcome of an “atmospheric poison”. Third, Indian therapeutics and the system of medicine were also identified as a potential cause of poisoning European communities. These poisoning panics only helped reinforce the racial categorisations of Indians, the moral supremacy of the white population, and the legitimacy of colonial rule. Overall the book expanded the understanding of how a sense of fragility rather than strength shaped colonial policies.

Now comes another noteworthy book which again sound a little quirky but is no less meticulous in its research and judicious in its observations. Many books about the British Empire focus on what happened; this book concentrates on how people felt. When I was first given it I was predisposed to be negative because here was a book about ‘feelings’ - the current disease of our decaying western culture. But I was pleasantly surprised.

Was the British Empire boring? So asks Jeffrey Auerbach in his irreverent tome, ‘Imperial Boredom: Monotony and the British Empire’ (2018).

It’s an unexpected question, largely because imperial culture was so conspicuously saturated with a sense of adventure. The exploits of explorers, soldiers and proconsuls – dramatised in Boys’ Own-style narratives – captured the imagination of contemporaries and coloured views of Empire for a long time after its end. Even latter-day historians committed to Marxist or postcolonial critiques of Empire tend to assume that the imperialists themselves mostly had a good time. Along with material opportunities for upward mobility, Empire offered what the Pan-Africanist W.E.B. DuBois called ‘the wages of whiteness’ – the psychological satisfactions of membership in a privileged caste – and an escape from the tedium of everyday life in a crowded, urbanised, ever less picturesque Britain.

The British Empire has been firmly tied to myth, adventure, and victory. For many Britons, “the empire was the mythic landscape of romance and adventure. It was that quarter of the globe that was coloured and included darkest Africa and the mysterious East.” Cultural artifacts such as music, films, cigarette cards, and fiction have long constructed and reflected this rosy vision of the empire as a place of adventure and excitement.

Against this widely held view of the empire, As Auerbach argues here, however, the idea of Empire-as-adventure-story is a misleading one. For contemporaries, the promise of exotic thrills in distant lands built up expectations which inevitably collided with reality.

In a well-researched and enjoyable book, the author argues “that despite the many and famous tales of glory and adventure, a significant and overlooked feature of the nineteenth-century British imperial experience was boredom and disappointment.” In other words, instead of focusing on the exploits of imperial luminaries such as Walter Raleigh, James Cook, Robert Clive, David Livingstone, Cecil Rhodes and others, Auerbach says pay attention to the moments when many travellers, colonial officers, governors, soldiers, and settlers who were gripped by an intense sense of boredom in India, Australia, and southern Africa.

For historians, the challenge is to look past the artifice of texts which conceal and compensate for long stretches of boredom to unravel the truth. Turning away from published memoirs and famous images, therefore, Auerbach trains his eye on the rough drafts of imperial culture: letters, diaries, drawings. He finds that Britons’ quests for novelty, variety and sensory delight in the embrace of 19th-century Empire very often ended in tears. Indeed Auerbach identifies an overwhelming emotion that filled the psyche of many Britons as they moved to new lands: imperial boredom.

Precision in language and terminology is essential and Auerbach begins by setting out what he means by boredom. Adopting Patricia Meyer Spacks’ approach, he points out that the term first came into use in the mid-18th century. Auerbach identifies then the feeling as a “modern construct” closely associated with the mid-18th century where the spread of industrial capitalism and the Enlightenment emphasis on individual rights and happiness that the concept came to the fore. This does not mean that nobody previously suffered from boredom, but that, with the Enlightenment’s emphasis on the individual, this was when the feeling first became conceptualised. Like Spacks, he distinguishes boredom from 19th-century ‘ennui’ or existential world-weariness and also from monotony, which has a much longer history. Whilst a monotonous activity or experience may generate a feeling of boredom, it will not necessarily do so. The two terms must, therefore, not be equated.

Significantly, in a footnote, Auerbach cites a passage from 19th Century English satirical novelist, Fanny Burney, in which an individual is described as ‘monotonous and tiresome’ but, as he emphasises, ‘not boring’. To prevent confusion, the term ‘boring’ is best avoided when describing an activity or experience because this is to beg the question as to whether it does in fact generate feelings of boredom in a particular person.

How then should this state of mind be assessed and what should be seen as the symptoms of imperial boredom? As Auerbach acknowledges, boredom ‘is not a simple emotion, but rather a complex constellation of reactions’. Building on that approach, he says ‘imperial boredom’ reflected ‘a sense of dissatisfaction and disenchantment with the immediate and the particular, and at times with the enterprise of empire more broadly’. If this tends to mix cause and effect, the idea of dissatisfaction and disenchantment essentially mirrors Spacks’ definition of the symptoms of boredom, namely, ‘the incapacity to engage fully: with people, with action, with one’s own ideas’. ‘Imperial boredom’, therefore, was more than a fleeting moment of irritation with a particular situation or person and reflected a mind-set that derived from, and in turn, further contributed to, a sense of disillusionment with the overall project.

It stemmed, so Auerbach argues, from the marked contrast between how empire was represented and how it turned out to be, between ‘the fantasy and the reality’. ‘Empire was constructed as a place of adventure, excitement and picturesque beauty’ but too often lacked these features. Nowhere is this better described than in George Orwell’s Burmese Days, in which the promising young John Flory has become ‘yellow, thin, drunken almost middle-aged’. Beginning with this illustration, Auerbach argues that historians have too often overlooked this essential aspect of empire and sets out to discover the extent to which it was characteristic of what Flory called the ‘Pox Britannica’ more generally.

During the 17th century the British Empire sustained itself on the story that the colonial experience was both righteous and unbelievably exciting. Sea voyages were difficult, and when one eventually did reach landfall there was a good chance of violence, but the exotic foreign cultures, the landscapes, and the wildlife made the trip worthwhile. The British colonialist was meant to be swashbuckling. Advertisements for even the most banal household goods offered colourful and robust propaganda for life in the colonies. Travelogues and illustrated accounts of colonial exploration were wildly lucrative for London publishing houses. All of this attracted a crowd of young Brits eager to escape the drudgery of life in the metropole.

By the 19th century, expectations were catching up. As Auerbach makes it clear, from the beginning, the sense of boredom experienced by many Britons in new colonial settings was much more profound during the nineteenth century. Indeed, the latter was marked by a series of bewildering social, cultural, and technological changes that stripped the empire of its sense of novelty. The development of new means of transport such as steamships, the rise of tourism, and the proliferation of guidebooks jeopardised the sense of risk, newness, enthusiasm that had long been associated with the British imperial experience. Consequently, while “the early empire may have been about wonder and marvel, the nineteenth century was far less exciting and satisfying project.

Auerbach spent 20 years gathering evidence spanning the late 18th century to the turn of the 20th, which records feelings of being bored, miserable and deflated. It’s a captivating history of imperial tedium drawn from memoirs, diaries, private letters and official correspondence. In “reading against the grain”, as Auerbach puts it, he has focused on recorded events normally skimmed over by historians, precisely for being boring – multiple entries repeated over and over again about the weather, train times, shipping forecasts, deliveries, lists and marching; or about nothing ever happening.

In five thematic chapters, “Voyages”, Landscapes,” Governors,” Soldiers”, and “Settlers,” Auerbach shines new light on the experience of traversing, viewing, governing, defending and settling the empire from the mid-eighteenth century to the early twentieth century. The monotonous nature of the sea voyage, dreary and uninteresting imperial lands, daily routine, depressingly dull dispatches, mind-numbing meetings are some of the sources of an utter sense of imperial boredom.

Whilst the first chapter, Voyages, may be the logical starting-point, it presents particular problems. They may have been monotonous, but it is unlikely that they would have engendered feelings of disenchantment and disillusion at the outset of an empire life or career. Auerbach begins with the somewhat surprising assertion that ‘not until the first half of the 19th century did long-distance ocean travel become truly monotonous’, arguing that this was because, until then, the weather had been ‘a source of danger and discomfort’ whereas, by the mid-19th century, ‘it was barely worth mentioning’. Leaving aside the obvious difficulties with that approach – many 19th-century travellers, assuming they survived, described enduring terrifying typhoons in the Indian Ocean and South China Sea – voyages certainly could be monotonous, particularly, when steam replaced sail.

However, his assertion that this ‘helped to produce feelings of boredom that had never been felt before’ is more questionable. For example, whilst Sir Edmund Fremantle (1836–1929) wrote in his memoirs that, although the sea passages were ‘monotonous’, ‘it never occurred to [him] to be bored’, Auerbach suggests that, ‘in several places his memories [sic] belie his claims’, in that they refer to the ‘the monotony’ of various experiences, including cruising out of harbour under steam rather than under sail, which ‘always possessed some interest’. But, this not only contradicts what Fremantle wrote but also equates boredom with monotony and, thus, deprives it of any proper meaning.

Similarly, because the Royal Naval Surgeon, Edward Cree (1814–1901) recorded his passing the time ‘reading, drawing, walking on deck, eating drinking and sleeping’, Auerbach concludes that ‘almost every leg of his 1839 journey to the East was boring or disappointing’. However, he omits the opening words of this journal entry which reads, ‘making but slow progress towards China. Weather intolerably hot … The time passes pleasantly enough on board’, which suggests he was certainly not bored. Much of this chapter is not concerned with monotony but with how ‘dreadful’ sea voyages could be, particularly, for travellers to Australia, most of all transported convicts, who, as he shows, had to endure the most brutal conditions. But they had no expectations of empire and this seems to add little to the understanding of imperial boredom.

It may well be that, because voyages were so unpleasant, travellers became all the more expectant and thus disappointed, when, on arriving, they found, as Auerbach argues in the next chapter, that much of the landscape was dreary and uninteresting. Moreover, many could not decide whether they were in search of a landscape that was picturesque and exotic or ‘normalised’ by reproducing English architecture, gardens and surroundings. This dichotomy generated further disenchantment.

If Auerbach dwells too long on obscure painters who often had little success in making these imperial landscapes picturesque, there is no doubt that many of them were monotonous, not least the vast tracts of Australian out- back. Consequently, whilst ‘the early empire may have been about wonder and marvel, the 19th century was a far less exciting and satisfying project’ and this contributed to feelings of boredom.

In the chapter, ‘Governors’, Auerbach essentially covers the administration of the empire. Here, there was also a lot of monotony, although Auerbach wavers between whether this was caused by having too much or too little work to do. Either way, it leads to the assertion that ‘throughout the nineteenth century and into the twentieth, British imperial administrators at all levels were bored by their experience, serving king or queen and country’. However, this is qualified in the next paragraph, in which he cites the Marquess of Hastings, who served in India in the early 1800s, and Lord Curzon, who served as Viceroy at the end of the century, neither of whom, he says, suffered from boredom. It was ‘during the middle decades, that imperial service was far less stimulating’ but he does not explain why it should have been limited to this particular phase.

Indeed, in terms of the staggering quantity of paper generated by the ICS, the problem stretched back to the early 18th century. Records were copied and recopied, and months were spent waiting on instruction from London. The few encounters with colonised subjects came in the form of long, drawn-out formal events. Lord Lytton as Viceroy of India between 1876-1880 was required to bow 1230 times during one particularly ceremonial reception with the Viceroy.

Whilst it is ultimately fruitless to exchange examples of officials who did and did not find government service boring, some of those chosen by Auerbach are not convincing. James Pope Hennessy, for example, the eccentric Irishman who delighted in antagonising the colonials and endearing himself to the indigenous people with his unconventional views on racial equality, certainly found the European life-style monotonous but, as a result, made sure he kept ceaselessly active. In the words of his biographer, ‘the chief impression [he] made on British and Orientals alike was one of superlative vitality. “He would do better”, wrote Sir Harry Parkes “if he had less life”’, Coming from Parkes, that arch- imperialist, who allegedly died from over-work and could never have been bored, the comment is telling.

While idleness certainly contributed to boredom, it was often the labour of maintaining colonial control that proved to be the most dull. Increasingly professionalised, the management of the colonies became characterised by strict report-making, bookkeeping and low-stakes decision-making related to staff. Whilst these officials may have become disenchanted, it is unclear what sort of mind-set they had when they started out: according to Auerbach, ‘they may well have entered imperial service out of a sense of duty, or perhaps looking forward to a colonial sinecure that offered status and adventure as well as a generous salary, but instead found themselves inundated by a volume of paperwork and official obligations that they had never anticipated, and which they found to be, quite frankly boring’. As a result, they were ‘eager to escape the tedium of the empire they had built’.

Whilst this suggests that, as a result, they threw up their empire careers, the example of Sir Frank Swettenham does not seem to fit the picture. He may have found life from time to time ‘extraordinarily dull’, but he continued as a government official in the Malay States for thirty years, before retiring in 1901. His belief in the imperial cause seems to have overcome the dullness and trumped any possible disenchantment.

In the chapter entitled, Soldiers, Auerbach concedes that ‘the link between military service and boredom can be traced at least to the mid-eighteenth century’. However, he argues, what was different in the 19th century was that boredom was no longer simply ‘incidental or ‘peripheral;’ it was ‘omnipresent’ and this was ‘a function of unmet expectations’, namely, the unsatisfied thirst for action and bloody combat as the ‘small wars’ of the Victorian age became shorter and fewer. However, citing Maeland and Brunstad’s Enduring Military Boredom, he concedes that this omnipresent boredom is a ‘condition that persists to the present day, especially among enlisted men’. This, therefore, divests it of any imperial character and suggests that it was, and remains a feature of modern military service.

Nonetheless, it would have been interesting to know how this boredom affected the performance of the military in the context of empire. Certainly, it gave rise to some of its more unsavoury aspects, with drunken soldiers brawling and beating up the locals and spending much of their time in the local brothels.

According to Richard Holmes, by 1899, there was ‘a real crisis’ in the infection rates of venereal disease of British soldiers in the Indian Army: ‘for every genteel bungalow on the cantonment … there were a dozen young men, denizens of a wholly different world, crossing the cultural divide every night’. Here was imperial boredom in the raw and urgent measures had to be taken to abate its consequences.

Although the final chapter is entitled ‘Settlers’, it encompasses a much broader category of imperial agents, including women, who until this point have been little- mentioned, and, in particular, women in India ‘most of whom went there in their early twenties to work (or to accompany their husbands who were working) and then typically left by the time they reached their fifties to retire in Britain’. It is unclear why these women and, indeed the whole topic of women in empire, should be subsumed under this chapter heading, given their importance in the empire project and the attention given to them in post-colonial scholarship.

In recent scholarship, empire white women have been frequently misrepresented and lampooned in the literature, including the novels of E. M. Forster, George Orwell, and Paul Scott and all too often reincarnated as representing the worst side of the ruling group – its racism, petty snobbishness and pervading aura of superiority and shown as shallow, self-centred and pre-occupied with maintaining the hierarchy of their narrow social worlds. They have invariably been portrayed as both bored and boring.

The wives of these officials were encouraged to run their households in a similar way, managing a large domestic staff and keeping a meticulous watch on financial expenditures. Socially, they were faced with constant garden parties and dinners with whatever small group of colonial families lived nearby. It’s difficult to imagine just how dull the existence of these administrators must have been, yet in reading these colonial accounts, the temporality and the totalising effects of boredom feel undeniably similar to the way that we describe the monotony of work today.

Auerbach effectively reiterates the trope as a clichéd illustration of a female, reclining aimlessly on a chaise longue, conjuring up the familiar image of ‘the same women [who] met day after day to eat the same meals and exchange the same banal pleasantries’ and concluding that ‘it was not only in India that women were bored, which suggests that the phenomenon was not a localised one, but a broader imperial one’.

Of course many western women did find life in empire monotonous and suffered from boredom, if not depression, and no doubt many were insufferable, as were their husbands, but there is an alternative image and the analysis is so generalised that their contribution is, once again, in danger of being dismissed out of hand.

A more nuanced approach would have examined ways in which women overcame their boredom by pursuing activities in which they were anything but bored, including, most obviously, the missions, a category which, despite its importance, does not feature, save for one cursory comment to the effect that, ‘even missionary women, whose sense of purpose presumably kept them inspired, could find themselves bored’. The example given is that of Elizabeth Lees Price, who, at one point during her eventful life, had to help run three schools for 30,000 pupils. But, just because her diary recorded ‘with increasing frequency’ the comment ‘nothing has happened’, it seems a stretch to infer, as Auerbach does, that ‘not even missionary work was enough to stave off the boredom that afflicted women all across the empire’.

For Auerbach, recuperating boredom means reframing the experience of empire as one of failure and disappointment. In the context of colonial scholarship, which tends to focus on the violence of colonialism and the myth-making that went along with it, Auerbach’s book is rather counter-intuitive. He drains the power of these myths, looking instead at the accounts of those responsible for building empire from the ground up: “What if they were not heroes or villains, builders or destroyers,” he writes, “but merely unexceptional men and women, young and old, rich and poor, struggling, often without success, to find happiness and economic security in an increasingly alienating world?” The agents of colonialism struggled to find any semblance of agency in the work that they were doing. Imperial time stretched out, deadened over decades of appointment in far off islands and desert outposts: a sort of watered down version of Hannah Arendt’s “banality of evil” in paradise.

Whilst Auerbach demonstrates that much of empire life was monotonous, to my mind, he is too quick to infer that this monotony necessarily gave rise to feelings of ‘imperial boredom’, properly so-called. He also too easily assumes that, where people were bored, this could only operate in a negative way and, whilst he may be right in concluding that, ultimately, ‘the British were, quite simply bored by their empire’, he fails to draw the evidence together to explore what impact imperial boredom had on the development of empire, for better or worse, during the long 19th century.

If not quite an invention of the 19th century, boredom was a particular preoccupation of the period: the product of new assumptions about the separation of work and leisure and a prominent theme of fin-de-siècle literature. Less clear is whether Auerbach is right to treat boredom separately from other emotional states – anxiety, loneliness, anger, fear – which afflicted the imperialist psyche. After all, a long literary tradition – from Conrad to Maugham, Orwell, Lessing and Greene – describes precisely how those varied shades of neurosis blended into one another.

Besides, a more capacious history of discontent and Empire might help to connect the frustrations of the imperialist experience to the suffering of imperial subjects. When, for instance, did boredom turn to aggression and violence? One danger of Auerbach’s approach in Imperial Boredom is to portray an enervated and under-stimulated, yet still extraordinarily powerful, elite as more or less passive.

As imperial rivalry intensified towards the end of the century, so did the quest for new ways of staving off boredom, not only for men in the British Empire but also for those in the other European empires, and war was one of the most obvious solutions.

As other imperial historians have argued, what Europeans were seeking was everything the nineteenth century, in its drawn-out tedium, had denied them. War as Cambridge historian Christopher Clark has argued, “was going to empower them and restore a sense of agency to their limbs and lives.” Auerbach refers to what Clark called ‘the pleasure culture of war’, citing the example of Adrian de Wiart who, serving in the Boer War, knew ‘once and for all, that war was in my blood. I was determined to fight and I didn’t mind who or what’. But he does not explore the consequences of this mood further, other than to say that these adventurers also ‘ended up bored … and disillusioned’. But, the implications were, arguably, much more far-reaching.

Even if it was not directly causative, this mood was ‘permissive’ of the more direct causes and certainly formed part of the background against which Europe went to war in 1914. It may be thought that it did so in a fit of imperial boredom.

I admire the audacity of Auerbach’s writing and as a revisionist piece of history it has the dash and dare of British imperialism and colonialism. But after reading the book I came away thinking that sweeping statements such as that the empire developed “in a fit of boredom” are a tad unconvincing.

Although he spent about 20 years collecting materials, Auerbach seems not to have visited Africa or India during his research. Had he done so, I doubt if he would all too easily accepted that colonial accounts of being bored represented the full experience. Absent are deeper discussions of how expressions of being bored are linked to racism, arrogance and the need to assert power in exotic, challenging and unstable environments. Emotional detachment, disdain and a demand to be entertained were also part of a well-rehearsed repertoire of domination.

But where Auerbach does succeed is in admirably capturing the texture of everyday imperialist life as few historians have. Most of these examples are compellingly relevant and illustrative of some of the colonial circumstances that drove Britons mad with boredom, challenging one of the enduring myths about the British Empire as a site of exciting adventure.

If you are a lover of histories of white imperial rulers and thumbnail portraits, this book is for you. It’s full of excellent quotes. Lord Lytton, for example, fourth choice to be governor-general of India in 1875 (and appalled by the prospect), later summed up the British Raj as “a despotism of office-boxes tempered by the occasional loss of keys”. It was certainly the case that propaganda about empire and the populist books written about it to make money created false expectations, leading to bitter disillusionment. Nostalgists for the age of pith helmets and pukka sahibs will find little comfort here.

In mining the gap between public bombast and private disillusionment, Auerbach demonstrates that – even for its most privileged beneficiaries – Empire was almost never a place where fantasy became reality. I would suggest that rather than the British Empire being mostly boring, more accurate would be David Livingstone’s verdict on exploratory travel while battling dysentery: “it’s not all fun you know.”

The concept of imperial boredom provides a novel and illuminating lens through which to examine the mind-set of men and women working and living in empire, how it was that, despite the crushing monotony, so many persisted in the endeavour and what this tells us about the empire project more generally. There are all states of mind familiar to historians of empire (in the lives of their subjects, of course). It has long been argued that strategies to relieve moments of white boredom in the empire included cheating and adultery, husband hunting, trophy wife hunting, massive consumption of alcohol, gambling, copious diary and letter writing, taxidermy, berating the servants, prostitution, bird-watching, game hunting, high tea on the verandah, fine pearls and ball gowns, all were par for course in the every day lives for those bored British colonisers.

Auerbach’s book reminds me of a not so nice female character bemoans James Fox’s scandalous but true to life colonial novel White Mischief (1982), as she looked out over the Rift Valley in 1940s colonial Kenya, she declares, “Oh God! Not another fucking beautiful day.”

An earnest post-colonialist studies reader might might feel triggered by such a flippant remark as evidence of all that was wrong with the imperial project but at heart it’s a pitiful lament disguised as boredom at the gilded cage the British built for themselves to capture the enchantment and disenchantment of every day life in the British Empire.

#treat your s(h)elf #books #book review #bookgasm #reading #imperialism #british empire #boredom #british #history #colonialism #imperial boredom #jeffrey auerbach #empire #personal #bio #childhood

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sinterblackwell · 4 years ago

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kaylina’s top ten books of 2020 🖤

update 01/13/21: i stupidly forgot about a book that upended my life and made me fall in love with historical fiction, and so thus,,,everything has changed 😔

what that means is that a few of the original titles listed here have either been moved around or removed; i apologize to myself for the inconvenience. i do recommend reading through a bit of this again if you already read it the first time as i also revised my thoughts on one book mentioned here, so just something.

one of the things i wish for the most in 2021 is that i get to share more about my love for reading, so here’s the first post of many to satisfy that wish.

throughout 2020, i wrote some posts on a complete whim about the stories i was reading and they just kept piling on and on because i was so caught up in the euphoria of having something to turn to when school was dragging me down. i found myself to really enjoy talking about these books while i was on here so i felt it would be a worthwhile conclusion to give a good wrap-up of the top ten books that made 2020 more bearable among all of the bad.

this post is very long so if you’re curious to see what ten books stood out to me this year to make it to this list, you can keep reading in the cut below. it’s all sort of a ranking so it’ll explain why the list is backwards, and i’ll also link more information on the titles in case any of you are interested :’)

first things first, here are three honorable mentions that didn’t quite make the cut but are still important to me one way or another.

3. circe by madeline miller

i have to give thanks to scylla for being one of the main reasons i considered this book as one of my top favorites, a nymph-turned- monster that circe has to face more than once in this story.

also, miller herself building this book upon a figure who was barely considered in the odyssey is like a big slap to all the scholars out there who didn’t consider circe anything else but a jealous madwoman who used sorcery as her vengeance for all the sailors who came across her island.

cheers to the author for having actual critical thinking skills 🥂

2. the invisible life of addie larue by v.e. schwab

i did write a review for this book that i don’t find nearly as coherent as any other review i’ve written in 2020 but here it is if any of you are interested.

the fantastical elements of this story, along with some of the portrayal of certain characters such as luc and those that passed addie by made me fall in love with what v.e. schwab had to offer.

however, i can’t help but think that there’s s a lack of depth regarding minorities in this historical fantasy also set in the modern day. there were bits and pieces of this story that made me pause and feel like something was missing, aspects to it that left something to be desired. thinking back to it now, and after seeing a reviewer’s update on their review of this story, i‘ve come to understand that it could be because i knew this book could’ve been so much stronger if the mc was BIPOC or there were more characters of color who could give their own piece to the story as well.

there’s so much more i can say about it, but that’s a post entirely of its own to be made in future, i hope.

1. the year of the witching by alexis henderson

probably the best reading experience i ever had in 2020. here’s a review that goes into a bit more detail :’)

and here we go!!

10. clown in a cornfield by adam cesare

this book was so fun. i didn’t realize how much of a good time with this story i had until i was thinking about it last night. i mention in my review that i’m not a big horror reader but you can genuinely tell how much the author themself was a big fan of the genre and poured so much of their love into this book. it’s because of that love that i’m grateful for how much i enjoyed this story as a reader who typically is drawn more towards fantasy and contemporary fiction.

i didn’t have much of an attachment to the characters but they did make me laugh and smile despite this being a slasher horror, and because of that, this has become a pretty memorable book for me.

9. sex with shakespeare by jillian keenan

sex, to me, has always felt like a taboo topic, not just because i don’t have experience in it but because it all seems so complicated to me so just talking about it feels like i’m way out of my depth. what made this such an enlightening read for me was seeing how the author was discovering her sexuality through the influence of shakespeare’s works. keenan is very open and considerate of what readers may think going in learning about her fetish but she holds her own when it comes to her personal experience and how much more complicated one’s sexuality really is.

i highly recommend reading this article she wrote for the new york times here for more insight about her sexuality before this book came to be.

in this compelling memoir, the author literally brought shakespeare’s own characters to life and made them feel real, connecting them to her journey throughout her life. this to me, was something i could completely relate to because there are fictional characters i envision in moments of my life where i need them most and seeing the author herself explore that felt so real and imaginative to me.

this book was funny, light-hearted in some parts but incredibly vulnerable overall. i found the insightful analyses she’s made with shakespeare’s works so smart and well-written, i couldn’t give this book anything less than a five-star.

8. blood water paint by joy mccullough

written in verse, this historical fiction took me a while to get through but only because it was just one of those weeks where reading wasn’t that easy for me. once i finally got back into the stick of things, i completely devoured the rest of this story in less than a day.

the main character’s love for art was written with so much vision and spilled out in all these bright colors as depicted on the cover. what i particularly loved about this story were the interludes, little pieces inbetween chapters where the main character reflects on her deceased mother’s stories that were told to her when she was young. these characters that the mother envisioned in her storytelling became a source of light for the main character in her real life, where she then is raped by a popular artist in her village that was a mentor to her for a brief time. the aftermath of this assault culminated into a trial that got quite bloody, particularly involving self-afflicted torture in a matter of dignity.

the title makes sense once we’re in the aftermath of this trial, but how the characters from her mother’s storytelling come to life in the moments when she feels vulnerable are something i was completely enraptured in. this was because it wasn’t just their stories being told, but it was also the main character’s. seeing fiction and reality converge in such a time where women were used and borrowed felt like a vindication of sorts, very telling in how the arts works wonders upon a world that prioritizes logic over matter.

7. everything i never told you by celeste ng

this is a story about a family who’s dealing with the grief of the middle child, who’s assumed to have committed suicide. having the story reflect on each family member before and after lydia’s death, each of them dealing with grief in their own ways, impacted me just the same as how i saw how much they were grieving even before everything was torn down to pieces, all to the point where there was no way to go back. family sagas in literary fiction are always something i find myself to really connect with, and this one was no exception.

i’d also recommend listening to “ven” by cami, if not because you yourself might understand my feelings about this story a bit better then just because it’s a really good song that i discovered as i was reading this book.

6. darius the great is not okay by adib khorram

there��s one particular post i made regarding this story that i’d love to share here. through that post, i share a bit about my connection to darius as our narrator in this first book and then going on to the second book, “darius the great deserves better”, review for that sequel here.

just as darius felt a disconnect to not just his persian side of the family, but also from his entire family as a whole, i felt the same when it came to my dominican heritage. reading his journey throughout this first book in his own voice meant a lot to me then and it means a lot to me now.

seeing him grow and create bonds with characters like sohrab, his depression not being put off to the side but not beholding itself as the center of the story, and then just the persian culture all in itself when darius and his family travel to iran due to personal circumstances--all of it, makes this story something so incredibly special to me.

i learned a lot from this book, and seeing family at the forefront throughout all this was everything.

5. autoboyography by christina lauren

lo and behold my 2020 comfort book of the year + one of my favorite books of all-time. it’s the same feeling i had with “verona comics”, except even stronger because i came into this book thinking it’d be a nice and light read but it was so much more than that.

not only did this story center around two teenage boys in love but it also took into account of the relationships that they both had with other characters in this story. the portrayal of both tanner and sebastian’s families moved me beyond belief, for entirely different reasons, but seeing their story play out along with these two characters made this story hit even harder than i would expect. the location of this story and the significance of that plays such a huge role when it came to how tanner’s bisexuality was represented throughout, and how sebastian’s own grapple with his sexuality affected parts of the story. the author’s note at the end was just about anything i could ever want when it comes to understanding the purpose of one specific story, except i already learned so much from it that reading that note made the characters feel even more real.

may i suggest listening to “someone” by michael schulte because the lyrics of this song and the singer’s voice itself remind me strongly of tanner and sebastian’s relationship? which thus led it to becoming a big comfort song for me? so much so that it was my 2020 song of the year on spotify? no? yes? cool :’)

4. clap when you land by elizabeth acevedo

this was my first acevedo book, “the poet x” being her most popular work, but “clap when you land” for me too important a read that i didn’t want to miss as i was first going into acevedo’s writing. you can say that it’s because of how much this book means to me that it motivated me to read her sophomore novel “with the fire on high” and motivates me to finally read her debut “the poet x”.

i’ve talked to myself a lot about the personal connection i have with this book, but i’ll just say here that the context behind how these two main characters weren’t aware of each other’s existence and what it meant as they were also dealing with the fact that their now-dead father was still there for them despite having them in two different places,,,,,it’s just too monumental for me to put into words here. this author being afro-latina just like me and having written this story about a flight destined to dominican republic that never actually made it, and with so much heart above it all, i connected with it a lot.

as a dominican who feels both connected and disconnected to her heritage, this story breathed so much life into me. i wish you can know just how much.

3. lobizona by romina garber

the fact that i thought everyone would talk about this 2020 release with so much fervor and yet here i am holding the weight of this story with both shoulders,,,,unbelievable. i always feel insecure when it comes to recommending a book because the fact that i thought this one was incredible but not a lot people have talked about it, it makes me wonder why that is.

i really loved this book because as fast of a read as it was, there was so much to take in that you can tell how much effort the author put into it. as a fantasy, it’s connection to our reality is so grounded that it makes you wonder if it actually exists, and the background of our main character raises the stakes of a story like this where one’s identity matters too much to simply be blurred into the background. i loved seeing how there was animosity between these characters that we meet and the main character because despite having ties between each other, that doesn’t ignore how much labels in our society and the connotations that come with it carry its weight. seeing the sacrifices that were made and the discoveries coming at our main character with such a force, there was something so exciting that came from reading this book but it was very solemn overall.

the reason why this story isn’t at the #1 spot is because of technicalities, as i do admit that the ending did feel a bit rushed. but!! it made me more excited to see what’s to come in the second book of this series, “cazadora” (set to release in august 2021) so there we have it.

2. black sun by rebecca roanhorse

inspired by the pre-Columbia Americas, this story and its different narrators enraptured me in each and every page, my love for naranpa and serapio as characters soaring beyond the pages. all these different narrators appeared to have started this story as if they had no ties to each other but really, these web of characters are so interwoven with each other that there’s no telling what their destinies reveal. seeing how naranpa and serapio’s fates were tied together (not romantic, just a note in case i made it seem as such) put me on edge because there was so much political conflict and then here was a prophecy that put so many lives at stake, it was hard to know what could possibly happen. because of this, the ending of this first book in the “between earth and sky” series absolutely bowled me over and i cannot wait to see what could possibly happen next.

let me also just show my appreciation for one of the narrators, xiala, who for some reason made me think for a brief moment that her part in the story was over but really, that could not be further from the truth, i have to believe in that.

here is a review written by one of my favorite book bloggers about this story, listing five reasons as to why reading “black sun” could be an absolutely brilliant reading experience for you. it’s much more detailed and brings so much justice to this story than i ever could so if you’re interested, i highly recommend you check it out.

1. “lovely war” by julie berry

a mythic historical fiction that explored ww1 spanning a circle of characters, including the greek gods themselves—it was bound to catch my attention.

the beginning of this story immediately solidified my interest in the plot, the gods and aphrodite herself regaling the tale of mortals caught in the brink of a war that not only came with death and terror but music and bonds formed under strenuous circumstances.

watching as this journey didn’t exclude the gods themselves and how they were affected in what’s ultimately a love story, but not exclusively a romantic one, made this book become something so close to my heart, i’ll never let it go. i highly recommend.

and we’re done!! thank you to those who’ve read this far, this was actually a lot of work with a lot of links but i hope there’s something that you guys got out of it in the end. i’m really proud that i did this but i’m more proud of myself for having read so much in 2020 to have even been able to make this post.

thank you to all the new characters i met who will stay in my heart forever but most importantly, my thanks go to the authors who worked so incredibly hard to get their books out there, some with debuts and others with a beginning of a new series; you guys have done so much among all the trials of 2020 and i, along with so many other readers, will continue working to get your stories out there this year and the years ahead, that’s for sure.

happy new year to all of you and stay safe, everyone.

#❣️#this is a lot ik but i tried :’)#booklr

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my-darling-boy · 5 years ago

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hello! i really want to learn more about ww1, i saw 1917 and it sparked something in me and ww1 specifically seems so complex and interesting, but it is has a lotttt of information, do u have any advice for any specific things to read/learn about first? or should i just dive in head first and learn about random stuff?

Good question! Also, I’m REALLY happy 1917 is bringing in a lot of new people wanting to learn more about WWI!

The good news is I find WWI is a subject that naturally allows you to branch out your knowledge no matter where you start. My best tip for learning more about the history: start out with ANY area that interests you, find a fact about it, and see where it takes you! I guarantee you’ll start out just wanting to know a little more about food served in the trenches and by the end of the week, you’ll be chest deep in a million other things you got caught up in learning!

For example, one of the first things that got me interested in WWI was a memoir (which I HIGHLY recommend) by Vera Brittain: Testament of Youth. From there, I researched her brother, Captain Edward Brittain and stumbled upon the story of his death and his homosexuality. It led me to Geoffrey Thurlow, a friend he showed clear evidence of having been in love with, and then the changes in male affection during the 1900s. It led me to learn of the “Edwardian Period” and delve into the social, political, and aesthetic aspects of the era. I started watching WWI films, reading academic articles, buying books, and one piece of information led to the next!

If 1917 is what got you into this, that’s a good sign! Cos I bet you were just as hurt as I was seeing depictions of that tragedy and were moved by that heartbreak! But while you’re learning about uniforms and trench foot and so on, I think a good chunk of time should also be dedicated to understanding why it’s simultaneously important to be critical of the war, and understand more about why people were very critical of it at the time, and the lasting impact it had on soldiers all the way up to young people today because it’s a HUGE theme throughout the conflict. I do a much more eloquent job explaining it in an ask someone sent me about my interest in studying, but like I said, VERY important to understand the extent of its effects and how what happened catalysed the modern lust for violence, and why a lot of mainstream remembrance efforts today end up exploiting this tragedy for nationalist-like agendas

I will say, even though it’s not filled with as many Insufferable White Boys as the ones found lurking in WWII forums, it’s war, so you still get your fair share of nationalist, white supremacist, imperialist, pro-war, sexist/misogynist pricks, so please do research with discretion and try to avoid these people (i.e. don’t even look at the comment sections on some websites) and watch out for those boasting about how “honourable” it is for boys to have joined up and died for their country at 15 and that there is something “glorious” to be had in war (because is the biggest lie men have invented for themselves and perpetuate the bs well into the 21st century unfortunately)

Some classic things I recommend reading/watching because they got me started on bits of my own research over time and one of them might be of some interest to you:

Testament of Youth, by Vera Brittain (Book)

This true memoir details how the war affected a young British university student and how the tragedies she witnessed led her to become a VAD nurse, feminist, and pacifist. If you are a more visual learner, it was made into a beautifully shot 2014 film (obviously with some inaccuracies and omitted details) and a more in depth BBC miniseries available for free on YouTube. You may also enjoy the books “Letters From a Lost Generation”, “Because You Died”, and “Vera Brittain and the First World War” which give even more information about the Brittains and the war written by the family’s historian

The Christmas Truce commercial everyone still cries over (video)

It’s a couple minutes long, perfectly sums up what draws me to keep studying the war and my love for learning about the unique changes in human connection during the war

All Quiet in the Western Front, by Erich Maria Remarque (Book)

Another classic example of anti-war literature a lot of people start out by reading from a German perspective. You can also watch the 1930 film adaptation of the book if you would like a visual (even if it has American actors)

They Shall Not Grow Old (Film)

AMAZING first hand accounts and original newly remastered footage from the First World War. It’s arguably neautral in its stance on various factors on the war, but it does a tremendous job showing what life was like at the front and giving voices to the soldiers that lived through it to share their stories.

Oh What a Lovely War! (Film)

Another solid (and entertaining) example of media showing high criticism for the war. This film was revolutionary for its time after roughly 50 years of societal silence about the consequences and negative impacts of WWI. It is incredibly condescending and an absolute anti-war gem

Great War Tommy: the British Soldier 1914-18 (Book)

If you’re a visual learner like me and want information about the kit of a British soldier and drill among other kit care details with LOTS of photos, this a GREAT book

British Uniforms and Equipment of the First World War (Book)

Like the above but has a VERY extensive library of photos for uniforms and equipment, and even shows niche patches and what some uniforms look like inside-out! It’s available for download through MLRS Books online

Valiant Hearts (Game)

From the French perspective. Very heartbreaking game about a French soldier produced in a very unique art style and has a wonderful soundtrack. Great if you like causal, story rich games

11:11 Memories Retold (Game)

This very artistic, stylised game tells the story of a Canadian photographer hired to take photos during the war as well as a German soldier looking for his son at the front. Again, superb soundtrack, and excellent if you love causal, story rich games

Shepard’s War, by James Campbell (Book)

A lovely compilation of original artwork and biographical details about E. H. Shepard during his time as an officer in WWI. If you don’t know, Shepard is the illustrator for Winnie the Pooh! Very intriguing to see his depictions of WWI soldiers as someone who was responsible for a childhood classic

Journey’s End, by R. C. Sherriff (Play)

This play tells the story of a trio of British officers on the frontline and how the effects of shellshock has greatly impacted one of the main characters. It was also made into a film in 2018 staring Asa Butterfield, Sam Claflin, and Paul Bettany

Not About Heroes, by Stephen MacDonald (Play)

A play which tells about the gay friendship between wartime poets and officers Siegfried Sassoon and Wilfred Owen

Blackadder: Blackadder Goes Forth (Show)

You might have grown up watching reruns of this show already, but in case you haven’t, it’s the fourth series of the BBC historical comedy show Blackadder and is about as condescending as Oh What a Lovely War, but much less Heavy, aside from the last episode that is. I’ve learned it’s kind of a staple in references made by some reenactment groups :P

YouTube also has TONS of WWI documentaries from every subject under the sun, ranging anywhere from 2 minutes to 2 hours. Obviously it will be a little harder to tell if the information given is without bias, misinformation, or has questionable undertones, but it’s usually a good way to teach yourself how to always be critical of any information you take in, and also a low-maitence way to keep learning. I find it’s nice to keep a balance between informative non-fiction and historical fiction when doing WWI research to keep variation in my study and also to test my ability to tell apart inaccuracies, or just to take a break from the crushing reality of it all!

In conclusion, the answer is jump right in! You’ll learn the ins and outs of WWI research as you go along! The more you learn, the more you’ll get the hang of it!

Happy researching!

#asks #wwi #long post

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heatherjeff · 4 years ago

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2020 Book List

It has been ages since I have written and, like everyone else, there seems to be a bit more unstructured time in my everyday life. It makes perfect sense the impetus for a return to blogging is books, reading is fundamental!

My friend, KDaddy, annually shares the list of books he’s read. The first time I noticed his list I was thrilled, took notes, commented on how happy I was, and proceeded to read many of his recommendations. When it became clear 2020 was going to be a little different books became an even bigger part of my days as well as an escape from the grind of the news and the pandemic.

When KDaddy tagged me with his book list this year, it occurred to me I have a little platform where I can post my own year in review. Books are the best and reading has served me well my whole life, 2020 was no exception.

First, a few facts. This year I read 35 books, for comparison I read 24 in 2019. That makes me happy especially since there are not a million things about 2020 to invoke a sense of accomplishment. I have long kept a book journal since my title and author memory is similar to a sieve. At the start of the pandemic everyone in my house was gifted a kindle, I was not a fan of the plan, paper books are my love language. As this time has worn on, the kindle has proven to be a brilliant and magical purchase. Libby is a completely modern wonder and the next time I am in NYC I will, for sure, treat myself to a library card from that library system.

With no further ado let’s talk books.

Definitely Read:

The Nightingale: A Novel by Kristin Hannah

Two sisters reacted to the unfolding atrocities of WWII in very different ways. Both were fierce, suffered in ways unimaginable to most of us, and illustrated the many ways women are impacted by a war. Such a powerful read.

The Home for Unwanted Girls by Joanna Goodman

Great read based on a true story about a teenager who became pregnant. Her family forced her to give up her baby and it was placed in a mental institution for the sole reason the child was an “orphan”. Many more plot twists follow, this was a gem of a book.

Women in Sunlight: A Novel by Frances Mayes

This book kicked off as total cliche and morphed into complete life goals. Three older women, all single for a variety of reasons, strike up a friendship and move to a Tuscan Villa. I want to be them someday in Italy living with the locals.

The Boy Who Harnessed the Wind by William Kamkwamba and Bryan Mealer

YA This came highly recommended from my youngest. It opened his eyes to the world in a huge way and he was very committed to sharing this story with all of us. William is a complete force of nature and against (truly) all odds changes the trajectory or his family, his village, and his life with ingenuity and desire. Love this book so much.

Little Fire’s Everywhere: A Novel by Celeste Ng

Heard so much about this book and completely loved it all. So. Many. Plot. Twists.

Dear Martin by Nic Stone

YA read from my kid, a MUST read. This book was chilling on a 1,000 different levels. Race, police profiling, education, culture- Nic Stone packed it all in and it opened my heart and sparked some good conversations in our home.

Girl, Woman, Other: A Novel by Bernardine Evaristo

This thoughtfully constructed book was a gift from another reader friend and is one of my favorite reads of the year. It shares multiple first person layered viewpoints from British women who span every part of society. Great read.

Dutch House by Ann Patchett

Let’s be clear, I love Ann Patchett. Love. Whenever she authors a new novel I am jazzed and the Dutch House is no exception. The house becomes an actual character in the story and has everything to do with the brokenness of family who moves into it.

Shoe Dog: A Memoir by the Creator of Nike by Phil Knight

Unpopular opinion, I am not a fan of Nike. I am a tremendous fan of Phil Knight’s innovation and hustle. Phil is a visionary and expert storyteller.

The Tatowist of Auschwitz: A Novel by Heather Morris

The novel is based on interviews with Lale Sokolov, a Slovakian Jew who used his position of relative privilege to positively impact the lives of as many fellow prisoners as possible. I had to read this book fast since it impacted my sleep, which it should. Incredible read.

American Dirt: A Novel by Jeanine Cummins

Ooofff, this book is hard to read. I started and stopped because I could not sleep and opted to read it during daylight hours only. It is seriously terrifying in a million ways. It is about a family who has to flee from Alcopulcio to the United States due to extreme violence from the local and very well connected drug cartel. This book is a testament to the grit of illegal immigrants and an eye opening read about the terror they face.

Just Mercy: A Story of Justice and Redemption by Bryan Stevenson

True story of Bryan Stevenson’s quest to navigate the criminal justice system in the rural south where he aims to help the most disadvantaged in the system. Timely, eye opening, and full of action items we all need to help with for the betterment of our society.

City of Girls: A Novel by Elizabeth Gilbert

Books by Elizabeth Gilbert are some of my favorites and I was concerned when I started this book, it was a struggle. It came together and I ended up loving it. A story about NYC in the 1940’s centered around a girl/woman who is sent to live with her aunt at her playhouse full of showgirls. It was such an unrelatable read, it transported me to a time I have never really considered and it was a trip worth taking.

Totally Enjoyable:

True Colors by Kristen Hannah

Reads like YA fiction and I loved it. It’s about a ranch family, their horses, land, siblings, their live father and deceased mother. It is not deep and is a fun read.

In a Dark, Dark Wood by Ruth Ware

This book was intense, fun, & slightly scary. A “hen party” in a, literal glass house, becomes the scene of a murder.

The Queen of Hearts by Kimmery Martin

This is a fun read about two best friends who become doctors together and then the plot thickens. Can’t say more, it is complicated.

Freud’s Mistress by Karen Mack

This was my last library loan before the pandemic. It is a fascinating read based loosely on the dynamics of Freud’s family, drugs, affairs that feel a bit like incest, a huge male ego, this should not sound familiar in any way!

The Sun is Also a Star by Nicola Yoon

YA, loaner from my kid (which came to my nightstand highly recommended). This is a sweet, sweet love story of two teenagers who have very different backgrounds and lots of big feelings. The whole book takes place over the course of one day.

It All Comes Back to You by Beth Duke

This was a surprise hit and it sucked me in. The story is about a nurse in a retirement community who befriends a resident who lived a big life.

The Queen’s Fortune: A Novel of Desiree, Napoleon, and the Dynasty That Outlasted the Empire by Allison Pataki

I admit, I am a fan of royalty, it is so intriguing and this book was completely spellbinding. The story is based on Napoleon's France and it was messy.

The Immortal Life of Henrietta Lacks by Rebecca Skloot

NF This book is amazing. A poor black woman has cancer cells removed from her body, these rapidly reproducing cells become known as HeLa cells and change the trajectory of modern medicine. There are so many consequences from this seemiling small discovery and the impact to the medical world and to Henrietta’s family are far reaching.

The Woman in the Window: A Novel by A.J. Finn

Read this in one day at the beach, I was sucked into this story of Anna Fox and her salacious neighborhood drama.

The Last Romantics by Tara Conklin

I know I liked this book and made a note about the “pause” taken over the summer when the kids in the family basically ran wild. That’s all I’ve got.

Untamed by Glennon Doyle

There was a ton of hype around this book and it is well deserved. Glennon tells it like it is and, like it or not, she has a lot of points that hit. I read this on my kindle and think I would have liked reading the physical book more.

This is the Story of a Happy Marriage by Ann Patchett

Short stories from Ann Patchett? Yes, 100% yes. The story of her relationship with Lucy, of Truth and Beauty: A Friendship, was wonderful as was the explanation of her book store in Nashville.

After You: A Novel (Me Before You Trilogy) by Jojo Moyes

I have zero idea that Me Before You was a trilogy! It is a total candy read, you are not going to learn much about your soul or the universe, but it is fun and better than TV. And yes, I will read the third book in the trilogy because candy is good!

The Saturday Night Supper Club by Carla Laureano

Also a trilogy, another happy surprise. This book is fun, another candy read, and so appealing. When I was a kid I wanted to have a restaurant so this story made my heart happy. It is a bit too clean, a bit cliche, and an enjoyable read.

Daisy Jones & The Six: A Novel by Taylor Jenkins Reid

This novel will transport you to a land of sex, drugs, and rock and roll. I read this was loosely based on the story of Fleetwood Mac, true or false, this book captures a moment in history and reads a lot like a play and is completely enjoyable.

Everything I Never Told You by Celeste Ng

This is the book written before Little Fires Everywhere, similar deal- family strife/mystery, kind of riveting with lots of twists. Solid read.

Maybe You Should Talk to Someone: A Therapist, HER Therapist, and Our Lives Revealed by Lori Gottlieb

NF, look at a therapist who finds herself in need of therapy. It is kind of a russian doll type of read with layers, upon layers, hidden within each other.

With the Fire on High by Elizabeth Acevedo

YA, another loaner from my kid. Such a great book about a kid who wants to be a chef and express herself through her cooking. She is a teen mother living with her abuela, it is a heartwarming book and I love the main character’s spirit.

Sidenote: schools around here are closed for the duration yet students can reserve library books and go to the local library of your choice where their school librarians greet them, warmly, in the parking lot for a drive by pick-up. It is a wonderful and much appreciated service being offered to our kids.

Nine Perfect Strangers by Liane Moriarty

This book is ridiculous, it had a strong start, went sideways but was fun and overall enjoyable. The premise is nine people descend upon an exclusive health retreat. The woman who is in change morphs from motivating to overlord, obviously.

No Thank You:

13 Reasons Why by Jay Asher

YA read, loaner from my daughter. I did not like this one bit, it made sucide seem so glam. Glad I read it and am always happy when my kids share books with me and I will always hate stories of kids’ suffering.

There There: A Novel by Tommy Orange

This book was hard to follow, had too many characters, and there was a very dark thread that I did not enjoy.

The Handmaid's Tale by Margaret Atwood

This book hit me at the wrong time this year. The dystopian nature felt a little too close to home. I know it is a work for the ages but it was all ouch.

Wow, that felt good to reflect on and process. I have never really looked for threads in my own reading and knew a few things already but like seeing the balance of candy books and hard, timely topics. All in all I feel great about my 2020 reading list and hope there are titles that interest or resonate with you too. Here is to libraries reopening someday in the near future so we can browse the shelves with abandon.

#bybye2020 #don't call it a comeback #maybe a comeback

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birdlord · 5 years ago

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Every Book I Read in 2019

This was a heavier reading year for me (heavier culture-consumption year in general) partly because my partner started logging his books read, and then, of course, it’s a competition.

01 Morvern Callar; Alan Warner - One of the starkest books I’ve ever read. What is it about Scotland that breeds writers with such brutal, distant perspectives on life? Must be all the rocks.

02 21 Things You Might Not Know About the Indian Act; Bob Joseph - I haven’t had much education in Canada’s relationship to the Indigenous nations that came before it, so this opened things up for me quite a bit. The first and most fundamental awakening is to the fact that this is not a story of progress from worse to better (which is what a simplistic, grade school understanding of smallpox blankets>residential schools>reserves would tell you), in fact, the nation to nation relationship of early contact was often superior to what we have today. I wish there was more of a call to action, but apparently a sequel is on its way.

03 The Plot Against America; Philip Roth - An alternative history that in some ways mirrors our present. I did feel like I was always waiting for something to happen, but I suppose the point is that, even at the end of the world, disasters proceed incrementally.

04 Sabrina; Nick Drnaso - The blank art style and lack of contrast in the colouring of each page really reinforces the feeling of impersonal vacancy between most of the characters. I wonder how this will read in the future, as it’s very much based in today’s relationship to friends and technology.

05 Perfumes: The Guide; Luca Turn & Tania Sanchez - One of the things I like to do when I need to turn my brain off online is reading perfume reviews. That’s where I found out about this book, which runs through different scent families and reviews specific well-known perfumes. Every topic has its boffins, and these two are particularly witty and readable.

06 Adventures in the Screen Trade; William Goldman - Reading this made me realize how little of the cinema of the 1970s I’ve actually seen, beyond the usual heavy hitters. Ultimately I found this pretty thin, a few peices of advice stitched together with anecdotes about a Hollywood that is barely recognizable today.

07 The Age of Innocence; Edith Wharton - A love triangle in which the fulcrum is a terribly irritating person, someone who thinks himself far more outré than he is. Nonetheless, I was taken in by this story of “rebellion”, such as it was, to be compelling.

08 Boom Town: The Fantastical Saga of Oklahoma City, Its Chaotic Founding, Its Apocalyptic Weather, Its Purloined Basketball Team, and the Dream of Becoming a World-class Metropolis; Sam Anderson - Like a novel that follows various separate characters, this book switches between tales of the founding of Oklahoma City with basketball facts and encounters with various oddball city residents. It’s certainly a fun ride, but you may find, as I did, that some parts of the narrative interest you more than others. Longest subtitle ever?

09 World of Yesterday; Stefan Zweig - A memoir of pre-war Austria and its artistic communities, told by one of its best-known exports. Particularly wrenching with regards to the buildup to WWII, from the perspective of those who had been through this experience before, so recently.

10 Teach us to Sit Still: A Sceptic’s Search for Health and Healing; Tim Parks - A writer finds himself plagued by pain that conventional doctors aren’t able to cure, so he heads further afield to see if he can use stillness-of-mind to ease the pain, all the while complaining as you would expect a sceptic to do. His digressions into literature were a bit hard to take (I’m sure you’re not Coleridge, my man).

11 The Power of Moments: Why Certain Experiences have Extraordinary Impact; Chip & Dan Heath - I read this for work-related reasons, with the intention of improving my ability to make exhibitions and interpretation. It has a certain sort of self-helpish structure, with anecdotes starting each chapter and a simple lesson drawn from each one. Not a bad read if you work in a public-facing capacity.

12 Against Everything: Essays; Mark Greif - The founder of N+1 collects a disparate selection of essays, written over a period of several years. You won’t love them all, but hey, you can always skip those ones!

13 See What I Have Done; Sarah Schmidt - A retelling of the Lizzie Borden story, which I’d seen a lot of good reviews for. Sadly this didn’t measure up, for me. There’s a lot of stage setting (rotting food plays an important part) but there’s not a lot of substance there.

14 Like a Mother: A Feminist Journey Through the Science and Culture of Pregnancy; Angela Garber - This is another one that came to me very highly recommended. Garber seems to think these topics are not as well-covered as they are, but she does a good job researching and retelling tales of pregnancy, birth, postpartum difficulties and breastfeeding.

15 Rebecca; Daphne du Maurier - This was my favourite book club book of the year. I’d always had an impression of...trashiness I guess? around du Maurier, but this is a classic thriller. Maybe the first time I’ve ever read, rather than watched, a thriller! That’s on me.

16 O’Keefe: The Life of an American Legend; Jeffrey Hogrefe - I went to New Mexico for the first time this spring, and a colleague lent me this Georgia O’Keefe biography after I returned. I hadn’t known much about her personal life before this, aside from what I learned at her museum in Santa Fe. The author has made the decision that much of O’Keefe’s life was determined by childhood incest, but doesn’t have what you might call….evidence?

17 A Lost Lady; Willa Cather - A turn-of-the-20th century story about an upper-class woman and her young admirer Neil. I’ve never read any other Cather, but this felt very similar to the Wharton I also read this year, which I gather isn’t typical of her.

18 The Year of Living Danishly: My Twelve Months of Unearthing the Secrets of the World’s Happiest Country; Helen Russell - A British journalist moves to small-town Denmark with her husband, and although the distances are not long, there’s a considerable culture shock. Made me want to eat pastries in a BIG WAY.

19 How Not to be a Boy; Robert Webb - The title gives a clue to the framing device of this book, which is fundamentally a celebrity memoir, albeit one that largely ignores the celebrity part of his life in favour of an examination of the effects of patriarchy on boys’ development as human beings.

20 The Book You Wish Your Parents Had Read (And Your Children Will be Glad that You Did); Philippa Perry; A psychotherapist’s take on how parents’ own upbringing affects the way they interact with their own kids.

21 The Library Book; Susan Orlean - This book has stuck with me more than I imagined that it would. It covers both the history of libraries in the USA, and the story of the arson of the LA Public Library’s central branch in 1986.

22 We Are Never Meeting in Real Life; Samantha Irby - I’ve been reading Irby’s blog for years, and follow her on social media. So I knew the level of raunch and near body-horror to expect in this essay collection. This did fill in a lot of gaps in terms of her life, which added a lot more blackness (hey) to the humour.

23 State of Wonder; Ann Patchett - A semi-riff on Heart of Darkness involving an OB/GYN who now works for a pharmaceutical company, heading to the jungle to retrieve another researcher who has gone all Colonel Kurtz on them. I found it a bit unsatisfying, but the descriptions were, admittedly, great.

24 Disappearing Earth; Julia Phillips - A story of an abduction of two girls in very remote Russia, each chapter told by another townsperson. The connections between the narrators of each chapter are sometimes obvious, but not always. Ending a little tidy, but plays against expectations for a book like this.

25 Ethan Frome; Edith Wharton - I gather this is a typical high school read, but I’d never got to it. In case you’re in the same boat as me, it’s a short, mildly melodramatic romantic tragedy set in the new england winter. It lacks the focus on class that other Whartons have, but certainly keeps the same strong sense that once you’ve made a choice, you’re stuck with it. FOREVER.

26 Educated; Tara Westover - This memoir of a Mormon fundamentalist-turned-Academic-superstar was huge on everyone’s reading lists a couple of years back, and I finally got to it. It felt similar to me in some ways to the Glass Castle, in terms of the nearly-unbelievable amounts of hell she and her family go through at the hands of her father and his Big Ideas. I found that it lacked real contemplation of the culture shock of moving from the rural mountain west to, say, Cambridge.

27 Dead Wake: The Last Crossing of Lusitania; Erik Larson - I’m a sucker for a story of a passenger liner, any non-Titanic passenger liner, really. Plus Lusitania’s story has interesting resonances for the US entry into WWI, and we see the perspective of the U-boat captain as well as people on land, and Lusitania’s own passengers and crew.

28 The Birds and Other Stories; Daphne du Maurier - The title story is the one that stuck in my head most strongly, which isn’t any surprise. I found it much more harrowing than the film, it had a really effective sense of gradually increasing dread and inevitability.

29 Someone Who Will Love You in All Your Faded Glory; Raphael Bob-Waksberg - Hit or miss in the usual way of short story collections, this book has a real debt to George Saunders.

30 Sex & Rage; Eve Babitz - a sort of pseudo-autobiography of an indolent life in the LA scene of the 1970s. It was sometimes very difficult to see how the protagonist actually felt about anything, which is a frequent, acute symptom of youth.

31 Doctor Fischer of Geneva or The Bomb Party; Graham Greene - Gotta love a book with an alternate title built in. This is a broad (the characters? are, without exception, insane?!) satire about a world I know little about. I don’t have a lot of patience or interest in Greene’s religious allegories, but it’s a fine enough story.

32 Lathe of Heaven; Ursula K LeGuin - Near-future sci-fi that is incredibly prescient about the effects of climate change for a book written over forty years ago. The book has amazing world-building, and the first half has the whirlwind feel of Homer going back in time, killing butterflies and returning to the present to see what changes he has wrought.

33 The Grammarians; Cathleen Schine - Rarely have I read a book whose jacket description of the plot seems so very distant from what actually happens therein.

34 The Boy Kings: A Journey Into the Heart of the Social Network; Katharine Losse - Losse was one of Facebook’s very earliest employees, and she charts her experience with the company in this memoir from 2012. Do you even recall what Facebook was like in 2012? They hadn’t even altered the results of elections yet! Zuck was a mere MULTI-MILLIONAIRE, probably. Were we ever so young?

35 Invisible Women; Caroline Ciado Perez - If you want to read a book that will make you angry, so angry that you repeatedly assail whoever is around with facts taken from it, then this, my friend, is the book for you.

36 The Hidden World of the Fox; Adele Brand - A really charming look at the fox from an ecologist who has studied them around the world. Much of it takes place in the UK, where urban foxes take on a similar ecological niche that raccoons famously do where I live, in Toronto.

37 S; Doug Dorst & JJ Abrams - This is a real mindfuck of a book, consisting of a faux-old novel, with marginalia added by two students which follows its own narrative. A difficult read not because of the density of prose, but the sheer logistics involved: read the page, then the marginalia? Read the marginalia interspersed with the novel text? Go back chapter by chapter? I’m not sure that either story was worth the trouble, in the end.

38 American War; Omar El Akkad - This is not exclusively, but partially a climate-based speculative novel, or, grossly, cli-fi for short. Ugh, what a term! But this book is a really tight, and realistic look at the results of a fossil-fuels-based second US Civil War.

39 Antisocial: Online Extremists, Techno-Utopians, and the Hijacking of the American Conversation; Andrew Marantz - This is the guy you’ll hear on every NPR story talking about his semi-embedding within the Extremely Online alt-right. Most of the figures he profiles come off basically how you’d expect, I found his conclusions about the ways these groups have chosen to use online media tools to achieve their ends the most illuminating part.

40 Wilding: The Return of Nature to a British Farm; Isabella Tree - This is the story of a long process of transitioning a rural acreage (more of an estate than a farm, this is aristocratic shit) from intensive agriculture to something closer to wild land. There are long passages where Tree (ahem) simply lists species which have come back, which I’m sure is fascinating if you are from the area, but I tended to glaze over a bit. Experts from around the UK and other European nations weigh in on how best to rewild the space, which places the project in a wider context.

FICTON: 17 NONFICTION: 23

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ais-n · 5 years ago

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How do you create your characters? (anon ask)

Another question from the same anon I mentioned in the other post:

In general, how do you create your characters, especially their psychology/thought process/ flaws?

haha I have two answers to this - and they depend on the level of ridiculous I’m being.

MORE THOROUGH - CHARACTER BIO TEMPLATE:

I actually have a character bio template I made so it was easier for me to track multiple aspects of characters in complex stories. You can download and adjust/use however you’d like - more info at http://aisylum.com/give-and-take/resources/ or download directly as .odt, .doc, or .rtf.

I made that for my fantasy series but you can just change whatever you want to fit better for your particular situation.

In the thorough cases like this, I will usually start with some sort of idea of the character, whatever that may be, put that into the character bio, and build out from there. Sometimes the vague idea is the gender and/or orientation, sometimes it’s their past, sometimes it’s just a snippet of dialogue I think of someone saying and I have to figure out who would say that thing in that way and why.

I also try to think about what leads to what.

Like, Boyd was starved of consistent love and stability as a child, so he came to fully believe he didn’t deserve it while also desperately and subconsciously seeking it out. But because he also had low self-esteem and other issues including a number of tragedies in his past, he became self-destructive at times in his quest for feeling loved or needed. He was willing to put the needs of others above the health of himself, if it meant he wouldn’t be abandoned. Which meant he would be reckless at times, and it meant his emotions would vary hugely when it came to relationships; he would do really stupid things out of fear of losing love or acceptance because he had wished so dearly for it for so long - but that can also backlash and lead to the very thing he feared because he was doing things at times for the wrong reasons or was too willing to compromise when it would be healthier for everyone to stand his ground.

Or, looking at my LGBTQIA+ sci-fi/fantasy/cop/murder mystery-type story Incarnations for other examples - Cypress is a type of Mage (magic-user) who is maligned by pretty much the whole world, especially by other Mages. His kind was all killed in a genocide centuries ago. For various reasons that also pertain to his past (and which would be a spoiler to dictate right now but come up later in the book), he has a huge distrust for other people, to the point at times of rage and hatred and violence. He has almost no one who has been on his side and stayed on his side from the start, except his twin brother. But that comes with its own set of fears, of what would happen if something happened to his brother?, and because he equates emotions to weakness, and he loathes weakness, he can be very aggressive and cynical and sarcastic when interacting with other people. But at the same time, precisely because he’s the type of Mage who gets hunted down and killed or detained by others, and because of how he grew up, he’s learned how to stay under the radar and how to blend in when needed. For all his rage inside, he’s very good at playing a part if he has to, and those two pieces of him may feel at direct odds to one another but they’re just two sides of the same coin. He has the rage because of who he is, and because of who he is he had to learn to not be seen. He is volatile at best when he’s being his own ‘normal’ and yet he can act totally ‘normal’ according to the rest of the world at the drop of a hat if needed. You could meet him in the middle of a grift and have no clue he’s anything other than a regular Joe Schmoe kind of dude who wouldn’t hurt a fly, when in fact he wouldn’t hesitate to brutally kill you if circumstances made it in his best interest.

Basically, I often try to think of what makes sense for how people would react to things they’ve been through (both good and bad), and then how that might affect their behavior going forward, and what would positively or negatively affect that.

One very short, truncated example I’ll give is Sloane, another Mage from Incarnations; because of an event in her past that she survived and others didn’t think she should have, she’s seen as a monster by much of the local community. She became inured to random death from a young age, so she doesn’t question things the way you might expect someone to in the same circumstances, but she also became resentful of others because of how she was treated. She was a troubled child who acted out a lot, but then she had one person who decided to keep reaching out to her, again and again, despite how often she lashed out. And that person became a sense of stability for her, that led to her doing a 180. She went from a kid who was constantly in juvie to being a cop (in this world’s equivalents). There’s a lot more to her story but that’s just a quick way of showing her past and the way people treated her affected her negatively until she had enough of a positive impact on her life from someone else that she ended up changing her trajectory.

I work through a lot of those sorts of things when filling out the character bio so I get a good idea of their past, their tendencies, their biases, etc. And then there’s a section that asks questions like what would build them up, what would bring them down, what is needed for them to progress, etc. I answer those questions as much as I can, and oftentimes get some revelations about the character along the way. And then I look at the plot of the story as a whole and see if it makes sense to include pieces along the way that will provide character progression (or regression) for the character.

That can be a good way of not only making sure characters don’t stagnate in a story, while also providing layers to the plot itself so that it’s not just about one single thing - there are multiple things happening along the way that provide something potentially interesting or fun or whatever as well.

I personally like to write stories where you can enjoy it as much or more on the second, fourth, tenth read as you did on the first... I want to try to add little things, if possible, that you may glance over the first time without enough context but later can go back and say OHHH when you know more. I find that doing that is particularly fun and enjoyable and easy when you have character progression or little character quirks you can include along the way, because it doesn’t have to be some big dramatic thing for the plot of the world or overall story. It can be something as simple as a character with long hair deciding to cut their hair off, or someone who always wears shoes and makes fun of another person who goes barefoot, now trying to go barefoot and thinking “oh crap, I get why they liked this all along.” It can be totally inconsequential things for the series as a whole that have some sort of meaning for the character or reader, big or small.

I get bored easily both as a reader and a writer so I guess to me that brings in a level of entertainment.

So essentially, I start with something that either I feel I know about the character or makes sense to me about the character, then I try to think about how they would view this thing, and then I try to think about logically what would follow based on their worldview. And that often will lead to flaws, psychology, thought processes, etc. You could think of it like “What would I do if I were them?” but try to not put your personal values in place of their own.

Like, I would never murder the fuck out of people so callously as Cypress does, but I want readers to understand why he does, and for that I need to understand too as the writer or else that’s asking way too much for the readers to understand something I don’t.

QUICKER, LESS RIDICULOUS WAY

I don’t always want to fill out a whole ass memoir/biography on a character to write or create them - sometimes I just want something simple.

In those cases, I don’t write everything down like that bio template, and I don’t go into such specific and detailed questions about every part of their past and their relationships and what they do or don’t need to get better or etc. Instead, I’ll just go with the vibe of someone - what’s the information that’s of import for them as a person and their particular story? Sometimes that’s gender, orientation, race, etc, or sometimes it’s things they like (like spooky things) or things they hate (like restrictive rules).

I try to do more of an overview of why they are how they are, and therefore how they may react to certain things, but I don’t worry myself about going deep into their thought process and psychology to know every detail of how and why. Because depending on the story, I don’t even need to know that information.

I tend to do more of a ‘surface-level’ view of characters for my short stories, because going super in depth would work against what I’m trying to do when I write those - which is develop SOME sense of brevity in my life. Somewhere lol

A good example of that mentality is probably my short story Five Star Review which is about a god and a spiritual being having a conversation in a closed restaurant. In that story, both main characters are they/them, because that’s the pronouns that worked, and they are very briefly described but barely at all. That story is more about philosophy and the way spirituality/religion interacts with humanity, so that’s what more of the focus is on. I didn’t need to know every single thing Deity (the god) has ever thought, because it’s irrelevant; I just needed to know how they would feel about the particular topics brought up in this particular story. And then, if the dialogue, plot, or otherwise leads to it, I could figure out their flaws or merits as needed, based on the sort of “person” they had already shown themself to be in the previous scene(s).

I don’t know if that helps or if all of that is more confusing. But I basically just start with something I feel I know about the character, then build on that in the context of the world or environment they would have developed in, and then just kind of follow the logic along.

Also, if that doesn’t lead to flaws or any depth of the character, I will go back and look at something central to them, and try to see if there is anything seemingly directly opposed that could be introduced as a flaw or aspect of them. Because I feel that humans are rarely one-sided, and oftentimes the complexity of us is because of juxtapositions within ourselves we have or haven’t come to terms with. So to make a character feel more “real,” I think it’s important for them to have at least two things about them that don’t, at first glance, seem like it makes sense - but it doesn when you think about them as a person growing up where they did, or how they did, or where they are now, or whatever other piece of them. Not only does that feel more nuanced as a character and more realistic, but it also introduces some internal conflict that can be used as character progression or, at the very least, something interesting to bring in when the plot is in a lull and you don’t know where to go next.

For me, the most important thing is being willing to change my presumption of the character as the writer, if the character naturally develops in a different direction. And therefore also being willing to change the plot to accommodate, instead of forcing the character to follow the plot.

Sorry this post was a million miles long..... hopefully it helps, like, at all, and isn’t just massively confusing.

#ask ais #icos #icosbooks #in the company of shadows #writing #incarnations #wildwood rising

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back-and-totheleft · 5 years ago

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Oliver Stone thinks Hollywood is crazy

Beginning in 1986 with the release of his films “Salvador” and “Platoon,” Oliver Stone kicked off a decade-long run of remarkable success. Many of the controversial and stylistically brash films that he made during this era were box-office hits and established Stone, who twice won the Academy Award for best director, as a bold generational voice. While films like “Wall Street” and “Natural Born Killers” didn’t have a particularly nuanced take on the rotten amorality at our society’s core, and the treatment of the country’s self-deceptions in “Born on the Fourth of July” and “J.F.K.” wasn’t especially subtle, no one could deny that Stone’s work spoke directly to America’s dreams and nightmares. Since then, though, the director’s standing as a finger-on-the-pulse filmmaker has been gradually subsumed by the image of him as a political provocateur, thanks to his documentaries about the likes of Fidel Castro and Vladimir Putin. But it’s the long lead-up to that golden year of 1986 that is the focus of Stone’s upcoming memoir, “Chasing the Light,” in which all his questionable bravado and self-admitted insecurity are on full display. “I never wanted arguments,” Stone says. “I never wanted to provoke. I was just seeking the truth.” You’ve made a lot of movies and documentaries based on other people’s lives. Did that experience help you tell the story of your own?

Well, I thought of the book as having the structure of a novel. You set up a problem in the first chapter: The protagonist is in a box. He’s in New York City, 1976. He’s broke. He feels like a failure and has to take his whole life into account. Then the novel winds its way into the 1986 period. It’s a picaresque. It’s a bit like a Thackeray novel. Should I be reading into the fact that you’re calling your memoir a novel and referring to yourself in the third person?

You can read what you want. It is “me,” but you have to distance yourself from yourself. That’s not to say you’re fictionalizing. If I write another book, which I hope to do, it’d be nice to get closer to where I am now. I’m not there yet. Making a film to close out your life? I don’t know. There might be a way. There have been some very nice farewell films. Mr. Kurosawa did “Rhapsody in August” — a very nice and gentle film. Would you close out your life with a nice and gentle film?

You think I’m so ungentle? I don’t know if gentle is how I’d describe your sensibility.

Fair enough. But even in “Natural Born Killers,” if you look closely there’s a tenderness there between Juliette and Woody. Or the Bush movie that I did, “W.”— at the end, it’s very tender with him and Laura. I know you’ve felt marginalized by Hollywood in the past. Do you still?

I don’t think they think about me. I don’t feel bitter about it. “Savages” was my last movie in the mainstream, so to speak. I thought it was mainstream, and Universal did too, up until they distributed it. They decided to move it at the last second from fall to summer. So they put us in the middle of a schedule that was pretty tough. “Ted” was there. Remember that movie? It was hilarious. You don’t want to open against “Ted.” I do still get offered stuff, but I’m not inspired to make a movie. I don’t feel anything inside me, fire for going through that pain and misery. The last film I did was “Snowden.” It was so difficult to make. We struggled to get financing — I believe — because of the subject matter. But I’m still keeping my hand in with documentaries. I am working on two right now. One is on J.F.K. Since the film came out in 1991, there’s been quite a bit of new material revealed that people have basically ignored. It’s a hell of a story. “J.F.K.: Destiny Betrayed” is what we call it. Then I’m starting “A Bright Future,” which is about the benefits of clean energy, which includes nuclear energy. These are documentary subjects and aren’t necessarily going to be popular, but they’re important to me. Are you poking the hornet’s nest by going back to J.F.K.?

I’m not scared of that. I’m past that age. I don’t need to make a Hollywood movie. I don’t need to get the approval of the bosses.

Do you think you’ve made your last Hollywood film?

I would have no problem doing another one, but I don’t feel it right now. Frankly, I did 20, and I got worn out. You had about a 10-year period, starting with “Salvador” and “Platoon” and going up to “Natural Born Killers” or “Nixon,” when your films felt like these major statements on the country and the culture. When that zeitgeist-y period ended, which it inevitably does for artists, did it change how you approached your work?

I recognize the impact I had, but at the same time I enjoyed doing the films I did afterward. In 1999 I did “Any Given Sunday.” I get so much attention for that. “World Trade Center” was one of my most successful films financially. So the parade continued. The problem is in Hollywood. It’s just so expensive — the marketing. Everything has become too fragile, too sensitive. Hollywood now — you can’t make a film without a Covid adviser. You can’t make a film without a sensitivity counselor. It’s ridiculous. Why is that ridiculous?

The Academy changes its mind every five, 10, two months about what it’s trying to keep up with. It’s politically correct [expletive], and it’s not a world I’m anxious to run out into. I’ve never seen it quite mad like this. It’s like an “Alice in Wonderland” tea party. In what respect?

Oh, David, don’t go there. That’s going to be your headline. You know, I just read something about how films are going to be very expensive to make now, because you need to take all these precautions, and a 50-day shoot becomes a 60-day shoot, and social distancing for actors. That’s what I’m talking about.

Tell me more about your J.F.K. documentary. Is there a big revelation in it that you can share?

I would be doing an injustice to say there’s one big one. There’s no smoking gun. It’s accretion of detail, David. Please watch the film when it’s out, and write me an email when you see it, and tell me if there’s cogency in it. Does it turn out that the bullet went back and to the right?

We can make fun, but let me give you some quick points about what is in the documentary: There’s no chain of custody on the magic bullet, which is called CE-399. There’s also no chain of custody on this damn rifle, the Mannlicher-Carcano, which Lee Harvey Oswald was accused of shooting. I don’t want to go into the details, but we can’t account for who was in possession of the bullets and the rifle at various times. It’s a mess. Then we got more detail than ever showing that there was a huge back-of-the-head wound in Kennedy, which clearly indicates a shot from the front. It’s also clear that the autopsy from Bethesda, Md., was completely fraudulent. And there’s Vietnam. No historian can now honestly say that the Vietnam War was Kennedy’s child. That’s crucial. The last thing is the C.I.A. connection to Oswald. We have a stronger case, not only for post-Russia but also for pre-Russia. In other words, he was working with the C.I.A. before he went and when he came back. Those are the main points. I don’t want to criticize your paper, but if it was honest, it would be doing this work instead of just saying, “It’s all settled.”

But on some level you must know that we’ll never be able to tie up all the loose ends of the Kennedy assassination. So what do you want people to take away from your new work on this?

Those who are interested will find it’s pretty clear that J.F.K. was murdered by forces that were powerful in our government. We point the finger at a couple of individuals. But I don’t want to get into that here. Now, why do I have to do this? I’m doing the documentary for the record so that you can see for yourself what the evidence is. That’s all. We’re just finishing it and beginning to show it. It will be out. Even if it’s on YouTube. Or in Transylvania.

So many of your movies, “J.F.K.” in particular, are about presenting counterevidence to the sort of officially sanctioned grand narratives that America tells about itself. Can you think of any areas where your belief in the importance of counternarratives might have been detrimental to your own political thinking? I’m thinking here about your series of interviews with Vladimir Putin, where it seemed that you were more interested in letting him lay out contrary perspectives to the popular American view of him rather than really challenging him on anything.

I don’t think President Putin’s views from the 1999 period to the 2016 election period were ever presented honestly to the American public. The documentary is a great work of scholarship. It can be studied because he’s saying a tremendous amount that was fluffed off: “Oh, Oliver Stone is an apologist.” I’m not an apologist. I’m always probing, and that’s why he liked me to the degree that he did. He didn’t think I was a patsy. He was a very patient man. He reads. He prepares. He’s not like so many of our fool politicians, and that’s why he has lasted for 20 years. But the American press has demonized him. Even though he benefits from American destabilization and therefore tries to foment it?

I don’t think he thinks that way. I think he sees American destabilization as a dangerous thing because he thinks about the safety of the world. If anything, he would like a balance of power to exist and he would like to have a nuclear treaty with us. It’s very difficult to talk when America doesn’t talk. It hasn’t been dealing honestly with him in a long time. Putin is obviously a canny politician. What do you suspect he believed he had to gain by talking with you?

I think his intention, as he forthrightly says again and again in the documentary, was: Let’s talk. Let’s be mature. Let’s be adults in the room.

Could it have been something else maybe? There’s that term “the useful idiot.”

First of all, you should just look at the documentary.

I’ve seen it.

Where is it clear that I’m an idiot? I think it’s a very articulate dialogue. I would also point out that when we started, which was in 2014 roughly, the relationship with the United States was not as bad as it would become. Things got much worse. In 2017, we went back to him, and you have on the record what he says about Donald Trump and the American election. I don’t think Russia has the desire or the money to spend on “destabilizing” an entire election. And how can you even compare it to what we’ve done in other countries? But two evils don’t have to be equal for them to both be evil.

We’re getting too much onto Putin. That’s not in this book.

This is mostly related to the book: How present in your life is your experience in Vietnam? Is it still with you from day to day?

It doesn’t disturb me. In the book I talk about everything that I felt over there and how strange it was. Vietnam influenced my work because of my feelings about war and peace in this country and militarization and where we are now. If I can do any good in this world, it would be to pass some of that message on to younger people so that they recognize where we’re going with continued militarization. But, no, the war doesn’t personally disturb me. I’ve reached an age of acceptance. I have a meta question for you: It seems, at least at this point in time, as though your political opinions have almost overshadowed your achievements as an artist. Does it bother you to think that your willingness to get into it about politics might ultimately obscure or distort your legacy as a filmmaker?

I’ve negotiated my way, sometimes with great controversy, through life. My domain is wide. I enjoy give-and-take. I learn from people. I will continue not to run away from who I am. I’m going to own who I am.

-David Marchese, "Oliver Stone thinks Hollywood has gone crazy," The New York Times Magazine, July 10 2020 [x]

#oliver stone #The New York Times #david marchese #chasing the light #vladimir putin #jfk #a bright future #jfk: a destiny betrayed #the vietnam war #politics #hollywood #covid19

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19-falls · 5 years ago

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jumbled thoughts on crash landing on you (2020).

ㅡ this is nowhere near what you’d call a ‘review’.

spoiler alert!

First of all, I might need to say that I initially had no plan on watching this show. It’s pretty understandable considering that I recently lost interest on being the avid drama watcher I was, and now shifting more on films & books. You see...if you watch too many dramas, it’s totally normal to get bored of it (i mean the overused tropes???typical plot???) and just staying away from it. It’s not helping that recent shows I’ve watched are lackluster at best, and I haven’t been able to found a good one in a while. But I was just recently subscribed to Netflix, and this pops up more than I’d want it to, which brought me to mindlessly clicking the first episode due to boredom I’ve had for not watching any shows in MONTHS and the rest is history. I wasn’t that excited for starting this one to be frankly, due to endless spoilers I’ve gotten from twt and I had been mad over it. I was in a state where I knew how this’d end, but goes for it anyways because I have nothing to do.

The scriptwriter for this particular show is also the one who wrote You Who Came from the Stars (2013) and Legend of the Blue Sea (2017), and I wasn’t exactly a big fan of her writing. And the very troupe that I immensely dislike on the afore-mentioned shows was included on this drama as well. This scriptwriter seems to have a huge liking for putting out thriller-like tone on a romance drama, and it didn’t sit well for my preferences. If you’ve watched these three shows, you’d know all the leads are ALWAYS having dangerous encounter with villains and near-death experiences you’d rarely see in romcoms. It bugged me off how much she seems glued to this troupe and constantly having it on three representative shows she’s writing for, and these are honestly one of my ultimate reason for not doing rewatches for her dramas (I think CLOY could be an obvious exception due to the stellar casting choices for the leads; i’ll explain this later). Not a lot of people could do a well-written thriller-romance, and hers weren’t ones of those. It takes a fair and well-balanced tone to make it work, but in these shows, it just feels like constant fillers and a complete try-hard to make this unpredictable, when all we know that it’s nearly impossible to kill the leads (which I might be wrong while making this seamless assumption but okay).

The biggest downside for the writing style for these shows (bcs I’m not just talking about cloy ㅡit applies just the same for ywcfts and lotbs) is the very inability of Park Ji-eun scriptwriter-nim to write at least a DECENT ending for her shows. And that, my friend, is why I wouldn’t give this perfect score despite my unlimited praises in terms of acting, when I knew how good it’d be if she just let go of her obsession for making the ending ‘impactful’ (which seems to be horribly received by the audiences), and just write a proper ending for ONCE. It’s a big shame it didn’t happen on this drama (*disappointed but not suprised*), but I won’t stop hoping nonetheless. She has a knack for writing witty & entertaining script with great cast ensemble, and that’s why despite my dislike for some of the traits of her shows, I still watch them anyways.

Aside for the poorly-written ending, while I found the editing for first half of the show a lil bit tacky sometimes (especially when it needed CGI), Crash Landing on You also suffers from unnecessary lengthy duration (mostly because it hit big domestically and internationally and the creators get greedy which is never a good thing) that could have been made effective if they weren’t spent so long on shallowly written villainous role which seems to be written for the sake of unpredictability (and was acted wonderfully by Oh Man-suk with its limited character background given). It happened as well on YWCFTS and LOTBS, and again, if you’ve seen those two shows, you’d know how similar the pattern for the plot of CLOY compared to them. If you love them, then it’d work out good for CLOY as well, and if it’s not (like me), then you’d know what kind of writing style Park Ji-eun’s best at along with her worst features on the shows.

DO THESE LISTED-DOWN FLAWS MEAN I’M NOT ENJOYING THE SHOW?

NO.

In fact, I’m enjoying it a whole lot more than I did with ywcfts and lotbs.

What ultimately sets cloy apart from the two shows is the leads’ acting compability. With ywcts and lotbs, it’s no doubt and much obvious to see that Jun Ji-hyun greatly overshadowed her acting opponentㅡplaying on roles she’s best at, be it as a spoiled popular actress and clueless mermaid. She’s just that good on playing roles that doesn’t have any calmness to it; and more like crazy and freeing women who knows no boundaries. Although her emotional acting was very much in good quality, as well. And because of this very fact, both her costars couldn’t have the equal amount of spotlight, mostly because the characterization for her character (and how she added flavor to that) is much stronger compared to what could be expected from the male leads who, most of the time, don’t share similar traits like hers. I still say that Kim Soo-hyun’s performances on ywcfts are definitely good enough to pair up with Jun Ji-hyun, but I couldn’t say that he’s on his best role despite it prolly being one of his widely known ones.

On this show, Hyun Bin and Son Ye-jin could be said on a similar level for acting capability. Though Son Ye-jin wins out more because of the scriptwriter’s tendency on making her female lead stood out due to their strong characterization, it worked okay because Hyun Bin does match her energy and it just contributed to the fact that he’s a visually good looking actor but still manage to be very damn good at acting as well. And it’s rare to see actors like that on dramaland, you know. Most of widely popular actors seems to stick on one role and never grows from that, but despite his flopped works (yes I’m still bitter on how ineffectiively used he was on Hyde Jekyll and Me) before he started to hit big again after Memoir of Alhambra, ones that had paid attention to his works would know that Hyun Bin, is indeed, good at acting, especially on showcasing his detailed expressions added to the role he’s given. His performances on Secret Garden still awes me to no end, and I’m happy to see that powerful raw acting capability again while he potrayed Ri Jeong-hyeok in this show.

And Son Ye-jin?This show is just another valid proof that she’s more than a “Melo Queen” people seems to have loved her for. The bratty, spoiled and even brazen acting she’s showed on the drama was incredibly well-acted. Her chemistry with her co-stars were fantastic. Of course, I shouldn’t have to say anything about her acting qualityㅡshe’s just THAT good. And I love her more on roles like this; where she could freely show off her capability as an actress on a broader spectrum, rathen than her usual melancholic roles in most of her films. I thought she was a lil bit wasted when she chose to play on Something on the Rain, so thank god she accepted the offer for this show!

And their chemistry is totally off-the-charts, fyi. I might have recently added them on my personal top list for being the most visually good looking couple I’ve ever seen on kdramas with explosive chemistry which I greatly appreciate, and YES I have seen a lot to know that their magnetic presences for each other is like no other. A lil bit biased but okaayyy.

From the leads alone, this is just an absolute must-to-watch show. It’s incredibly rare to see such good performers to helm a show on romance dramas these days. And the most suprising thing is how they doesn’t lose out to the second leads. Seo Ji-hye and Kim Jung-hyun were great on their own feet, but Hyun Bin and Son Ye-jin were just so good on this show that I ALMOST couldn’t care less about the second leads. They grew on me though, and THAT ENDING HURT ME.

And the rest of the casts???Just pure goodness. Everyone has their own color, from the neighborhood moms, the clueless & silly team but still one of my favorite bits to watch, to the villainous role. Everyone’s just doing so great on their role that I couldn’t pick on anything about them. All the characters are the the life of this show. If you’re more of a character-driven drama person, you’d enjoy this immensely.

And it’s so fascinating how they could maintained the light-heartedness of the show to the very end albeit a couple of finale episodes getting so dramatic & hits more emotional beats than usual. I mean, THIS SHOW FEELS LIKE A COMICAL TYPE OF DRAMA SOMETIMES BECAUSE IT WAS THAT HILARIOUS T.T One of the best traits from Park Ji-eun’s scriptwriter, if I might add. Not to mention, the soundtracks!My favorite is Davichi’s by the way :)

I still have a lot of praises for the acting part, because it feels refreshing to see such a well-acted drama while getting so much popularity at the very same time. With dramas like Descendant of the Sun, Goblin, and more internationally well-received kdramas out there, I still find it hard to choose a drama that has leads with equal amount of respect, trust, and purely in love just as much as they are to each other like this one. Most of romance dramas heavily relies on either the woman or man to be a lil bit more in love with their respective partners, but it wasn’t the case with this one. And that is why despite my constant rant & nitpick for the show, I still consider this as one of my great watch in recent years (not that I have many that I had watched lol).

Watch it for you’re in for witty dialogues, constant hilarity between the characters, and explosive chemistry & well-acted performances from the leads & the rest of casts.

Do not watch it for you’re not prepared for the flaws I’ve listen down, and how this is not directed for ones that seek a realistic watch. Ultimately, Crash Landing on You is best watched if you’re not using your brain for it.

#cloy #crash landing on you #kdrama #hyun bin #son ye jin #thoughts

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