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hier--soir · 3 months ago

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may + june + july reads

the strange case of dr jekyll and mr hyde by r. l. stevenson [★★★★]

"Though so profound a double-dealer, I was in no sense a hypocrite; both sides of me were in dead earnest; I was no more myself when I laid aside restraint and plunged in shame, than when I laboured, in the eye of day, at the furtherance of knowledge or the relief of sorrow and suffering."

: ̗̀➛ a london lawyer, mr utterson, investigates strange occurrences between his old friend dr henry jekyll, and the evil edward hyde.

: ̗̀➛ a horror classic! coming in at a sweet 96-pages, it was easy to smash out in an evening. and despite the brevity of the text and the fact that it's over a century old, i found it insanely compelling and indeed pretty chilling at multiple points.

: ̗̀➛ there are some ridiculously funny lines in this. i believe he named the evil character hyde just so he could drop this banger: "'If he be Mr. Hyde,' he had thought, 'I shall be Mr. Seek.'"

: ̗̀➛ henry jekyll my sweet summer child, you flew way too close to the sun with this shit.

: ̗̀➛ "You must suffer me to go my own dark way." BARS.

babel: an arcane history by r. f. kuang [★★★★★]

"The poet runs untrammelled across the meadow. The translator dances in shackles."

: ̗̀➛ opening in the year 1828, a young boy from canton is orphaned by cholera and brought to london by a mysterious professor. he is trained in latin, ancient greek, and chinese, in preparation for the day he will attend oxford university's royal institute of translation - babel. the tower is the world's center for translation and silver-working, the magical craft that has so far brought unrivalled power to the british and supports the empire's ongoing colonisation of the world. but what happens when it is discovered that britain is pursuing an unjust war against china, and robin realises that serving babel means betraying his motherland.

: ̗̀➛ this book left me absolutely speechless. upon starting it i was immediately ashamed at how long it had taken me to pick this up considering all the hype. serious thanks to @seventeenpins for recommending this to me recently, you are the best for putting me onto this.

: ̗̀➛ beautifully crafted, incredibly intelligent, great central characters. i don't even know how to put into words what i felt about this one. and as someone who consumes a fair amount of translated literature [see: my love of ancient greek and roman classics] it tickled my interest around the biases and intricacy of translation so perfectly. you need to read it. please.

: ̗̀➛ have to include: "It should have been distressing. In truth, Robin found it was actually quite easy to put up with any degree of social unrest, as long as one got used to looking away."

: ̗̀➛ have to include #2: "So then where does that leave us? How can we conclude, except by acknowledging that an act of translation is then necessarily always an act of betrayal?"

: ̗̀➛ and absolutely cannot not include this iconic PBS diss: "He greatly enjoyed Mary Shelley's Frankenstein, though he could not say the same of the poems by her less talented husband, whom he found overly dramatic."

paradise rot by jenny hval [★★★★]

"But my dreams are full of apples, and in the dark my body slowly transforms into fruit: tonsils shrinking to seeds and lungs to cores. I dream of white flowers blossoming under my nails, as if under ice. Then my nails break, opening up like clams and in the finger flesh there are little sticky fruit pearls."

: ̗̀➛ jo is in a strange new country for university, living in a house with no walls, a roommate with no boundaries, and a home that seems increasingly more and more alive.

: ̗̀➛ so much piss in this one folks.

: ̗̀➛ jenny hval is a norwegian musician and this was her debut novel, and it was bizarre and haunting and disgusting and made me cringe and feel squeamish at many points, and yet i read it in one fell swoop. it grips you for 120-odd pages and when you're done it feels like you've been spit out disoriented.

mrs s by k. patrick [★★★]

"When she is not around, I invent her. When she is around, I invent her. It is not her fault."

: ̗̀➛ an australian butch lesbian travels to england to work in an elite boarding school, where she meets mrs s, the headmaster's wife. over a hot, restless summer, the two engage in an affair.

: ̗̀➛ i enjoyed this one decently enough. the writing style grew a bit tiresome, and the storyline seemed quite laissez-faire, but overall yes i enjoyed it. what can also grow tiresome for me is the woman-on-woman affair when one of them is married to a man - but maybe i've just read too much queer lit with no foreseeable happy ending lately, idk.

: ̗̀➛ the way the dialogue was structured [or perhaps, unstructured to a painful extent] was not my cup of tea at all.

: ̗̀➛ i was really tickled by her living in an annexe so close to the school nurse, who is very religious. the dynamic gave way to great passages like this: "I imagine her, at night, sending prayers my way, so sweet as to be malicious. In each of our interactions there is always the feeling that I would do better under her God. I don't mind her God, so tangible. The sexy Jesus in her bedroom. His body I too would die to have. Not just the chest but the legs, a footballer's legs, complex with muscle. Even those sad, raised palms. Brazen in their injuries. Such glamour." like hello??? incredible.

grey dog by elliott gish [★★★★]

"You called me a dirty little beast, and I have become as dirty and beastly a woman as there ever was."

"What is that quote from Othello, what Emilia says about men? They are all but stomachs, and we all but food; They eat us hungerly, and when they are full, they belch us."

: ̗̀➛ a 'literary horror novel' set in 1901 about the unmarried and almost 30 'spinster' ada byrd who accepts a teaching post in a small isolated town. she wants to be rid of her past, one 'riddled with grief and shame', but upon witnessing strange and grisly sights, ada begins to believe that something ancient and beastly is behind all the peculiarities in this little town. her confusion deepens, and ada's grip on what is reality, delusion, or traumatic memory, begins to blur and fail.

: ̗̀➛ body horror, gore, the horrors of being a woman, witchy business, descent into madness, women longing for women.

: ̗̀➛ because the entire text is written in first person diary entries, i found that it sometimes failed to establish a creepy atmosphere. although this issue was more prominent for me in the first half, while in the second half the diary entries acted as a great insight as to how unhinged she was becoming. slay.

: ̗̀➛ imo this is simply what happens to a woman when she is raised by a heinous father and ends up an adult surrounded by too many sexy older women!

the sleepwalkers by scarlett thomas [★★★]

"How many eyes can one storm have?"

: ̗̀➛ still reeling from the chaos of their wedding, evelyn and richard arrive on a tiny greek island for their honeymoon. it's the end of the season and a storm is brewing on the horizon. they check into the villa rosa, which has a peculiar owner named isabella, and everyone wants to talk about the famous sleepwalkers, a couple who stayed at the hotel recently and drowned.

: ̗̀➛ saw a tagline that coined this as 'patricia highsmith meets white lotus' and i'd agree. good mystery thriller with some action.

: ̗̀➛ this one was a touch slow at first [it's told in letters, dictated audio recordings, from different perspectives, etc] but ultimately gripped me and i thoroughly enjoyed the drama and mystery. newlyweds that hate each other's guts? yeah, bestie, i need to know why.

: ̗̀➛ i really got into some of the takes showing how evelyn and richard viewed each other. this really stuck with me: "I read infrequently, partly because every book change me, right down the level of my DNA. I didn't want to be changed so often. But you were able to hoover up contemporary culture without so much as a little belch afterwards. You just carried on being you."

: ̗̀➛ also let me fucking tell you, there was a line in this book that made me drop my kindle and GUFFAW in shock. page 88, HELLO. evelyn girl you kill me.

the drift by c. j. tudor [★★★]

"These days death had been laid bare for what it really was. An ending. Often brutal, seldom fair, rarely kind."

: ̗̀➛ a thriller-esque, horror-esque book about a deadly infectious virus, and the attempted survival of three seperate groups trapped in isolated circumstances in the icy wilderness. [this one is so hard to describe sorry]

: ̗̀➛ the book is told through three different pov's. i normally despise this but i actually didn't hate it in this case, although i did have favourites.

: ̗̀➛ boyfriend asked me to read this when he finished it and then watched me from across the room the almost whole time, pretending not to be staring whenever i looked up. and he was right, it was fast-paced, had some good twists and turns, and was enjoyable, albeit very different from what i normally read.

what have i done? an honest memoir about surviving post-natal mental illness by laura dockrill [★★★★]

"Put me out of my misery. I feel like a killer on the loose. I need to turn myself in."

"Or the one of New Mum having champagne and cake with the girls. Another doing 'date night' two weeks before her six-week check, like, 'Yes, we still have sex!' Mum is fitting back into her clothes; Mum is making papier-mâché piggy banks; drinking enough water; shaving her armpits; reading a bedtime story; going to a gig; playing peekaboo. Mum is keeping up with her favourite TV shows; reading the Booker longlist; being a good friend; making a healthy yet tasty cost-effective-probably-vegan meal; recycling; giving baby massage; sterilising. Mum is getting rid of her pregnancy knickers when they are the only knickers she truly likes; doing her taxes; walking the dog; donating to charity; freezing bananas; learning Japanese because why not? ... Oh look! Mum is abseiling down the Shard and still finding the time to express and write a blog about the whole experience."

: ̗̀➛ a memoir about a first-time mum's experience with post-partum psychosis, and her survival.

: ̗̀➛ this book was a heart-ache of a read. honest and raw and devastating and uplifting. often very very funny -- "People told Hugo, 'Don't go down the goal end, mate; it's like watching your favourite pub burn down.' Oh ha. Ha. Ha." -- i couldn't put it down.

: ̗̀➛ the end did start to feel a touch self-helpy which isn't necessarily my bag of tricks when it comes to non-fiction, but those inclusions felt warranted and fair after such an in-depth depiction of everything laura had gone through.

: ̗̀➛ serious mental health trigger warnings for this one. there is plenty of humour, but it gets very dark.

the death of jane lawrence by caitlin starling [★★]

"She dreamed of tearing out a rotted pit inside of him where his martyrdom resided."

: ̗̀➛ in an alternate version of victorian-era britain, jane shoringfield is seeking a marriage of convenience that will allow her to continue working, with all the benefits of being a married woman, and she finds this in dr augustine lawrence. however, he has one condition - she can never visit lindridge hall, his family manor outside of town, where he himself will sleep each and every night. but on their wedding night, an accident strands jane at the door in a rainstorm, and in place of her husband she finds a terrified, paranoid man who cannot tell reality from nightmare. by morning he is himself again, but jane knows something is terribly wrong at lindridge hall.

: ̗̀➛ i picked this up looking for a fun, spooky little read, but am sad to say that i absolutely did not like it. the characters were fickle, the plot twists were unsurprising and revealed poorly, and the storyline was all over the place. sadge!

: ̗̀➛ sold itself as a gothic ghost horror, but didn't live up to that at all [for me!] heavily inspired by crimson peak, and it doesn't care if you know it.

: ̗̀➛ also - when your 'independent strong female' mc marries a guy who lies constantly and makes up bullshit and every time she confronts him he boo-hoos so she forgives him immediately cause he really is a nice man?? womp womp.

: ̗̀➛ also also - way more cocaine in this than i expected.

my book rating system is as follows:

★ = i felt pure contempt the entire time

★★ = yeah it's a book

★★★ = i liked it!

★★★★ = good fucking book, damn

★★★★★ = blew my dick clean off and i'll throw a tantrum if everyone i know doesn't also read it and love it

if you want to share a book you love with me, please do! i am always looking out for new recs.

#jessie reads #books #if you've read any of these lets talk

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espumado · 4 months ago

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Guys, you don't know what just happened to me!! I love soundtracks so I stopped to listen to The Bear's, i found the official FX playlist on Spotify and was listening to it when suddenly a podcast starts and I was like???? So i looked and it was about a horror film??? I, tring to understanding, went to the FX site to see the playlist and the episodes and saw that it was the song from the beginning of the ep5- Children (the lullaby) with our beloved Natalie💖...So what happened was that the music is from a horror film and instead of putting the soundtrack they put on this podcast!!! And I don't know if it was on purpose or just a mistake!!! (And all this reminded me of the people here who started a tag, I don't know who, about The Bear being a haunted/ghost story💀)

It's this scene, with this song:

And the Playlist has this podcast:

But i was like Nat why you have a horror movie song playing in your head??? And cause I'm curious, I went to find out more about the film, cause I didn't know the movie (horror isn't really my thing) and I discovered that:

The Night of the Hunter is a 1955 American film noir thriller directed by Charles Laughton. Despite receiving negative reviews upon its original release, it has been positively re-evaluated in later decades and is now considered one of the greatest films ever made. “The movie is best known for Robert Mitchum's extraordinary performance as serial-killer-posing-as-priest Harry Powell, a menacing religious misogynist who marries widows for their money and kills them off in the name of the Lord. Having been jailed for stealing a car, he shares a cell with father-of-two Ben Harper, soon to be hanged for murder and the theft of $10,000. Before his arrest Harper hides the money in a rag doll belonging to his little daughter Pearl, making her and his 10-year-old son John swear never to tell where the money is hidden. The plot hinges on Powell's pursuit of the money and John's determination to protect his sister and escape from a psychopath whom others assume is virtuous. Hiding his past, Powell woos, then marries Harper's widow Willa (Shelley Winters). When she discovers his motives he murders her, and the children escape on a boat down the river. A tense chase ensues. The film exists in that cinematic no-man's-land of fairy tales for adults, is a children's fairytale – strange and idiosyncratic – but also a noir thriller, laced with the darkest elements of both genres: death, guilt, greed, poverty, cruelty, biblical references and a terrifying pursuit by the scariest of bogeymen. Laughton described it as "a nightmarish sort of Mother Goose tale". John, played superbly by the steely eyed Billy Chapin, is pivotal as the boy who is alone in perceiving Powell's true motives. In a tale of innocence and experience, he must quickly grow up in the most sinister of circumstances; he must resist adult hypocrisy and stupidity, and a new "father" who pretends to be loving, but is secretly abusive. Gripping in its narrative, the film is also frequently and darkly humorous.”

“Thinking of The Night of the Hunter in terms of its visual impact on other filmmakers, there’s a striking echo to be observed between its unseen presence in films by Scorsese, Spielberg, the Coens, even Ari Aster, and the influence of silent cinema on Laughton’s own filmmaking choices.”

“We can notice the importance of one particular scene: the escape of the children in a boat (they are running away from the killer). This scene, being so important, is also one of the most memorable of the entire film. The components that make it so memorable are: setting, lighting, framing, blocking and music. In the river sequence, the usual realistic environment of the film disappears, giving place to such an artificial setting that it seems that we are watching a whole new film.[...] Again, we feel that the children are safe again in the boat, as they run away from their hunter.

“The river symbolise safety – it is what separates (even temporarily) John and Pearl from Powell. In a way, it is a metaphor for the transformation of a past full of terror into a brighter future¹ with Rachel.”

About the music: “Composer Walter Schumann called the heavy four brass chords that often accompany Preacher a “‘pagan motif, consisting of clashing fifths in the lower register,’” which cede to the lullaby “Dream, Little One, Dream” with a shot of Gish. This celestial lullaby foreshadows her adoption of the children after they escape downriver. In the opening and river sequences especially, audio-visions juxtapose fantasy and reality, and good and evil, to propel the children to safety.[...] In these sequences, Laughton’s visual constructions and Schumann’s score establish abstract contours that take root in spectatorial memory. When the overture transitions from Preacher’s pagan motif to a tranquil lullaby, celestial sounds and Gish’s presence seem to safeguard the children from Preacher’s tyranny.[...] Schumann’s pagan motif, Miz Cooper’s lullaby, and the sounds of the children’s river journey mix realistic tropes and emotional flourishes in the manner of 1950s melodrama films, which especially employed music to articulate these opposing poles. For Peter Brooks, music punctuates the wordless gestures of the melodramatic “text of muteness”: its sweeping rhythmic motions render space and time tangible to imbue characters—especially muted victims—with emotional depth².[...] Analyzed through a motivic model that binds characters to themes, Hunter’s river lullabies foreshadow the children’s eventual safety with Miz Cooper even though maternal figures are not visible.”

So there is this important and well-known scene in the film when the song plays. When the kids are finaly safe in a boat on the river (the part of the song they use in the series starts at around 3:55):

youtube

So basically: there's a father who hid some money in the kid's toy (which reminded me of the money in the cans of tomatoes- KBL); an orphaned brother and sister; children looking for shelter; during the escape they are they feel safe in a boat on a river (when the lullaby plays) and in the end they are adopted and everything is fine.

I wanted to understand what this means for Nat, what it has to do with her. When the scene starts the song says "fear is just a dream…" then she thinks about her fears: her brother, mother and a mom's funeral (Marcus), then the song continues "so dream, little one, dream", like, it's not real, no need to fear it!

So…this is ep5 called Children, where: 1-Syd and Marcus take his mother's stuff out of the house and talk about their family 2-we find out that Ever is going to close (a funeral will happen) 3-Marcus and Nat talk about his mother and to start a new project to honor her while Nat is resting from pregnancy discomfort 4- it's the ep The Computer appears and Nat defends Marcus 5- there are the Faks, including John Cena, talking about their family and the hauntings 6- Syd and Uncle Jimmy talk and he says he wishes he had done more for the kids (she reminds him that he is there for them) and finally 7- Carmy goes to the basement and finds a box with photos of the family (Donna and Mike and himself too and a baby that could be Nat?!!!) then some riffs of the song Mixed Emotions by Rolling Stones start and it cuts to the credits with the lyrics right in the part: You're not the only one, You're not the only ship, Adrift on this ocean. And that's it! Just these lyrics and then just instrumentals. They cut the song to fit the scene and without any other part of the lyrics!!!

Carmy my man, Nat needs you! And she was the one who reminded him in the first season: "did you know i recently had a brother die too?" She's trying. She wants help, she already told him, "the thing that pisses me of is that you never ask her how i am doing!!!" but he can't ask her that "because he feels trapped, because he can't describe how he feels, so asking someone else how they're feeling seems crazy to him" (like, he literally told her that in S1). They need to talk, they need each other, they need family (a new one probably...the restaurant...uncle Jimmy too?? She talked with him about be a parent last season and he is always there for them, saving them). Nat managed to talk to her mother, even asked for help (it’s not a solution for everything, but it was a start)...but Carmy...there's still a long way to go, a next season thing. But I think it may be a thing they need to do together somehow, i dont know...

Nat is afraid of her past, motherhood and knows family is complicated, she is looking for a brighter future¹. She and Carmy (and Mike) are children of a abusive/alcoholic parent and live with the consequences of that (some people here have already talked better about the subject). So they are like the kids from the movie, who are muted victims—with emotional depth², in a complicated family, going throught the river until they reach a safer place with better people.

And also, last seasons they showed the "pyromaniac tendencies" of the Berzatto brothers, there were these references to setting the restaurant on fire as if that was the solution to their problems...and now in season 3 I thought that had been forgotten...instead, the ep1 already starts with (first a train, and then) a lake, which appears other times throughout the season... Copenhagen Carmy living in a boat on a river!!!, and all happy and safe, drawing on a bridge over a river!!!

We also had a scene with water being thrown on the kitchen countertop and "flooding" the space (with a song by Trent Reznor and Atticus for a war doc! that the director describes as profound, haunting, unsettling and deeply moving!!!) in a moment that the crew is cleaning the kitchen and everyone is tired and overwhelmed; there is Donna talking about the fish tank that breaks in a dream that takes place in a place she doesn't know that looks gray except for the tank (surreal, like a noir thriller maybe). These don't seem so safe, but they seem to be about the past, something to be overcome... And there's even a scene of Syd reflecting in front of a lake... Several water references...and I have no idea if that really means anything...or if i am going to deeper into this?😅

...but Nat, dear, are you okay?!...you feel like in a horror movie with your remaining brother seeking safety together somewhere or with someone, running away from a curse, a haunting in your family??? (in S1 Carmy talks about how she blames the restaurant, not her mother or Mike, she says the place sucks up all the work, money and time and all they get back is chaos and resentment) But seriously, someone help her!!!...and Carmy...She must have felt very lonely this season with Carmy like that...But I guess this all means that everything will be fine in the end, like in the movie!

Seriously, I couldn't come to a better conclusion about this but it left me curious and confused... And of course, it might mean nothing and just be an interesting song from an amazing movie that director Chris Storer likes because he likes great movies and that's all 🙃 But with all the movie references, great directors and hauntings...maybe I'm not so crazy😅 <<<I tell myself to feel better🫠

#natalie berzatto #my beloved🥰💞#it could be just a song and this was unnecessary #if you guys think of something better let me know please #im dying to know if this means so #the bear #this show makes me insane obviously as you can see #berzatto siblings #carmy berzatto #marcus brooks #syd adamu #the bear is a ghost story #the bear is hauted house #The Night of the Hunter

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